154 I N T E R N A T I O N A L Fifty-seventh Anniversary Wednesday, January 9, 1963

Argentina Film Talent Check-List = Bv NID EMBER

Buenos Aires. ANTIN, Manuel—Poet and playwright, who con­

fesses it's easier to sell films than poems. First fea­tu re "La Cifra Impar" (The Odd Number) included in a recent Film Week in Madrid, disappointed Spain's critics as not being "local" which piqued the director as showing Spain's prefixed ideas about his country. Critics compare his work to that of Alain Robbe Grillet of "Marienbad" fame. Story of "Cifra" is from "Letters from Mama" by Argentine author Julio Cortazar (Paris resident). Antin has another feature "Los Venerables Todos" (All the Venerable Ones! with Walter Vidarte and Lautaro Murua.

Al 'ALA, Fernando—With Producer Hector Oli-vera. Their pictures include the prize-winning "El Jefe" (The Boss); "EI Candidato"; "Sabado a la Noche, Cine" (Saturday Night Movies); "Los Tallos Amargos" (The Bitter Stalks); "Ayer Fue Pr imavera" (Spring was Yesterday) and the Spanish and English versions of "Huis Clos," directed (Spanish) by Pedro Escudero—English by Ted Danieiewsky, and in which Inda Ledesma won the best actress prize (INC) for 1981. Latterly Ayala has devoted himself to legit direction and he and Olivera plan more U. S.-Argentine and Brazilian-Argentine copro-ductions.

ALVENTOSA, Ricarda—Hitherto a shorts pro­ducer, now working on "La Herencia" (The Legacy) from a De Maupassant story, adapted by E. Villalba Welsh and an important cast.

BEREND, Juan—Directed the shorts "Newspaper" (Silver Bear award I960 Berlin festival) and "Sta­dium," both taken for United Artists distribution. First feature "Shadows in Heaven" (Sombras en el Cielo) as yet unreleased.

BIRRI, Fernando—Studied two years at the Rome Centro Sperimentale, now teaches at the Northern (Santa Fe) University Institute. His short "Pitch Ten Cents" (Tire Die) was widely acclaimed. Others: "First Foundations of Buenos Aires," "Good Morning Buenos Aires." First feature "Los Inundados" (The Flood Victims) (story: Mateo Booz) (Argentia). Birri is estimated to have founded a "Santa Fe" school in local production, as others are following in his wake to make pictures with that province's background. He himself is readying "La Esperanza" on the first agricultural colony set up there, showing the wi~dom of portraying an atmosphere he knows. "Inundados" was ignored by the Screen Institute when issuing awards, but when it was sent a.it of contest to Venice, the critics praised it above the official entry.

BLASCO, Rodelfo—Directed "The Stepmother," released in 1961.

BO, Armando—widely known for films made with Isabel Sarli who has no qualms about stripping. Last effort "La Burrerita de Ypacarai," given an INC award but not acclaimed by critics. Sr. Eo is of fiery temperament and this year invaded a TV studio to beat uo a critic for panning his picture.

BOROVSKY, fadeo—Won the first INC prize for shorts in 1961 with "La Nina Azul" "The Blue Baby."

CATRANI, Catrano—Directed "The Firing Squad" (La Fusilacion) shot entry at San Sebastian, which INC overlooked in giving awards, but got the San Sebastian best direction award.

CARRERAS, Enrique—Specializes in musicals and crowd scenes. Does much directing in Spain for General Belgrano, in association with brothers Luis and Nicolas. ("El Noveno Mandamiento" (The Ninth Commandment); "Tres Alcobas" (Three Bedrooms); "Disloque en Mrr del Plata" zany comedy with "La Revista Dislocada" I Crazy Gang) radio team. This year directed "Los Viciosos" on a drug-victim theme, which had a vary good domestic run, and wrested actress Graciela Borges' best performance so far.

CAVALOTTI, Ruben—First feature was a prison story "Proce~ado 1D40"; now goes in for stories with a Gaueho locale: "Romance de un Gaucho," adapted by U. P. de Mural from a Benito Lynch story and "Don Frutos GOHIK"—Ayala-Gauna script; "El Bruto"—Arturo Cerretani script, sent to Karlovy Vary as official Argentine entry.

CORES, Cartes—Tnis young actor with much work in Mexico to his credit is now working on a produc­tion of "Lindor Covas"—a Gaucho series rolling in the Tandil and Oiavarria hilly countryside. This may be the start of a Gaucho style of "westerns" or ad­venture stories.

CHERNIAVSKY, Daniel—first feature was "F.l Ultimo Piso" (The Top Floor), story by Jorge Masi-angeli, which disappointed though his courage w.s recognized in dealing with the acute housing short­age problem. The picture was sold to France and Spain. Subsequently, in atmosphere of great secrecy made "EI Terrorista" (The Terrorist) on Communist conspiracies. Following with "40-year Engagement" from an Abel Santa Cruz legit hit.

DAWI, Enrique—another of the "short" graduates. His "Gillespiana" (short) was invited to the Bergamo, Italy Festival. First made his name with a feature "Rio Abajo" (Down River) with a River Parana back­ground. "Heroes de Hoy" made less of a stir and now making "La Chacota" (The Gag) from a script by noted cartoonist "Landru," with Luis Aguile and Mexican actress Evangelina Elizondo. Has an un­usually keen sense of humour.

DEL CARRIL, Hugo—former tango vocalist, both as actor and director has long list to his credit. Now works in collaboration with producer Leon Silber-man. Made first film in 1949, 2nd in 1950 and was closely identified with Peron regime. Best remem­bered for "Las Aguas Bajan Turbias" (Red River); "La Quintrala"; "Culpable" (Guilty); "Amorina." This year released "Esta Tierra es Mia" (This Land is Mine) from Jose Pavlotzky novel adapted by Ed-uardo Borras. Also completed "La Calesita" (The Merrygoround) from an R. Taboada story, in which he sings 12 songs, which is likely to ensure success amongst the Gardel fans, as is considered Gardel 's sucessor and played the role of Gardel in the film biog.

DEMARE, Lucas—Responsible for many Argen­

tine best pictures of the past and present, is a force to be reckoned with. Features are "La Guerra Gaucha"; "El Cura Gaucho"; "Su Mejor Alumno" (all pre-Peron); "Los Isleros" (only good picture of the dictatorship); post-Peron films dealt with prob­lems of that era: "Despues del Silencio"; "Detras de un Largo Muro," and "Hijo de Hombre" on the Para­guayan "Chaco" war. Now planning a Portuguese-Argentine-Brazilian "colossal" "Pontius Pilate" with Antonio Vilar starred, from a story by Argentine author Agustin Perez Pardilla to be shot partly abroad.

DU BOIS, Alberto—Made "La Flor de Irupe," on the same style as Armando Bo's pictures, but with Libertad Leblanc as the stripper instead of Isabel Sarli. Such films do well in Venezuela and Uruguay, where this grossed 60,030 Uruguayan pesos in the first day.

ESCUDFRO, Pedro—Directed the Spanish version of "Huis Clos" (No Exit), in which actress Inda Ledesma won the best actress prize, in the role of the Lesbian.

FLEIDER, Lee—First picture last year was "Aconcagua," on the work of the gendarmerie against smugglers on the Andean frontier. Followed this up with an Eastmancolor Brazilian-Argentine coproduc-tion "Interpol Calling Rio," which made no great stir, and is now at work on "Yagan," for which Curt Jurgens, Simone Signoret a rd Laurence Harvey are reported to have accepted roles.

FELDMAN, Simon—Another "shorts" graduate, whose "El Negocion" (The Racket) some years ago was rated so good, it was built up from a short to a feature. His first authentic feature "Los de la Mesa Diez" (The couple from Table Ten) caused a commo­tion when refused a Screen Institute "A" certificate (ior obligatory exhibition) though critics rated it better than many others. The controversy finally re­sulted in changes in the Screen Institute leadership. Has again run into trouble as the Institute recently refused to pass- for produtcion loan his "Si" (Yes) from a Dalmiro Saenz s'.ory, on moral grounds.

FERNANDEZ, Jurado—First feature was "El Tele­visor" (The TV Set) (Sono) a satire on the effects of TV ownership on an average family. Has drawn ac­claim subsequently with another short "Imagenes del Pasado" (Images of the Past) excerpts from old Argentine pictures.

FRANCO, Joaquin—Making "The 10th .Infantry Regiment," from an Abel Santa Cruz story under Army supervision.

KANAF, Leo—Producciones Rio Negro, Produc-ciones San Justo—Working on Franco-Argentine co-productions with Robert Woog in Paris. Made "Mi Novia es Otra" in Eastmancolor with a Province of Jujuy background.

KOIION, David Jose, (Producer Nestor Gaffet)— First feature was "Tres Veces Ana," which made a big impact on critics at the Mar del Plata Film Festi­val last year, won the third INC award for 1961. Fol­lowed this up with "Prisoners of the Night," which was marred by a weak script, but won high praise for the performances of Maria Vaner and Alfredo Alcon. Probable future productions are "Avenida Santa Fe" and "Roberto y el Baile" from his own scripts.

KUHN, Rodolfo—Producer—Marcelo Simonetti— First feature "Los Jovenes Viejos" (The Old Young­sters) which broke all records for a local film on re­lease, won the prize for the best story at the Mar del Plata Festival. Has now completed "Los Incon-stantes" (The Inconstant) again from his own story, with E!sa Daniel and Gilda Lousek, shooting being delayed by had weather at Villa Gesell beach resort. Subsequently will probably work on a caproduction with Marcelo Simonetti, Francois Truffaut and Jean Luc Godard, which will have 5 stories made in 5 countries by 5 directors, and titled "Warm Tide."

LAH, Vlasta—Argentina's sole woman director, though works for Catrano Catrani. Has made "The Mode's" from her own script, still unreleased.

LUGONES, Marie—Recently completed "Mission 52" under Air Force supervision, with Lautaro Murua in the main role.

LUNA, Ricards—Trained as assistant to Leo Torre Nilsson, and is soon to launch his first feature on the problems of Argentine youth under the Frondizi regime recently overthrown.

MADANES, Ceeilio—Came to the fore as a legit director in charge of the "Caminito" openair theatre in the picturesque Boca district, revealing great pro­duction talent in several legit winners. To make a 25 million peso picture for Producciones Siglo XX and is now collaborating with Luis Saslavsky on "Las Ratas" with Aurora Bautista. Is rated the local Noel Coward

MINITTI, Dino—Drew attention with shorts "The Copy Book"; "Final Cry," but first feature "Tiernas Iiusiones" (Tender Illusions) disappointed.

MUGICA, Francisco—One of the most restrained of local direclors, including the 1959 bestseller "He Nacido en Buenos Aires." In the thirties made "Orchids on Tuesday." "Mi Buenos Aires Querido" failed to repeat the success of "He Nacido" Perhaps his best was "Aquelio que Amamos."

MUJICA, Rene—made the 1961 INC prizewinner "The Man on the Rose Colored Corner" from a story by noted writer Jorge Luis Borges. First feature was "The Center-forward Died at Dawn" from the Agus­tin Cuzzani story. Is now making "Santos Perez from an Aisenberg-Aden script.

MURUA, Lautaro—Actor turned director, though does little of both. First feature "Shunko" won a Mar del Plata award some years ago and "Alias Gar-delito" won the 1961 Critics' Association award for the best direction. Is a force to bear in mind, both as actor and director.

PAPPIER, Ralph—Had many hits to his credit in the past. Not very active recently. Understood to be readying "My Twenty Years" from a script by ex-

(Continued on page 156)

Shaw Biz Is Show Biz in Far East; Ronnie and Run Ron Shaw, That Is

By HOWARD PEARL (UA Publicist in Detroit)

Detroit. If you've been a Hollywood press

agent for 20 years (like I have), and you finally want to know how it feels to be treated like a star, then by all means . . . you must go to Asia!

After a score of years devoted to pursuing tearsheets and han­dling stars for United Artists, I decided to take a trip around the world. In a subsequent conversa­tion with Otto Preminger, I men­tioned this desire.

"If you are going to Singapore and Hong Kong, then I will write to my dear friend Run Run Shaw to let him know you are coming," said Otto.

At this point, I knew nothing about the Shaw Bros, but Prem­inger explained that I should meet them because they are motion picture exhibitors and would give me a sense of sympatieo in this far corner of the world.

Several weeks and about 12.000 miies later, my jet landed at Singa­pore Airport and I proceeded to the Cathay Hotel. When I entered my room, there was a bottle of Scotch and a welcome note from Runme Shaw, Run Run's brother. Three minutes later, Shaw's secre­tary, Miss Richardson, called to welcome me to Singapore. Five minutes later, Mr. S. Y. Hsu, the Shaw Organization publicity direc­tor, called from the lobby to ad­vise me that he was waiting for me. My impression of the Shaw Bros, started to grow. I figured they must own more than one the­atre, gauged by the efficiency of this staff. They probably own a chain of about five theatres, I mused.

Shaw Bros.' Red Carpet I met Mr. Hsu in the lobby

and he took me to a chauffered, airconditioned Mercedes-Benz. For good luck, he brought along a pro­fessional still photographer to take photos of my stay in Singapore. Mr. Hsu was a very amiable and energetic Chinese gentleman and he was assigned to take me on the grand tour of the city and environs. This he did to perfec­tion. Because I was interested in motion pictures, he decided he would show me one of the newest houses. It was the Lido, playing "King Of Kings." It was a mag­nificent theatre. Mr. Hsu proudly announced that it was a Shaw Bros, house. My estimation r e the Shaw Bros, increased some more. Now I figured, they must have a chain of about 15 houses. After all, for a city like Singapore, 15 houses is a lot. Finally, Mr. Hsu took me to the general offices of the Shaw Bros., so I could meet Runme. When we arrived, I was aghast. The place looked like the home office of United Artists Corp. It was crowded and it was busy. I had to upgrade my estimate. The Shaw Bros, have to own 50 houses with this setup. I thought.

I was received by Runme Shaw with all the grace and charm of a Sam Goldwyn, an Otto Preminger or a Max Youngstein. I was feted at lunch and introduced around to the 300 employees as if I were Kirk Douglas or Gregory Peck. They all fussed over me and proudly an­nounced that they were currently playing UA product in their thea­tres. I must confess, I was both flattered and impressed. I now figured: these boys have got to own at least 75 houses! This is some operation! Before leaving Runme's office he told me that he would pick me up at 7 p.m. as he was having a dinner in my honor at his home. When I arrived at his palatial place. I was introduced to E0 guests who came to meet me. They included such people as: Y. K. Puri. Indian High Commissioner; Wolfe Reade, U.S. Informational Service; Justice M. Buttrose and Panamanian Consul W. McLean. After a sumptuous repast of suck­ling pig, shark fins, chicken, turtle, mango, nee , pork etc. we adjoined te his private theatre to see a screening of an English produc­tion "The Young Ones."

I couldn't get over the luxurious treatment. After all, I was just a press agent, and here they were treating me like the biggest star UA ever had! In all my 20 years of squiring stars for UA, no star ever received more elegant, mag­nificent or kindly t reatment than I did.

I tried to explain to Runme that I was only a press agent and not a star, but he would have none of that. He said, "Mr. Preminger told us that you are a very im­portant friend of his, and that makes you a star." I could then see why the Chinese are so well known for their bon mots and wise sayings.

At this point, I figured the Shaw Bros, for 100 movie houses! When I finally got the right info, it read like this: They own 129 houses covering Singapore, Malaya, Hong Kong and Borneo. They employ a total of 5,000 people in their far-flung empire. They produce 50 to 60 Chinese-language pictures per year and they have studios in Hong Kong. In a sentence, they are both the biggest producers and exhibitors in Asia!

Run Run Takes Over After this star t reatment I left

Singapore and arrived in Hong Kong. Some more of the same luxurious, red carpet, Hollywood treatment. Run Run Shaw, Runme's brother, personally met me at my hotel with a chauffered Rolls-Royce, and together with Mrs. Shaw, we did all of Hong Kong. This included the floating res taurant in Aber­deen, The Peak, Kowloon, Hong Kong Island, the locations where "The World of Suzie Wong" and "Love Is A Many Splendored Thing" were shot, etc. After a visit to his shir tmaker and tailor where I had some clothes made, he took me out to his studio for dinner and a private screening.

Once again, I was awed. I just had to have more information on these spectaculai Shaw Bros. Con­sequently, during what seemed to be an unending dinner of exotic and delightful Chinese dishes, I queried Run Run on the background of this unusual enter ta inment dynasty.

Both brothers speak excellent English and Run Run brought me up todate on his unusual first name. All Chinese male children must of necessity carry the same first name. Thus Run Run and Runme, This is done in order to trace lineage and family trees—plus the paren­tal worship for which Chinese are noted. The middle name of the male sons is different. In this way, Run Run can trace his an­cestors back for many, many gen­erations.

The Shaw Bros, are in their early to mid-fif t ies. Bunme is stocky and is always smiling. Run Run is thin and loaded with bound­less energy. Someone at the din­ner table suggested that Run Run was aptly named, because he is thin and always on the run. Both are extremely amiable and gra-cii.us. Up until a year ago, both brothers were based in Singapore. Now Run Run lives in Hong Kong and runs the motion picture pro­duction end while Runme lives in Singapore and watches over the operation of their 129 theatres . They also have vast holdings in real estate such as buildings (aside from theatres), downtown acreage in Hong Kong and Singapore. They are generally considered to be one of the wealthiest families ir. Eastern Asia. Probable wealth could be well over $200,000,000.

The Shaw Bros, studio is only a year old, contains seven big sound stages and is equipped with all the up-to-date appurtenances I would expect to find at the Gold­wyn Studios. I watched a few Chinese pictures in production and then was feted with another grand party that Run Run graciously threw for me. About 30 of Hong Kong's top people were there, in­cluding a Sultan from Selinger. After dinner, we all repaired ta the studio theatre where Run Run announced we would view the first showing of a new motion picture. It was United Artists ' "The Facts of Life," starring Bob Hope and Lucille Ball, and although I had seen it, it was very interest ing watching an American motion pic­ture with Chinese subtitles. The audience roared just the same as if the picture had been showing in Detroit. Laughter, like music, is international.

When I finally left Hong Kong, with its wonderful Shaw hospi­tality, and all those memories of being feted like a star, I knew it was going to be tough to re turn to reality and being a pressagent once again.