Document Type: 
Document Number (FOIA) /ESDN (CREST): 
Release Decision: 
Original Classification: 
Document Page Count: 
Document Creation Date: 
December 16, 2016
Document Release Date: 
October 25, 2004
Sequence Number: 
Case Number: 
Publication Date: 
January 5, 1973
Content Type: 
PDF icon CIA-RDP88-01365R000300190002-5.pdf105.33 KB
(' i-1 t- ,,,v t J b (% -- a ~9ASlI?YVTUiv' xpST Approved For Release 2004/11/01 :,I~-RDP88-01365R0003"1,99002(-5p t . t_t C e. o Film d'Amour." Since that contro- versial debut Landau has enhanced his reputation for controversy with a film about Fidel Castro, another about alleged victims of tor- ture by the Brazilian gov- ernment (\Vexler, who pho- tographed the Allende int.er- .iew, also photographed this one) and with a few seg- ments produced for the late "Great American Dream Machine." While both films will be of interest principally to people who share the politi- cal bias of the filmmakers, the Allende interview is con- siderably more compelling and incisive than "Que pa- cer" and stands a better chance of holding hostile or apolitical viewers as well as socialist ones. The reason is simply the force of personality. Allende is an impressive figure, an articulate, tough-minded and likably sardonic politician; and the experi- ence of watching and listen. ing to him proves both in- formative and fascinating. People who think of them- selves as politically in- formed owe themselves this brief session with Al- lende, glimpsed shortly after his election, outlining his socialist program for Chile and shrewdly assessing the odds against socialist re- forms; odds that haven't shortened since he took of- fice. realized. The conception is ambi- tious, encompassing several contrasting characters whose activities run parallel and then intersect: a Chilean intellectual just ' returned from Cuba, a Communist of- ficial and his son, a member of a left terrorist group, a radical priest in the mining town of Copiapo, in Ameri- can Peace Corps worker who finds herself more and more in sympathy with Chi- lean revolutionaries; and a sinister American agent, presumably on assignment from the CIA, The problem with the scenario is that it fails to sustain any particular rela- tionship or subplot; the film seems to be constantly intro- clueing people and situations only to let them evaporate or die of dramatic malnu- trition. The film is also marred by several streaks o:: expedi- ency and, s?ntlmentality. Richard Stahl, who plays the sneak from iVashiii ton, looks trans-patently sneaky, as if he were cast to encour- age semi-facetious hisses from audiences of the faith- ful. Sandra Archer, who plays the heroine from the Peace Corps (a few people may recall her as the girl Peter Bonerz became in- volved with at the end of "Funnyman"), is such a looker that she can't help but make The Quest for Revolutionary Conscious- ness appear hopelessly gla- morized. For example, In the closing scenes are we supposed to be impressed with her political sincerity but blind to that great-look- ing pantsuit she's wearing out in the countryside? Landau shows a certain naturalistic flair with minor characters-Elizabeth Frans- worth rings true as another, more contented Peace Corps yyorker, and the Americans at a dinner party who of- fend the archly disapprov- ing, Miss Archer with their casually superior small talk seem right: callous yet lively and rather persona- ble. Unfortunately, the ma- jor character seem as over- simplified as the worst of Hollywood. Landau's con- ception may have been doomed from the start by limited resources and the at- tempt to juggle too many protagonists too sketchily imagined, but the Beauty- and-the-Creep casting does more than its share to com- promise and trivialize the film. 'Que Hate ,1 By Gary Arnold "Que pacer," a feature- length film matte in Chile by Saul T.andau, a leftist producer-director-docunten- tarian, is getting its first commercial showing in the United States this week at the Inner Circle. As it hap- pens, Landau's feature is .upstaged by the film on the bottom half of the bill: a half-hour interview Landau conducted in January, 1971, with Chilean President Sal- vador Allende, who seems to say point-blank what "Que hacer" tries to say circui- tously. With the collaboration of several Chilean and Ameri- can friends and colleagues (Chilean filmmakers Nina Set-ratio and Haul Ruiz re- ceive co-directing credits), Landau attempted to use the Chilean national elec- tions of September, 1970, in the way Haskell 1Fexler used the Democratic Party's convention in Chicago in 1908 for "Medium Cool"-as a dramatically real back- drop for a semi-improvised fictional film. Ideally, the authentic po- litical drama of the country will be illuminated by the .political or romantic melo- drama played out by the ac- tors. In practice, the made- up stuff tends to be woe- fully inadequate to the docu- mentary reality surging -around and through it; :,t;d "Que hater" (rendered somewhat awkwardly, "What Is to Be Done") proves as vulnerable on this score as "Medium Cool"-and less exciting to watch simply as a movie or an experir.,ent. Saul Landau first bocarne Students of rnl.itical star appeal and personality projection should find Al- lende a remakable and per- haps refreshing subject, since there is no air of elu- siveness or equivocation about him. It's also amusing to note that Allende, once the dean of the Chilean sen- ate, hears a sirong resem- blance to Sen. Hugh Scott of Pennsylvania. The best idea would be to see the Allende interview first and then as much of "Que hater" as you find interesting or intriguing. "Que hacer" is a movie that never quite gets out of the discussion stage. It has good moments and sev- eral viable story ideas and famous/notorious in movie characters, none of which circles back in the early '1307, truly typify or summarize for a non-political enter- Chile as of September, 1970, prise: He was one of the The intention is epic, a pan- distributors of thcApprovedifroii.Reteasle'20041?1'1/01 : CIA-RDP88-01365R000300190002-5 Genet film, "Un Chant but the intentions aren't