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RANA JOHAL JAMES HARPHAM KERRY STEWART JOHN HARDIE JONATHAN SHALIT LALINE PAULL STEPHEN MARGOLIS VICTORIA LORKIN MARK HUBBARD JAMES DEAN TRUDY SARGENT
EVENTSCALENDAR
EVENTSCALENDAR
Green won his Oscar – for Best Cinematography, Black and White – for David Lean’s Great Expectations in the same year Cardiff won his for the colourful Black Narcissus.
He was also among a cross- section of British filmmakers who met for lunch in August 1946 with Alexander Korda with the idea of forming The British Academy (which later merged with Guild of Television Producers and Directors to form the Society of Film and Television Arts).
Green worked on several of David Lean’s films (Oliver Twist, The Passionate Friends, Madeleine) and it was this
close association that inspired him to abandon his career in cinematography at the height of his success in 1955 to become a director.
Credits followed like House Of Secrets, Sea Of Sand and the BAFTA nominated The Angry Silence, which also won three awards at the 1960 Berlin Film festival. Green went on to direct films like The Mark (an Oscar nomination for Stuart Whitman) and A Patch Of Blue (which earned Shelley Winters an Academy Award for Best Supporting Actress).
His other credits include Light In The Piazza, Diamond Head, Walk In The Spring Rain, The Magus, Once Is Not Enough, Luther and The Devil’s Advocate.
THE FINAL ANALYSIS
Quentin Falk discovers a former England cricket captain among the founding fathers of the 1st European Psychoanalytic Film Festival
Boasting Bernardo Bertolucci as Honorary President, the inaugural EPFF plied the bulk of its busi- ness at BAFTA during the first week of November.
Although the aftermath of September 11 had inevitably taken its toll on the eventual total of delegates and contribu- tors, the final list of atten-
dees was prestigious and eclectic, spanning medi- cine to the movies.
From the latter were filmmakers like Nanni Moretti, Hugh Brody, Jose Luis Borau, Michael Apted, Tom Tykwer, Miguel Sapochnik and, of course, Bertolucci him- self along with actresses Fiona Shaw and Juliet Stevenson.
And then, with a foot in both camps one would discover, there was Mike Brearley who exactly 20 years ago this past summer led the England cricket team to perhaps its most thrilling and unlikely Ashes victory.
At the time Brearley was raising this particular phoenix – with the notable help of Messrs Botham and Willis – he was in analysis five times a week. This, it should be added smartly, was part of his training to become a qualified psychoanalyst which he finally achieved in 1985, three years after finally hanging up his cricket boots.
The EPFF has been planned for over two years and has its roots in a twice yearly series of
popular Sunday morning film/dis- cussion events mainly run, under the auspices of the British Psychoanalytic Society, by Andrea Sabbadini who trained at the same time as Brearley.
The pair, together with fel- low BPS mem-
bers, Helen Taylor Robinson
explained: “At the start we didn’t have much idea of what we want- ed to do apart from trying to get the dialogues going further than those we’d enjoyed with Andrea’s sessions.
“We also wanted a range of countries
represented which would enrich this festival/con- ference. It’s
somewhere between the two, but confer-
ence alone would have sounded too dry,” he added.
The final programme consist- ed of various screenings (including Run Lola Run, La Stanza del Figlio, LeoandHarry:HeIsHereTo Help), extended clips, workshops and panels with lip-smacking titles like “Psychoanalysis and Euro-
Horror. Freud’s worst nightmares?” Above all, discussion to and from the floor in both the Princess Anne Theatre and David Lean Room.
With Hugh Brody, Brearley was part of a final panel which queried, “Filming psychoanaly- sis: Feature or documentary?” There was more to this than first meets the eye, for both men are part of a film project explor- ing just such an idea but are still stymied by funding and even, to be sure, a final framework.
Brearley, who while still in his cricketing pomp was noted rather presciently by one Aussie fast bowler as “having a degree in people”, reports that the feed- back from the 1st EPFF was “excellent and the filmmakers particularly enjoyed having that kind of concentrated attention to their work.”
All being well, the next event will take place in 2003 – just in time, Brearley hopes confidently,
and Chris
Mawson formed
the organising
committee for the 1st EPFF. Sponsorship would materialise in varying forms via NESTA, The Observer and the cultural departments of several embassies.
But how to begin construct- ing a suitable programme? Brearley, who’ll be 60 next year,
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NEWS & EVENTS INFORMATION
Please call Amy Minyard or Juliet McCulloch on 020 7734 0022 or e-mail amym@bafta.org or julietm@bafta.org
Photos opposite page: Amma Asante, Deputy Chair of Events and Education; Eamonn Walker
and Christopher Eccleston in Othello; Jack Cardiff with his BAFTA Special Award
Photos this page from left: Guy Green; Bernardo Bertolucci; Mike Brearley; The 1st EPFF in full swing with Fiona Shaw, Bertolucci and Chris Mawson