24th Festival 1977

The festival introduced a series of special sessions, known as Film Forums, for the presentation of more specialised films, and to give visiting filmmakers an opportunity to answer questions on their work at more time than usually allowed.

Buno Bozzetto and was a guest of the festival this year and introduced his now-classic film Allegro non troppo. Peter Watkins was also present in support of his films Edvard Munch and Evening Land (Watkins).

There was a special Canadian programme of six features, with a Canadian delegation including directors Robin Spry and Don Owen and actress Hollis McLaren in attendance.

Ian McPherson resigned from the Festival Board to become Administrator.

The value of the festival on the international circuit was shown “when West German producers decided, as an economy [sic] measure, to cut back German representation in International Festivals from about 22 to about 7 in 1977, Sydney was retained.” (Ross Tzannes, President’s foreword).

Voting slips for Gold subscribers were introduced.

The festival screened a restored version of Silks and Saddles, a 1921 Australian ‘racetrack melodrama’ directed by an American, John K Wells and featuring famed Aussie character actor Tal Ordell as the villain. It was a ‘one-off production’ backed by a group of Sydney businessmen. The 35mm print had been restored from the original nitrate negative by the National Film Archive.

The program guide contained an advertisement from Voyager Films in association with the NSW Film Commission announcing the production of Phillip Noyce’s drama Newsfront, which would eventually be released in 1978 and go on to become a multiple-award-winning classic.

Festival Director David Stratton’s foreword in the program guide provides interesting insight into the burgeoning golden age of Australian cinema and its cool reception by local audiences:

“A year ago in this Programme introduction I wrote about the slump in the commercial distribution/exhibition industry in Australia, but noted, with pleasure, that Australian films seemed to be immune from the general audience apathy. A year later, the slump continues and Australian films are no longer immune; in fact, with a couple of exceptions such as Fred Schepisi’s The Devil’s Playground (premiered at last year’s Festival where it was informally voted the most popular feature entry) and Bruce Beresford’s Don’s Party, Australian films have had disappointing returns. It also seems that, just as overseas critics and filmgoers have started to discover the new Australian cinema, local critics have decided to ‘get tough’ with home-produced product; films such as Chris Lofven’s Oz, Ken Hannam’s Break of Day and, especially, Michael Thornhill’s The F.J. Holden all received less than their due in the Australian press. With important new films by Beresford, Hannam, Peter Weir and Esben Storm now in post-production, and others currently in production (such as the Donald Cromie-Anthony Buckley production The Irishman) one hopes sincerely that the renaissance of Australian film so carefully nurtured over the past few years will not die just as it had started to live.”

Opening Night Film: Allegro non tropo

Award Winners

Listen to the Lion (directed by Henri Safran) won the Greater Union award for the best Austalian short fiction film.

Prisoners (directed by Mark Stiles with Collective) won the Greater Union award for best documentary.

Confirmation (directed by Paul Bugden) won the Greater Union award in the general category.

Listen to the Lion director Henri Safran also won the Rouben Mamoulian Award for best Australian short-film director.