L A T I N A M E R I C A - F I L M S PfiRlErr Wednesday, March 21,1984

Pristine La Paz Belies Instability Of Bolivia's Musical Chair Politics

La Paz, March 20. For many people, Bolivia is little

more than a small , obscure, un­stable South American country subjected to a military coup every couple of weeks, and a chaotic eco­nomic situation. However, visiting La Paz for the first time is an eye-opener.

Set in a deep valley surrounded by snowy mountains, the Bolivian capital is an unforgettable sight for those flying over it. La Paz airport, "El Alto," is probably the world's highest, 13,000 feet, prompting many visitors to scramble for oxy­gen masks even before leaving the plane. The city itself lies 1,000 feet below; the 30-minute drive to it takes one past Indian villages, such as those most of the popula­tion lives in. Ethnically, Bolivia is composed of 55% Indians (mostly Quechuas and Aimaras ) , 15% of European origin and 30% mesti­zos. Only 33% of the Bolivian pop­ulation (around 5,500,000) lives in urban areas .

Sparkling Capital, People Yet La Paz (pop. 1,000,000) is one

of the cleanest, most organized and enjoyable cities in Latin America. Its denizens seem to be eternally friendly and helpful; the cr ime ra t e is among the lowest on the Continent; whether walking around the impeccably clean Indi­an craft markets, or through a fan­cy restaurant , one is struck by the city's exotic appeal.

Political life, admittedly, is more troubled than in many neighboring countries. Eight or nine military coups were effected over the last 20 years. In 1964, legitimate president Paz Estensoro was ousted by a military t r iumvirate; next came General Rene Barrientos, killed in a helicopter crash and substituted, by Luis Siles Salinas. Salinas was overthrown by Alfredo Ovando Candia, who in turn was over­thrown by Juan Jose Torres, him­self overthrown by Hugo Banzer, who was overthrown by Juan Pereda Asbun, overthrown four months la ter by David Padilla Arancibia, who called for general elections.

Constant Coups No candidate managed to get a

majority, so congress appointed Walter Guevara Arze as chief of the nation. His government lasted four months and was overthrown by Alberto Natush Busch, who re­signed after 15 days. Congress ap­pointed Lidia Gueller, who was overthrown in a few weeks by General Garcia Meza. Elections were held, but elected president Hernan Silles Zuazo was not al­lowed to take over.

General Meza, accused of dope smuggling was overthrown by Colonel Natush Busch and Gener­al Lucio Rivera . General Celso Torrelio was then named presi­dent, but was forced to resign in fa­vor of General Guido Calderone. In October 1982, General Calderone resigned and Congress ratified the people's choice of 1980, bringing democratically-elected President Hernan Siles Zuazo back to office, where he remains.

200 Releases If such political juggling sounds

like a B-film, films themselves a re among the preferences of Bolivi­ans living in cities like La Paz, Santa Cruz de la Sierra (pop. 500,-, 000), Cochabama (300,000), Oruro and Sucre. Cinemas in Bolivia a re estimated to number 150 to 160, 35 of them in La Paz , 80 in Santa Cruz, 25 in Cochabama.

Almost 200 features are released

each year in the country, by Disas (Columbia, Fox, WB, Disney), Pel-Mex/UIP, and the independents, lead by Pelinter (run by Arturo Castanera) , America Films (run by Peruvian Mauricio Ubillus and Cas tanera ' s son, Arturo) and Distribuidora La Paz (run by Roberto Alconcer). Last year, Di­sas released 50 films, Pel-Mex 36, UIP 20, Pel inter 30, America 30, and La Paz 9. The remaining were distributed by smaller indies.

Mexico's Top Pics In 1984 To Date

Mexico City, March 20. Sylvester Stallone's "Staying

Alive," starring John Travolta, is so far Mexico's top-grossing pic for 1984, according to figures released in March by the Camera Nacional de la Industria Cinematografica. Here are the top-10 grossing films:

Boxoffice figures from Nov. 3, 1983-Jan. 18,1984, report that Para-mount 's "Staying Alive" earned 81,560,540 pesos.

In second place was British ani­mated pic "Dark Crystal," by J im Henson and Frank Oz, which gar­nered 55,553,585 pesos.

In third place is the rerelease of last year ' s Mexican comedy "El Analfabeto" (The Illiterate), dis­tributed by Columbia Pictures and starring Mario Moreno ("Cantin-flas' ') with 50,395,615 pesos. John Badham's "WarGames," starring Matthew Broderick, came in next with 30,309,130 pesos. Number five is Walt Disney's animated feature "Robin Hood," which hit the screens again in December and has made 28,162,530 pesos.

Sixth was "Young Doctors,In Love" from Garry Marshall , which earned 25,585,470 pesos. Sev­enth was Fernando Ayala's Mexi­can film "Abierto Dia y Noche," starring Jorge Rivero, with 22,994,-135 pesos.

The new version of "The Lone Ranger ," by William Frater , took eighth place with 20,716,895 pesos. Rerelease of Brian De P a l m a ' s " C a r r i e " came in ninth with 18,-671,375 pesos. Rounding out top 10 was rere lease of "La Cage aux Fol les ," which earned 16,891,835 pesos.

L Uptick In Biz 3 (Continued from page 52), gator ," produced by Zeus Films, banner run by Olga Lucia Gaviria.

One of Sztaba 's long-standing clients is Colombian producer-director Gustavo Nieto Roa, who is doing final printing here on his high-budgeted (for Colombia) "Ca in , " due to preem in Bogota April 10, and financed by govern­ment organization Focine.

Outfit's topper pointed out that he was saving filmmakers coin by showing how to use time-code con­version sys tems when editing in filmvideo, since many of the films are shot on celluloid and complet­ed in video. Process eliminates hours of optical work, since editing is done electronically.

c P.R. Theaters (Continued from page 56).

"Firefox," etc., all of them avail­able on cassette before their com­mercial release, affects the film biz adversely.

Majors and other distribs a re trying to release new pics as soon

as possible after their U.S. preems, to reduce pirates' profits. The clubs buy the tapes legally in the U.S. and then rent them out in Puerto Rico at $2 a shot.

Compounding the woes last September was a new Common­wealth law cracking down on sex films and nixing entry to anyone under 16. Distribs feel that the law is ambiguous in its definition of "sex" and have appealed the legis­lation. In the fall, 18 agents were sent to, among other sites, the Pla­za Theater where R-rated "Chained Heat" was playing, and hauled out two minors.

The clamping down has prompt­ed most hardcore houses to close down. Wometco's Peter Moreno averred that "Emmanuelle In Am­er ica" was shown in a censored version and Wometco was hauled into court. "The problem," said Moreno, "is the interpretation the law is given. The law does away with parental discretion. It 's bad for biz."

L~ Chile Uses TV J (Continued from page 58) tising time on the network.

The private sector feels this ar­rangement gives Chile Fi lms an unfair competitive edge as a dis­tributor and exhibitor; this may be true, but the constant advertising of pics on tv has again given them a long lost status a s a major con­sumer product, and this has cer­tainly been a decisive element in stimulating filmgoing in general.

During 1983 Chile Films rented Del Villar's Chilena de Espectacu-los circuit and brought its total up to 11 cinemas, with Conate and CCN, the other circuits , running seven houses each. Socine has six, mostly secondrun.

23% Inflation Higher costs due to inflation

(23.1% last year ) have not been passed on to consumers, as this would certainly drive them away from the c inemas . Admissions vary considerably and a re on an average $2 at uptown houses and $1.65 downtown, where there a re also two to three days a week at re­duced prices.

Fi lms like "Rocky ," "F i r s t Blood" and the Adriano Celentano pics from Italy have had very strong secondruns, part ly due to cheap ($1 or 90$) admissions and also thanks to strong advertising support on tv.

U.S. films distributed by the ma­jors a re reaching Chile promptly; this year 's Oscar nominees, for ex­ample, a r e already in the country and about to open. On the other hand, European pics, especially quality product, get here much later, if at all, and it is largely a matter of luck if they are picked up by local indies. The profitable runs , last year of "Mephis to ," Margare the Von Trot ta ' s "Ger­man Sis ters" and Carlos Saura 's "Blood Wedding" may make this kind of material more attractive in the future.

Upcoming In Brazil Screenplays current ly in de­

velopment in Brazil (credits for production a l ready approved by Embrafilme) include:

"Sonho de Valsa," Ana Caroli­na. "Vida Mansa," Joaquim Pedro de Andrade.

"Ciranda Bar roca , " Geraldo Santos Pereira.

"As 7 Vampiras," Ivan Cardoso. "Bras Cubas," Julio Bressane. "A Incansavel Busca do Amor,"

Haroldo Marinho Barbosa. "Mart inho Contra Dr. Kap , "

Helvecio Ratton. "Noite ," Jose Louzeiro. "Alice," Alberto Salva.

Mexico's Cinema 'Crisis' • (Continued from page 54).

periods for Mexican films was un­der former President Luis Ech-everia (1970-76), directed by the president 's brother, former actor Rodolfo Echever ia . Under the auspices of the newly-formed Ban­co Cinematografico, it attempted to revitalize the flagging industry by opening up the unions and ad­mitting many young, imaginative f i lmmakers. Arturo Ripstein, Ja ime Humberto Hermosillo, Paul Leduc, Jorge Fons, Alberto Isaac, Marcela Fernandez Violante, Gon-zalo Martinez, Gabriel Retes and Felipe Casals.

In order to correct mistakes of the past, many of the national cine­ma chains were nationalized at this time and organized under the COTS A (Compania de Operadores de Teatros, S.A.) and several or­ganizations were established by the government to produce films, notably Conacine and Conacite. National films were once again be­ing made and widely exhibited.

In 1975, the state produced more films than the pr ivate sector. Many established f i lmmakers were suddenly out of the business as the focus shifted to helping young contemporary filmmakers, especially those who had studied abroad.

Portillo Emphasized TV But, national cinema fell once

again during the last administra­tion under the haphazard patron­age of Margar i ta Lopez Portillo, sister of former President Jose Lo­pez Portillo. She was appointed director of the newly-created R.T.C. (Radio, Television y Cine-magrafia) , which brought togeth­er the entire state-controlled mass communication system in Mexico under one governing body.

Most of her efforts were dedicat­ed to the tv industry and the production of soap operas, and the film industry suffered e r ra t ic production and distribution as government funds dried up.

Many good directors — because of the difficulty of finding work — turned to tv or made commercial­ly successful, albeit aesthetically poor films.

The pr iva te producer ' s role came to the forefront once again and was responsible for the bulk of films produced during this t ime, which consisted mainly of sexual comedies about prostitutes.

A New Low Tomas Perez Turrent and Gil­

lian Turner took official Mexican cinema to task at the time saying it "has not reached such a low level in several decades. Cheap cinema, with no artistic or cultural ambi­tions, a repetition of the oldest and weariest formulas, subpornogra-phy, facile folklore, routine melo­dramas, films aimed a t manipulat­ing and exploiting the emotions and frustrations of the lower stra­ta of the population and the nostal­gia of Mexican and those of Mexi­can descent in the U.S. ... The resulting cinema is industrially feeble, socially useless, culturally nil and aesthetically impover­ished."

The movement known as "Cine Independente" also surged during this period, mostly former stu­dents of the CUEC (Centro Univer-sitario de Estudios Cinematografi-cos) and CCC (Centro de Capacit-icion Cinematografica).

Since the young f i lmmakers were unable to find funding, they used non-union crews and pro­duced their own films. Although they often employed valid and in­teresting themes and approaches, the films suffered technically. And they- films were prohibited from

commercial distribution because of union regulations.

"Another large problem at the moment , " said Alvaro Cordon, director of Peliculas Nacionales, "is to raise the number of screen hours for Mexican films. The law s ta tes that 50% of screen t ime must go to national productions. Yet, foreign pics dominate the cinema ads in local newspapers.

Need Distribution Many Mexican pics never re­

ceive regular distribution in the capital, even though Cordon notes that nationally-produced pictures get back roughly 25% of their in­vestment from the exhibition with­in the Federal District alone. Most films distributed by Peliculas Na­cionales are first distributed to test marke t s in other a r ea s of the republic.

"Cinema production in Mexico will inevitably disappear because of the bankruptcy of the produc­e r s , " said filmmaker Rene Cardo-na Jr . , who made low-budget films such as "Survivors" and "Guyana, The Cult Of The D a m n e d " that have been successful in the U.S. "No one has yet to realize the true dimensions of this phenomena. To make a picture today costs around 40,000,000 pesos, and to exhibit it another 50,000,000.

The production company Pro-ducciones Agrasanchez announced in February it will only make eight pictures in 1984, six less than last year . Company head David Ag­rasanchez places the blame on ris­ing costs, noting that prices have gone up 30% just between Decem­ber and January .

Coprod Push With the current economic cri­

sis, Alberto Isaac, general director of the Mexican Cinematographic Institute, foresees the future of Mexican cinema through the pur­suit of coproductions.

In 1983, Conacine and Conacite 2 produced only four pics "The state will never again play the major role in national film production," Isaac said. "We will only try to fill in holes left by the private sector, which should be the main force of the industry.

"The state is responsible for only about 10% of the national films currently showing in Mexico, and besides, it is absurd for the state to indulge in large-scale produc­tions."

This year the institute is produc­ing only seven films of which the majority a re coproductions.

"But, the real problem," said as­sistant producer Therese Margolis, "is that we have to recognize our limitations and potentials as film­makers . We must also recognize that values of those limitations.

"Mexico is trying to compete against the U.S. film production when we don't have the capabili­ties either financially or technical­ly. Instead we should see that we a r e producing for an audience that 's either Mexican or Latin Am­erican and we should direct our products toward them. Our mass audience can ' t afford or even re­late to the high-budget, glossy, slick, esoteric productions of the U.S.

"As long as we continue to per­ceive ourselves in competition with the world's best film industry, we will never recapture the glory and respect of Mexico's Golden Age of Cinema." '

Christine Ebersol and George Wendt costar in "Thief Of Hearts," which Douglas Day Stewart is cur­rently directing for Pa ramoun t Picures.