The Philadelphia Inquirer from Philadelphia, Pennsylvania • Page 125

Sunday, May 12, 1985 The Philadelphia Inquirer 9-(T 71 Films, of course and lots of hype .1 CANNES, from 1-G A 5 n-p. Afipi. Hi rA Uj. i A-v V- trl i wi i I I 4 A 1 yrf 5 mmmmfKmmfmmmfmmmmmmmmisrj I ft i I rv' I I Iff A'-A 111 I' 1 IjftlS" Tx Cti i A k- ill VI tf I---. guys," she says.

"You only come by my room when you want to use the bathroom." "This isn't your room," says one New York newspaper critic. "It's the Part of the informality comes from the fact that Furst is working with familiar faces. Though she deals with some foreign journalists at Cannes, most of the people she sees here are people she works with at home. "Only the intensity is different," she says. "That and the food." The publicity machinery is in full gear Friday afternoon as the weather warms up.

A trio of people dressed as giant Care Bears stroll the Croisette, handing out leaflets. Magicians and a dozen clowns work the crowd. A pick-up truck riding atop huge tractor tires rolls through town touting a teen flick. And sure enough, on the pier across from the Carlton a starlet in an extremely skimpy leopard-skin bikini poses seductively for photographers. At times, the end of the pier is so crowded that photographers have to cling to one another to keep from being elbowed into the Mediterranean.

The girl poses one way, listens for the shutter clicks to subside, and then changes positions. The cameramen plead with her to remove her top. "No, no, no, no, no," is all she will say. Despite the chaos, this year's festival has been free of the kind of wild publicity stunts that have enlivened past gatherings starlets stripping in fountains, actors tossing money from hotel balconies, yachts churning into the harbor to disgorge, amid mad fanfare, their celebrated occupants. But then, the festival is young.

There's plenty of time. We can begin as soon as everyone is seated. Associated Press Director Milos Forman, president of the Cannes jury, with this year's official festival poster. Sunday thru Thurbdav alter 4 pm $17 cash $5 deferred voucher $3 food Monday thru Friday before 4 pm: 1 2 in coin $3 in food $5 deterred voucher. Friday after 4 pm thru Sunday before 4 pm: $10 in coin $3 delerred voucher $3 food.

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That's what's great about it so much to do and not nearly enough time to do it in." Reporters and critics are gliding in and out of her office. "It's like I always said about you ingsley says on the television while the real-live article ods and smiles and the waiters pop few more corks. This is hype, Cannes-style gar-ih, vulgar, wildly overstated. The first order of business at annes is to watch movies. For the rorld's critics, the screenings are to ecome informed about the work of ther countries and to judge the roer-ts of the year's festival crop.

For the uyers, they aid in figuring out rhich dozen or so among the hun-Ireds of films shown will attract the lost customers in their corner of he planet. The Kingsley buffet is only one of a lozen that occurred in the opening lays of this year's festival. Besides hose sumptuous events in hotels ilong Cannes' crowded Croisette, here are beach parties in the eve-ling (weather permitting), intimate iffairs at villas in the hills and, of the official news conferences hat follow the initial screening of of the festival's 20 competitive ntries. Those in charge of handing out to the world's press esti-nate that more than 3,000 journalists from 115 countries are on hand to rover the festival. It is, they boast, ihe largest gathering of journalists for any event other than the Olympic games.

A press room is set up on the third floor of the Palais des Festivals. Its northeast corner is a warren of thousands of wooden mailboxes, one for each reporter and publicist here. A legion of workers scampers behind the boxes, filling the slots with movie and celebrity propaganda that accumulates so quickly, they must be emptied by the hour. Hans Muller, a quick and wiry young Cannes resident hired by the festival, is busy slapping leaflets for the Miss Cinema 1985 Pageant into the mailboxes when he trips on a chair leg. Several hundred of the fliers land on the already-littered floor.

"It does not cause a problem," he says of his current task, "because the 'ones' are easy. One for every person, not sorting. The private invitations that go to 30 people, they take time because you must search for the box." "Hype has always been a part of the festival," a Los Angeles publicist and veteran of many Cannes fetes said during a brief break between phone calls at his firm's suite of offices in the Hotel Majestic. "It's just too good an opportunity to pass up. Where else are so many different members of the press from so many different places gathered together in one place? The movie companies have to be here anyway with their placards and private screenings, because they're trying to attract international distributors.

So what would be more logical than taking the next step and spreading around a little hype?" This hype is aimed at two distinct groups those who buy the tickets, and those distributors and theater-chain owners who, reading reports of the festival back home, decide what's hot and what's poison. It runs the gamut from sumptuous meals to provocative displays by nude starlets along the Croisette. take your shirt off anywhere else, you draw a crowd of dozens," observed an American critic. "You take it off here, you draw a crowd of opening day, the Croisette has been lined with dozens of posters ahd billboards faces three stories high, sinewy bodies wrapped around the corners of fin-de-siecle waterfront hotels. Clint Eastwood, who has brought his new western, Pale Rider, to Cannes, sneers from more than a dozen 6-foot-high illuminated placards between the Palais and the Carlton Hotel a half-mile down the esplanade.

In the fanciest hotels (as in Los Angeles, one's address defines one's social status during the festival), in suites that serve as temporary offices, press agents have been hustling interviews for their obscure clients and screening requests for interviews with the big names. In a cluster of offices on the first floor of the Hotel Majestic, a London publicity firm called DDA is deciding who is going to get how much time to interview which clients. Among the films DDA is handling are two of the festival's most important Brazilian director Hector Ba-benco's Kiss of the Spider Woman and John Boorman's The Emerald in ip ASINO HOI tl IN Al LANTIC UIY Forest. "Time is the important thing," publicist Linda Fleming explains. "Some people are only in Cannes for a day or two, so if their films are very popular it's quite difficult to schedule everyone who wants to talk to them." The DDA operation, while bigger than most, is fairly typical.

Journalists from all over the world are asked to fill out index cards explaining for whom they write and how many people their words are likely to reach. Then they are shown the list of DDA clients who will be in Cannes representing various films for instance, Spider Woman stars William Hurt and Sonia Braga, and Emerald Forest director Boorman and star Powers Booth. The journalist must fill out a card for each interview request. "We put all the requests for each person together. Then when it's time to sort things out, we pull them out, see how much time we've got and decide when things will happen," Fleming says.

Of course things are a little easier if you're taking requests to interview Boorman, whose film will be screened in the festival's prestigious closing-night position. Or if you're Warner Joe Hyams, fielding hundreds of requests from all over the world to get a few minutes with Clint Eastwood. Not everyone is so lucky. Harlee McBride is a young American actress making her first trip to Cannes to push her debut movie, an "all-new, erotic adventure" of undetermined European origin called Young Lady Chatferley II. The publicist she hired to help her this week, Cannes veteran Dale Olson of the Beverly Hills firm of Rogers Cowan, is trying to sidestep the obvious drawbacks of the film by promoting McBride as "your typical Cannes story." "It's the classic story: The young starlet is trying to build a career, comes to Cannes to get her name before the public and struggles for recognition," he says.

"Kind of like Pia Zadora, except she's not here this year." Renee Furst's homey operation, also in the Majestic, is a sharp contrast to the style of firms like DDA and Rogers Cowan. "I've lived in this room for the last 17 film festivals," New York publicist Furst says, scanning the swarms from the terrace of her suite. "It's $iaou fcsosaus fa STEWE SHAFFER my 17-18 i- 4 VI FRI 4 SAT: 1W0 SHOWS 411 TICKETS: 12.50$15 00 1 Featuring The Atlantis 1 I i Michael Pedicin, Jr. Orchestra 1 MAY 24-26 FRANKIE VALLI ft i AND THE 1 FOUR SEASONS 1 jl JUNE3" CHARLES AZNAV0UR For ttckctt contact ATLANTIS ind Tickitrtm 1 or call TELETHON: S. Jersey (609) 344-1770 i I IP PA (215) 627-0532 NYC (212) 947-5850 I NJ (201) 343-4200 (516) 794-2560 I 'I'S i Weilcheslw (914) 681-0365 I M.

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