Cinema Canada (Oct 1976)

shadow of the hawk (1) PR a Se Le i how to make a turkey ad Jan-Michael Vincent and Marilyn Hassett as Mike and Maureen ina rare happy moment A major feature film, shot with a large budget in Vancouver, organized by one of Canada’s most successful producers using the ‘international approach’ now in vogue... and Shadow of the Hawk turns out to be a turkey. The following is the story of the shoot. Sc EAD TTS SPT SEE PSE EE AT Cinema Canada asked me some months ago to write an article on the then just-completed film Shadow of the Hawk. Like everyone else associated with that production in Vancouver, I just wanted to forget about it and go on to the next one. There was also the (faint) possibility that it would be a good film, and since it was a “Canadian” film (note the quotation marks) it seemed more positive and helpful to get behind the film and hope for its success. Well, now the film has been released and that hope has faded. Cinema Canada has come back again and asked for an article about why, based on what I know of the production, it is such a bad film. That may seem like a reasonable request. Since I was one of the few people to start with the film and stay with it to the end it may appear logical that I would have some insight to offer. Fiona Jackson was ‘casting director of Shadow of the Hawk, and has just finished working on Death Hunt, an ABC film for television. She is vice-president of the British Columbia Film Industries Association and is a member of the Directors’ Guild. 24/ cinema canada by Fiona Jackson Perhaps it is bad because it went through three directors, two art directors, two first assistant directors, three directors of photography, two production managers, two script supervisors, two construction managers, two associate producers and two stills photographers. There were even two craft service people. But let me make an obvious comment, and then beg the question. Nobody ever starts out to make a bad film and this one was more positive than some others I have worked on. The story had exciting possibilities and one hoped it would make an entertaining and even enlightening film. But let me start at the beginning. In November of 1975 director Jack Smight (Airport ’75, Midway, No Way to Treat a Lady) arrived in Vancouver to make a Columbia Pictures film to be produced by John Kemeny and International Cinemedia. The story was to be about a young man, half Indian, who has made it in the ‘white’ world and rejected his Indian heritage. His grandfather, a shaman whom the young man has not seen for several years, arrives at his door and dupes him into returning to the reserve. Along the way he has many frightening mystical experiences and evolves from callow young man to real human being. It had love interest, exciting special effects and all the color of Indian tradition and culture. Smight was a charming man, positive about working in Canada and more educated than most about the country and Canadian film. His assistant director, Robin Clarke, was equally charming and helpful and the whole thing was an exciting prospect. Locations were found, with Bob Linnell chosen as production manager, and John Wardlow, production assistant. We cast the supporting roles in December and local actors were delighted with Smight and his respect for their professionalism and experience. The shooting date was to be just after Christmas. Locals pointed out the hazardous weather conditions at that time of year but it was decided to shoot the story according to prevailing conditions. At this time Seamus Flannery was art director and his department was in full gear. Smight and Kemeny returned to Los Angeles