By I CLAIRE BERWICK
claire@du2.byu.edu
The path from Don Marshall's office door to his desk is a maze of book stacks and film reels. His shelves and file cabinets are overflowing, and the walls are covered with Rembrandt, Vermeer and other miscellaneous items collected in his travels. The humanities professor in him loves art. And as the director of International Cinema, he makes that art accessible to the BYU community.
International Cinema began in the early 1950s as a way for language students to enhance their listening skills. The budget of the combined French, German and Spanish department allowed for one or two foreign film viewings per semester.
In 1968, the departments split and the films were left without a permanent theater. Joseph Baker, a German professor at the time, became the first director of what was called the International Film Festival. He saw it move from the JSB Auditorium to 184 JKB (now 2084 JKHB). He also instituted a weekly lecture series in which professors gave insights into a film of the week.
When Marshall took charge in 1975 he sought films that would go beyond the minimum standard of simply being foreign. The following spring, he traveled to New York and stayed for nearly a month, viewing approximately 170 films and meeting with more than fifteen film distributors. His goal was to show films that change the viewer's life and offer a new perspective.
'I get letters of appreciation that will say that their favorite thing (about BYU) was International Cinema. They say that International Cinema was part of their education.'
It is no wonder, considering the selectivity Marshall exercises in choosing films. After meeting with professors who give him an idea of what they would like to see, he flies to film festivals in New York, France or Italy to consider additions for the next semester's agenda.
Although he is not offended by themes of murder, incest or infidelity in the films on account of the fact that they are often portrayed as a negative example rather than exciting and accepted, Marshall is relieved at the university's recent decision to ban editing of films shown on campus.
'By the time I heard, the posters and cards were already being printed,' he said. 'I had to cancel my trip to Scotland and I didn't sleep from Sunday night to Thursday morning, (but) it worked out. . . It'll be a lot easier on the crew because editing could take up to fifteen hours (per film), and you can never please everybody. Pleasing some people offends others.'
The length of time it took to edit was due more to their format than their content, however. International Cinema has never edited as much as the Varsity Theater. 'It's academic,' he said. 'It's another category.' He then added that International Cinema wil not necessarily show all old movies.
Among his favorites for the upcoming season are: Tema, a Russian film he describes as 'contemporary, sophisticated, intelligent and wise,' Spring Symphony, which he deems 'very charming,' and La Strada, 'a classic that every one ought to see.'
In addition, he said Architecture of Doom is 'a fascinating documentation,' and Rikyu is 'gorgeously filmed.'
His tip for viewers who have been turned away from Friday and Saturday night showings is to go early.
'On Tuesday there are 450 seats empty between two showings. By the end of the week, we're turning away that many people.' He said. 'If people could just get used to going early. . . It would be so great.' Marshall said the best times to see an International Cinema film are 3 and 5 p.m. on Tuesday, Wednesday and Thursday.
Contrary to statistics indicating otherwise, Marshall says that International Cinema is not growing in popularity although he does admit that 'certain people are becoming more aware of it.'
Whether or not appreciation for International Cinema is growing, Marshall's passion pays off.
'It's a lot of work, but I am proud of it when it succeeds,' Marshall said. International Cinema today is at least 'something more than a simple exercise in language comprehension,' and at most an integral part of an art-lover's life.