TASK FORCE

US, 1949, 116 minutes, Black and white, Colour sequences.
Gary Cooper, Walter Brennan, Jane Wyatt, Wayne Morris, Julie London, Bruce Bennett, Stanley Ridges, Jack Holt.
Directed by Delmer Daves.

Task Force is a late '40s tribute to the development of aircraft carriers and the kind of warfare with dive-bombers that was so significant in World War Two. Gary Cooper is a solid actor for the lead in this kind of film. He is supported by a cast of character actors from the studios of the '30s and '40s. Walter Brennan gives a, perhaps, uncharacteristic performance as the naval commander. Jane Wyatt is a strong heroine.

The material is conventional enough in terms of comparisons with other war films. However, it is an attempt to pay tribute to the developments during the '20s and '30s from battleships to small aircraft carriers to large aircraft carriers (despite senatorial opposition) which were instrumental in such battles as that of Midway, a centre of this film.

The attack on Pearl Harbor is shown. Actual footage from war correspondents is inserted - black and white photography and, finally, the film moves into colour to incorporate colour actuality.

The film is a flagwaver of the late '40s. It can be considered now as summarising the history of the past, a type of docu-drama.

Direction is by Delmer Daves - maker of humane stories and war films during the '40s (Destination Tokyo.), significant westerns during the '50s (including Broken Arrow) and soap opera romances during the '60s (A Summer Place, etc.).

1. A dramatic war film? The history of American defences in the '20s and '30s? War tribute? The perspective of the late '40s?

2. Warner Bros production values: black and white photography, the transition to colour? The use of actual war correspondents' filmstand the skill in editing them into this film? Musical score?

3. The title of the film: the reminiscences of Scott, the changes in 30 years from the end of World War One to the end of World War Two? Thb focus on the small planes, on the battleships being changed into aircraft carriers, from the opposition of senators and newspapers to the development of the carriers, to the determination of the navy and the air force? The importance of the aircraft carriers, the skill in training, their use during World War Two by both Japanese and Americans? The status of American defences by the end of World War Two?

4. Gary Cooper as Scott: the solid commander, his farewell and reminiscences, young, the group at San Diego, the primitive planes, attempting to land on ships? The accidents? Jerry Morgan's death and Scott having to tell Mary? Scott's friendship with the commander? Going to Washington to lobby politicians and newspapermen? Scott's fiasco in alienating people, including the Japanese attache? meeting Mary again, their marriage? His being exiled to Panama to a desk for years, his surviving? The return in the early '30s, the development of the aircraft carriers, retraining? His relationship with Mary, their moving to-Hawaii, to Annapolis and training? The build~up to Pearl Harbor? The aircraft carrier and his command? The retaliationi the Battle of Midway and his anxiety? The death of his friends? The experience of the war, the bombings, not wanting to abandon ship? In New York when the war ended? His tribute to the men? A strong American character?

5. Walter Brennan as the commander, his knowledge of planes and ships, wanting Scott to lobby, his anger with him, his recalling him in the '30s, their collaboration during-the war? The range of men as pilots, as soldiers,

6. The sketch of Mary, her sadness at her husband's death? Later years, the meeting with Scott, marriage, support, her voice-over comment about the happy years, not wanting him to leave the navy, his work and his friends? In Pearl Harbor, surviving the attack, nursing?

7. The portrait of American senators, their attitudes towards appropriations for defence? Public opinion and the newspaper editors? The build-up of the Japanese - and the attache at the party?

8. The build-up to Pearl Harbor: what people were doing on 7 December, Mass, tennis-playing, work? The attack and its devastation? The staging of the Battle of Midway - and the incorporation of the war action sequences?

9. A film of the '40s, of dramatic interest, of historic interest? A piece of Americana?

THE TEMPEST

UK, 1979, 87 minutes, Colour.
Heathcote Williams, Karl Johnson, Toyah Willcox, Peter Bull, Richard Warwick, Elisabeth Welch, Jack Burkett, David Meyer.
Directed by Derek Jarman.

The Tempest is one of the earliest of Derek Jarman's films. Interested in experimentation and art, he made a number of experimental films including The Angelic Conversation and The Last of England. He also made a number of feature films including the Latin-spoken Sebastiane, Edward II, Wittgenstein and The Garden. He also made the film Blue with a blue screen and voice-over. His own social preoccupations are always to the fore, anti the Establishment. As a gay director, all his films have overtly homosexual characters and sequences as well as subtext. This is true of The Tempest.

Jarman was a set designer and so the production design of his film is quite elaborate. The storm at sea, the contemporary palace for Prospero, the décor of the rooms. He is also strong on the musical score. He pares Shakespeare's text to almost its minimum, keeping some of the major speeches but having a great deal of silence. He also uses techniques of voice-over and whispering for the delivery of the speeches.

Heathcote Williams is an unkempt but rather severe Prospero. Toyah Willcox as Miranda looks far more contemporary than from several centuries earlier.

Karl Johnson is a middle-aged and enigmatic Ariel.

The film focuses on Prospero and the loss of his kingdom, his interest in science, his care for his daughter, creating the storm which would land Ferdinand on his shores so that he could marry Miranda. Miranda is older than one might have expected, lacks experience, although she seems to be infected with some of the modern attitudes of the 1970s. Caliban is leeringly monstrous. The film also shows the subplot of the power struggle in Milan as the duke and the other members of the entourage are stranded on the shores of the island. There is superfluous use of some comic scenes between drunken sailors, courtiers and Caliban.

The film is, in a way, a 1970s pageant version of Shakespeare's play. While the text of the play is minimal, the film does capture something of the spirit of Shakespeare's characters and the plot. It also gives an opportunity for Jarman to offer his gay subtext, especially in the use of nudity of several characters. At the end, a group of contemporary-looking sailors prance about and join Elisabeth Welch in a rather moving rendition of "Stormy Weather".

1. The impact of the film as a version of Shakespeare? Audience response to Shakespeare's later plays and their tone? Expectations of The Tempest, of Shakespeare's work, of the final plays of Shakespeare's career?

2. The history of Shakespeare on film? The interpretation and impression of Shakespeare? The transition from stage to screen? The use of the text, the reliance on the words of the poetry, the pruning of the text? The transition from words to visuals? The adequacy of the visuals for Shakespeare's poetry? The director's impression and interpretation - the validity of an interpretation?

3. The work of Derek Jarman and his style and point of view? The decor, the colour, light and shadow, satirical and camp aspects, overtones of punk, homosexual tone? Jarman's subjective interpretation of Shakespeare and its validity? A view point and interpretation of the play? The qualities of Jarman's cinematic style?

4. The title of the play and its use as a symbol? The storm at the beginning, political tempests, personal? Tempests in nature, the tempest as an instrument of Prospero: fear, death, rescue, resurrection, new hope and new beginnings?

5. Shakespeare's emphasis on dreams: the emphasis on sleep at the opening, Miranda's sleep, Ferdinand-'s sleep? Sleep and dreams? Memories and dreams? The trance into which Prospero put his enemies? The comments by Ariel and Prospero at the end? The whole story as if a dream? The reality and unreality of dream? Dream and fantasy?

6. The importance of colour throughout the film: the blue filter for the storm and the sea sequences giving them an air of reality and unreality at the same time? The dark and shadows of Prospero's castle? The transition to the light during the revels, the bright colours, the emphasis on gold? Light and shadow? From darkness to light?

7. The contribution of the musical score: the original music and its atmosphere, the use of classical music, the hornpipe for the sailors at the end, Elizabeth Welch and her singing of Stormy Weather - a contemporary tempest?

8. The impact of the storm and the shipwreck and the way that this was suggested, Ferdinand and his being set ashore by himself, naked through the waves and across the beach, to the castle? His being put to sleep? The role of Ariel in helping all those wrecked, drawing the villains to the castle and saving the king of Naples from death? Callaban and his getting the crew and taking control of those? Ferdinand and his arrival and llirandals fascination, joy at seeing another human being? From potential tragedy to joy?

9. The villains of the tempest: the explanation given by Prospero when they were in a trance? The King and his journey, his grief at Ferdinand's disappearance, his treatment of Prospero? The Cardinal and the role of the Church, his double dealing, counselling Prospero's brother to kill him? The Counsellor and his guiding the group? The brother and his ambitions? Their being lost, the King's grief, the assassination attempt and the backtracking, Ariel leading them to the castle, the trance, the truth about them? Their coming to life again and being forgiven? The king's joy? personal evil, political evil, social evil?

10. The role of the sprite on this kind of island? The background of the fairy? Tasks and their achievement? Service of Prospero? Ariel's memories and freedom? The ending and the rueful poem?

11. The contrast with Callaban as monster? Human shape yet grotesque? The grotesque mother? Evil and ugliness? Service? Revolt? The mannerisms of the acting of Callaban? His hopes for the revolt, his defeat? A servile evil character?

12. The transition from darkness to the colour and light of the wedding and the revels? The colour, decor, joy? The overtones of the wedding?

13. The significance of the sailors' arrival, their hornpipe, the camp style in which it was danced?

14. The taste and decision to introduce the singing of Stormy Weather? Elizabeth Welch, her presence, style and singing? As part of the revelry (the equivalent of Shakespearian song?), the time given to the song, the way that it was filmed? 18. The atmosphere trailing away for the ending: Ariel and Prospero, and their revelries, melancholy, the revels being over and all being dream?

15. How successful was Derek Jarman in adapting Shakespeare's text, visualising it in not much more than an hour and a half? His going to the core of the play, the core of Shakespeare's world, the social world, the personal world? Politics? The world of satire, superstition, spiritual? The interior world? The validity of the interpretation?

TEN SECONDS TO HELL

US, 1959, 93 minutes, Black and white.
Jack Palance, Jeff Chandler, Martine Carol, Wesley Addy.
Directed by Robert Aldrich.

Ten Seconds to Hell is an action film directed by Robert Aldrich, who co-wrote the script. It focuses on a group of German soldiers, their not being latfavour with the Nazi regime and their being chosen by the Allies to defuse bombs in cities like Berlin after the war. Jack Palance plays a sympathetic role as the self-sacrificing leader. Jeff Chandler is the more pragmatic member of the group. Richard Wattis appears as a British officer. The film is minor Aldrich, not a particularly compelling story -yet a character study of soldiers in a difficult situation, wanting to survive, yet in danger of their lives. There is a romantic sub-theme with Martine Carol.

1. Character drama? Action drama? A '50s look back at World War Two?

2. Black and white photography, European location settings? Special effects, action sequences? Musical score?

3. The title and the focus on the defusing bombs, the squad, judgment and skills, the possibility of death?

4. The post-war situation, the voice-over commentary. German soldiers. their status during the war, their being chosen for the defusing squad? Their arrival in Berlin? Being briefed? Their pact about the money? The possibilities of death? Personal interaction? Leadership? The gradual lessening of the group? The final confrontation? The drama in this situation?

5. Eric and his leadership, background, architect? Work in the war? Jack Palance's personality and style? His not pushing himself. his being elected leader? The pact? His relationship with each man. the clash with Carl? The attraction towards Margo? The love. Carl's intervention and drinking? Tragedies? Hard work? Tension? The British and the officials? The final defusing? Carl's death? His future?

6. The contrast with Carl and Jeff Chandler's style? His presence in the group. war background, pragmatic approach, the money. jobs, drinking, Margo? The differences between him and Eric? His death?

7. Margo and her presence in Berlin, married to a German, widow, trapped, her life, relationship with Eric and Carl? Love for Eric?

8. The various members of the group, their background, involvement in the work, the money, their deaths and suffering?

9. The British officer, the commands, liaison?

10. The film located in the atmosphere of World War Two? Portrait of human nature in dangerous circumstances?

THIS IS THE ARMY

US, 1943, 121 minutes, Colour.
George Murphy, Joan Leslie, Irving Berlin, George Tobias, Alan Hale, Rosemary de Camp, Dolores Costello, Kate Smith, Frances Langford, Ronald Reagan, Joe Louis.
Directed by Michael Curtiz.

This Is The Army is one of the many musical flagwavers of the mid-40s, produced by the major studios to be morale-boosters for the American public as well as for the armed services personnel. Warner Bros. made Stage Door Canteen, Thank Your Lucky Stars. M.G.M. made Thousands Cheer. Paramount made Duffy's Tavern and Star Spangled Rhythin.

The film is based on two musical shows by Irving Berlin. One was Yip Yip Yaphank from the first world war and This is the Army from World War 2. Berlin's songs and the staging of these and the choreography are the main staple of the film. It includes such favourites as 'How I Hate to Get Up in the Morning' (reprised at the end of the film by Berlin himself), 'This is the Army' and has Kate Smith singing 'God Bless America,' a song which Berlin gave to Kate Smith in the '30s.

Direction is by Michael Curtiz, better known as a director of action adventures like The Adventures of Robin Hood and as the Oscar-winning director of Casablanca. However, he was to make many musicals in the late '40s and '50s, especially with Doris Day.

The cast is led by George Murphy, who appears in the World War I show with his customary genial tapdancing. The focus of the World War 2 section is Lieutenant Ronald Reagan (even with a scene which has them going to Washington and a character remarking to Reagan how wonderful it would be if the President, the Chief were to come!) Roosevelt appears at a staging of This Is The Army.

The rest of the cast are veterans from Warner Bros at this period, including Alan Hale, George Tobias.

The slender plot has World War I recruitment and a song and dance manplayed by George Murphy, being called up. There is enthusiasm for the war effort and going 'over there'. There is the usual boot camp toughness led by Alan Hale, the putting on-of the show for morale purposes, the armistice and the grief for so many dead.

There is a parallel then with the next generation in World War II, focusing on whether Ronald Reagan and Joan Leslie should get married or not before he goes to war. She eventually Joins UD as a Red Cross aide and they marry. There is a new putting on a show and the lavish spectacle (even with a row of ladies of the chorus with the army impersonating them, -'including Alan Hale).

There are lofty sentiments about the war, giving life for country, the sadness of the older women and the younger boys as they look at the veterans going to war. The film is very dated now - but gives a very good impression of the spirit in America during World War II. It is also a valuable tribute to Irving Berlin and his music.

THREE LITTLE WORDS

US, 1950, 102 minutes, Colour.
Fred Astaire, Red Skelton, Vera- Ellen, Arlene Dahl, Keenan Wynn, Gale Robbins, Gloria de Haven, Phil Regan, Debbie Reynolds.
Directed by Richard Thorpe.

Three Little Words is a pleasant M.G.M. musical of the '40s-'50s vintage. The production values are excellent and the screenplay strong, the performances sound, and good presentation of the songs and dances. The film is a biography of Bert Kalmar and Harry Ruby, composers of such songs as Nevertheless, I Wanna Be Loved By You. The film has a very good performance by Fred Astaire, at the age of 50. He sings and dances as well as he did in his earlier years. Red Skelton portrays Harry Ruby and subdues his sometimes exaggerated comic effects to give quite a pleasing and at times moving performance. Vera-Ellen?, one of the best screen dancers at the time, is very good as the leading lady. She had just appeared with Gene Kelly in On The Town and was to team with Fred Astaire again in The Belle Of New York. The film can be compared with the kind of musical and biography that 20th. Century Fox made in the '40s. This film appears to be superior to those. Direction is by Richard Thorpe, a competent M.G.M. director, the maker of many adventure films with Robert Taylor.

1. The popularity of the M.G.M. musicals? Production values, colour photography, the stars, the presentation of songs, the choreography? The blend of humour and sentiment?

2. The tradition of the film biography? The tribute, the blend of fact and fiction, the romantic treatment, the presentation of songs and their composition? How well did this film fit into the tradition? The men offered the tribute, the quality of their music, its place in America and the world's popular music tradition?

3. The quality of the songs - their popularity over the decades, the visual presentation of them, the dancing, the medley at the end?

4. The film as a Fred Astaire vehicle - his popularity, personality, the quality of his dancing and its variety? Vera-Ellen? as a partner? The routines such as the opening with Where Did You Get That Girl, the ballet about home life performed for President Wilson, Bert Kalmar dancing on the empty stage? Jessle and her French-style song and dance routine?

5. Red Skelton and his comedy style, the pathos and the human touch in his performance?

6. The tradition of Tin Pan Alley, the popular song in America in the early part of the 20th. century, styles of composition, the pianists as accompanists, the dream of Broadway and the musical show, the theatre and its influence, sheet music production and sales - as illustrated here, records, films? The facts and their being remembered with nostalgia?

7. Bert Kalmar and his dancing, partnership with Jessie, his unwillingness to marry, his being full of energy? The humour of his enjoyment of magic - attempting tricks, pretending to be The Great Kendall and the clash with Harry Ruby? The irony of his injury, his being out of dancing for so long, his attempts to dance again - the sequence on the empty stage? His unwillingness to marry? His capacity for writing lyrics, the collaboration with Harry Ruby, its development, their success? Selling the sheet music in the shop etc.? The rediscovery of Jessie, the wedding, the honeymoon, the decision to be in partnership with Harry? The writing of the play and Charlie and Harry undermining it? The comparison with Jessie and Bert getting Harry to go to Florida with the baseballers to avoid the women? The success over the years, the visit to England, the ship composition? The success story?

8. Harry as a personality, love of baseball in comparison with Bert's love of magic, playing music, his trying to avoid Bert and the encounter with their first song, the discovery of the truth, the various compositions, the partnership? Harry and his infatuation with Terry, her getting the part in the play, her fickleness-and marriage? His enjoyment of the baseball - and the comedy Red Skelton-type routines? The shipboard romance and his romantic song? Remeeting Eileen and her being a film star after missing out on the stage play? His infatuation with her, the marriage?

9. The build-up to the anniversary, the harmony, the breakout of the clash? The childish behaviour, the hurt of the separation, the manoeuvering of the wives for the meting? The encounter, tension, the perennial melody of Three Little Words and its being the means of reconciliation? The happy ending?

1O. The sketch of Terry and her singing, behaviour in the restaurant, in the part., her marriage? The contrast with Eileen as ambitious understudy, star, wife?

11. Charlie as the American-type agent, making mischief unwittingly - about where Jessie was, the story of the play?

12. The world of the American theatre, its atmosphere, hopes, ambitions, success and failure?

13.The musical style of the '40s and '50s and its appeal?

THREE MEN AND A BABY

US, 1987, 103 minutes, Colour.
Tom Selleck, Steve Guttenberg, Ted Danson, Nancy Travis, Margaret Colin, Philip Bosco, Derek de Lint.
Directed by Leonard Nimoy.

Three Men and a Baby is a remake of a very successful French film, Three Men and a Cradle, written and directed by Coline Serreau. She acted as a production adviser for this American version.

The plot is simple, three swinging bachelors find a baby at the doorstep, have to care for her and fall in love with her. The three men are popular film and television personalities of the mid-'80s: Tom Selleck from Magnum P.I. (though less successful in films like High Road to China, Lasseter, Runaway), Steve Gutenberg, a serious actor but probably best known at the box office for the Police Academy series, and Ted Danson from Cheers (as well as films like A Fine Mess and the telemovie Something About Amelia). The three work together quite well. Generally there is a sense of comic timing - but there are some flat spots. Direction is by Leonard Nimoy, best known as Mr Spock in the Star Trek series (the later films of which he also directed).

The film is slight and unsubtle, has some humour and warmth - but appealed mightily to the audiences on 1987-88 to make it an extraordinary box-office success.

1. An entertaining comedy? The human touch? Audiences identifying with the three men and their situation? The love of the baby? The explanation for box-office success?

2. The contemporary city, apartments (and Michael's decoration and muraW Building sites - and Peter's work? The drug-smuggling and dealing background? The contemporary American city? Opening song - Naughty Boys'? Musical score and songs?

3. The title summing everything up - and giving the focus?

4. The establishment of the lifestyle of the three men? Peter and his girlfriend, birthday party, his work as an architect, his skills? Michael and his artwork, his drawing the cartoons and his skill, girlfriends - and yet ending up counselling them? Jack and his swinging style, his leering attitudes towards women? Their sharing the apartment? Helping one another? Jack and his TV commercials? Going on location in Turkey for the film? The setting up of the mysterious packet at the door?

5. The arrival of the baby? Peter's reaction? Michael's? The note and the explanation? Audiences wondering what was to happen?

6. The humour and pathos of the two men trying to look after the baby? The rushing down to the shops (and the advice of the woman to Peter in the shop?), Michael looking after Mary? Humour - feeding, natural functions etc.? The three men trying to tie nappies and change the baby etc? Trying to enlist support? Peter's girlfriend and her refusal? The Austrian visitor and his comment about babies, the growing affection for the baby? Their staying up, playing with her, buying toys etc?

7. The complications with the drug package and Michel's not noticing it? The courier's arriving and the misunderstanding about the baby? The police following? Peter getting the baby back? The Inspector and his attraction towards the baby? Hiding the drugs in the nappy? The complications with the drug dealers, the threats and the disarray in the apartment? The police following? The phone call to Jack -and its ambiguities?

8. Jack's arrival back, their confronting him with the situation, leaving him with the baby? Their own outings - to the theatre, the phone calls, Jack in the shower with the baby and not hearing, their rushing home? The blend of pathos and humour? The girlfriends and their amazement?

9. The decision to set up the drug dealers? The appointment, the car and the taxi, Michael videoing the exchange? The dealers giving themselves away? The arrival of the police? The happy ending of this affair?

10. Sylvia's arrival, her wanting the baby back, going to the airport, their realisation of the truth, hurrying to the airport - and the humour of the taxi ride? Missing the plane? Returning - finding Sylvia, Mary and their decision about the future? Audiences enjoying comedy - and especially the feelings towards babies?

THREE O'CLOCK HIGH

US, 1987, 97 minutes, Colour.
Casey Siemaszko, Anne Ryan, Richard Tyson, Jeffrey Tambor, Philip Baker Hall.
Directed by Phil Jouanou.

Three O'Clock High, with its echoes of Twelve O'Clock High and High Noon, is a quite enjoyable small school film. Basically it is one day in the life of the hero, Jerry, played genially by Casey Siemaszko (Young Guns). He has a busy day, full of troubles, and clashes with the new boy, a school bully, Buddy, played by Richard Tyson (Two Moon Junction).

Filmed in Utah, the film shows 'a typical' high school and the life of the students. However, with the focus on Jerry and the passing of the hours before his fight in the parking lot with the school bully, gives a sense of comic tension. Needless to say, the bully is defeated and Jerry becomes a hero. There is a tongue-iin-cheek postscript during the final credits showing exaggerated reports and making Jerry into an impossible hero. This is the tone of the film - serious and comic, ironic. Tt was directed by Phil Jouanou, director of the documentary about U-2, Rattle and Hum.

1. Enjoyable school movie? The focus on the hero and his confrontation with the bully? Serious and comic?

2. The Utah locations, the atmosphere of the town, homes, the detail of life in the school? The stunt work for the final fight? Musical score? Songs?

3. The title and the overtones of old movies, the build-up of tension, the High Noon confrontation?

4. The portrait of Jerry: waking up in the morning, his sister, being late, one of those days? The car, hurrying to school? His job in the store, With the students, money difficulties? The passing of time? His going to the meeting about the paper, his Job to interview Buddy? Seeking out Buddy, frightened, interviewing him, touching him? Buddy's reaction and the challenge to fight? His stature, lack of strength? The difficulties throughout the day, classes, the breaks? Seeinc, Buddy? The cheating in the test, going to the principal, Jerry saying that he cheated, the principal giving Buddy the test and his passing? Jerry offering Buddy the money not to fight and his accepting? His girlfriend and her support, his sister, the attractive girl? HIs friends? The passing of time, his deciding to fight? Three o'clock? The fight in the yard - and the dramatic way in which it was filmed, the use of lenses and focus, making Buddy seem enormous? Jerry's perspective? The fight, the knuckleduster, his sister helping, the boy attacking, the punching of the principal, his getting the knuckleduster and winning? The police and their interrogations, suspicions? The students and their buying sheets of paper and building up the money again? Support? The end of the day? Jerry as hero?

5. Buddy as big, his appearance, dress, lack of speaking? Drugs and his reputation? Money? Not wanting to be touched, the challenge to Jerry? His presence throughout the day, the cheating in the test, the principal's office, his getting the maths correct? Taking Jerry's money? The knuckleduster, his brutality? His hitting the principal? The fight and his defeat? Giving back the money?

6. The range of students, Jerry's sister and her support. especially with the knuckleduster? The journalist student and his attack on Buddy? Tile attractive girl? The class? The whole school waiting till 3 o'clock, rushing out at the bell, all out the w-1ndows, cheering during the fight? Their chatter afterwards? the principal and the various teachers? Their suspicions, the money? his having the two in his room, the maths test? His saving Jerry from the police? At the fight and his being punched? Supporting Jerry?

7. Comic touch, the building up of tension, Jerry's character? Audiences identifying with Jerry in his being bullied and vindicating himself? The macho response, the human response? And the irony of all the rumours afterwards?

A TIME OF DESTINY

US, 1988, 118 minutes, Colour.
William Hurt, Timothy Hutton, Stockard Channing, Melissa Leo, Francisco Rabal, Megan Followes.
Directed by Gregory Nava.

A Time of Destiny seems a grandiose name for this film. It focuses on soldiers in Italy at the end of World War Two and then goes back to their background in San Diego, California. It portrays a Spanish family, a strong-minded father (Francisco Rabal), a weak and disinherited son (William Hurt) and strong daughter. The daughter decides to elope with a soldier, sympathetically played by Timothy Hutton. Megan Followes (Anne of Green Gables) and Stockard Channing appear as two sisters. The plot is complex as the disinherited son is angry at the death of his father, blaming the Timothy Hutton character. He enlists in the army and gets permission to go to the same unit, intending to kill him. By irony and destiny, they save each other's lives and become friends. However, the vendetta rekindles at the end of the war and leads to a melodramatic (Vertigo-like) climax. The film was written and directed by Gregory Nava and has a score by Ennio Morricone.

With the strength of the cast, it was perhaps intended that this be an epic entertainment. However, the performances are good, but the material seems to be of the miniseries type blended with the soap opera, enjoyable-to watch while on screen nonetheless.

1. War saga, family saga? The title and its tone?

2. California in the '40s, the home, the ranch, the roads, the church, hotels? The contrast with Italy and the war action sequences? Ennio Morricone's score?

3. The mood and the war, explosions, dangers, buddies, Martin and Jack together, Jack's memories of his wife, the flashback to his wife reading his letters, expectations?

4. 1943: the family saga, the patriarch of the family and his influence, dominance? The Spanish background, his building up the ranch, his home, the hold over his wife and daughters? His obsession with his dead son George and seeing him as hero? His disinheriting Martin, Martin's absence? Margaret and her husband and the visit? His love for Irene and Josie? Josie's being the favourite of her father, the irony of the plan for eloping, her having to get her father his drink, dressing, being seen by Margaret, leaving? The setting for the destiny?

5. Jack and Josie eloping, Jack waiting, the policeman talking with him, the rain, Josie and the delay, their leaving, the wedding, happiness, going to the hotel? Margaret and Irene and their talking, the husband, the father? His anger, going to the hotel? Confronting Josie with her options, taking her away? Jack driving after them, the accident, Jack trying to save them both? Destiny?

6. The father's death and Its repercussions? The family's grief, Martin's arrival, his seeing Jack, the glint and the hatred, the plan and the vendetta? The consequences with his army career, his going to volunteer, his getting his wish?

7. Josie and the farewell, the family and their blaming her, coming to terms With the death? The reading of the will and Margaret's disappointment? Josie's decision to give the ranch to Martin? Wise and unwise? Waiting for the two years, the letters to Jack reading them, the plans for after the war?

8. The portrait of Jack: decent, love for Josie, going to the war, service, mission, the shooting, being saved by Martin, saving him? The hospital, the decoration? The irony of thelr becoming buddies, lucky for each other? The bond between the two? growing through the war, their friendship? The ending of the war and the excitement? Martin's turning, the irony of Jack discovering the truth, their struggle? Jack's determining to return? Martin and his madness, his father and his dreams, guilt, his grief at his father's death, the desire for vendetta? His relationship with his sisters? Volunteering? In Italy with Jack, the attempt to shoot Jack, killing the German? The hospital, their decoration? Sharing with Jack, a mad friendship? The end of the war, seeing Jack as George and all his jealousies surfacing? His going home, the confrontation of the family, the ranch? The hatred?

10. The scenes of war, the soldiers, the celebration at the end of the war?

11. Martin's return, determination, the family party, his spying, Josie talking about the will, his going to the ranch, seeing it and deciding to sell it? His cruelty, talking with his mother and her rejection of him? Knowing about Jack's return, the decision to go to the hotel, following them, caught by the traffic, delayed?

12. Josie and Jack, the emotion at the railway station, the return, their seeing each other? Going to the church, going to the hotel? Re-dedication, the ring?

13. The confrontation, the church, the fight, the protracted struggle, the steeple, Martin's hatred, final plea to Jack, Jack's holding out his hand, Martin's death?

14. The reconciliation, Jack and Josie, their mother?

15. Themes of dynasty, pressure and expectations, influence? Decisions and consequences? Control and destinies?

TO KILL A MOCKINGBIRD

US, 1962, 129 minutes, Black and white.
Gregory Peck, Mary Badham, Philip Alford, Robert Duvall, Brock Peters, John Megna, Frank Overton, Rosemary Murphy, Ruth White, Collin Wilcox, Alice Ghostly, William Windom, Paul Fix.
Directed by Robert Mulligan.

A very fine version of Harper Lee's novel which was very popular and Pullitzer Prize-winning in the early 1960s. It has become a standard text for school study. It is a humane story, focusing on children and their relationship to their lawyer father. The setting is important, the South in the thirties and the atmosphere of racism. The film blends the humane stories and their elements very well with the message themes. This was the film for which Gregory Peck won his Oscar. He gives a very subdued and intelligent and warm performance. He worked with director Robert Mulligan later in the effective humane Western The Stalking Moon.

The children are very good indeed and there are also fine performances from Brock Peters as the accused and from Robert Duval in one of his earliest films as Boo Radley. The black and white photography is suitable for the atmosphere of this kind of film with its themes. An intelligent film well worth discussing.

1. The impact of this film? How impressive and enjoyable? A film of children? A message film?

2. The quality of the black and white photography. Alabama in the South, the town, the houses and farms, the court and the people, the atmosphere of the Depression? The musical commentary?

3. The title and its significance? The reference? The importance of Boo Radley in character and in theme?

4. The atmosphere of the time, the memories? The device of having Scout's memories, the nostalgia? Charming the audience by inviting them into a picture of the children's past?

5. The film's focus on the children? Their presentation as children their naturalness, their life in the house, their relationship to Atticus, playing with him and respecting him, their friends, especially Dill, Harris? Boo and their fear of him? Their make-believe? The way that Atticus was bringing them up? Calpurnia and her effect on them? Going to school, fights, reading stories? Seeing the events of the plot through their eyes? How much insight into the world of children?

6. The contribution of the neighbours to the atmosphere and themes: Miss Atkinson, Mrs Dubose and her garden, the Radleys?

7. How admirable a man was Atticus? His place in the town, his role as a father and widower, his love for his children and their love for him, the detailed presentation of this? His role as a lawyer, the people paying him in kind, his use of leisure, stories? The reasons for his accepting the case? His honourable investigation into the case and conduct of it? His concern for the Robinsons? For the Ewells?

8. How interesting was the case itself? Lies and truth? Hostility and racism? Atticus guarding the courthouse? Atticus at the trial, and the hate and hostility? The scene of the black people's respect for Atticus? A man of respect and self-respect? An American hero-figure?

9. The importance of Scout's speech to the lynching party?

10. Bob Ewell as a villain? His behaviour in the court, his threatening Mayella and her performance in the court, hysteria and hatred? Ewell's threats, the truth about left-handedness, the outbursts and his vengeance?

10. Audience response to Tom? As a man in himself, a man with a wife, his losing the trial, the hopelessness, the sadness of his death? Tom as a symbol of oppression in the South?

11. The characters of the sheriff, the judge, and the hostility of attorney Gilman? Their relationships with Atticus and the contrast with him and attitudes?

12. The final atmosphere of fear? The children getting home, dressed as a ham, the shooting, Boo and his gifts? Ewell's threats? His following the children? The surprise of Boo's protecting them?

13. The final representation of Boo and his protection of the children and kindness? Was it right that there should be no trial?

14. How satisfying was the film as a humane document? As a presentation and exploration of important values?

TOUGH GUYS DON'T DANCE

US, 1987, 110 minutes, Colour.
Ryan O' Neal, Isabella Rossellini, Wings Hauser, Lawrence Tierney, Debra Sundland, Penn Jillette, Frances Fisher, Clarence Williams III.
Directed by Norman Mailer.

Tough Guys Don't Dance is a really oddball thriller, written and directed by Norman Mailer from one of his novels. It has much of Mailer's philosophy as well as re-creating his world, a macho world of tough guys and gangsters, of drug dealers and drug-takers, of passion and violence.

The film does not quite come together - but is one of those films which is considered so bad In its style that it becomes something of a cult piece of Americana. Ryan O' Neal does his best in the role of the central character. Isabella Rossellini is also serious In her role. However, Wings Hauser goes over the top as the manic policeman. Lawrence Tierney appears as the hero's father.

The film has New England settings, looks quite glossy - but had flashbacks within flashbacks which make it rather complicated, has a range of characters who are strong on rhetoric rather than on characterisation. An oddity.

1. The impact of this thriller? The work of Norman Mailer? His reputation in the United States? Writer, director, macho image?

2. The film as a piece of Americana, the east coast, the seaside town, homes, parties? The musical score and the romantic theme? Songs?

3. The title and its references? Tim's father and the initial explanation?

4. The introduction to Tim and his father? Tim telling the story, the flashbacks? His head, the parties, the seance, the hallucinations, the bodies in the cellar, the passing of the five days, the memories of Madeleine, the Screw magazine advertisement, the wife-swappIng, the plan of Patti Laraine, the accident and Madeleine not able to bear children? Patti Laraine and having Tim as the chauffeur, marrying him?

5. The flashbacks within the flashbacks: the parties, cocaine, sex, Regency coming as policeman, his staying on? The seance and the fears about murder? The women, the scream, Patti Laraine and her glamour, the new chauffeur, her declslon to leave and Tim counting the days?

6. The passing of the five days: the number in the mirror, going to the hotel, the encounter with Jessica and Lonnie, the discussion, the jokes, sex, drugs? His waking up with the tattoo, the blood on his clothes? The discussions with Regency? The head in the bag? The car in the parking lot? The seance friends, the explanation of the tattoo? The growing mystery?

7. Jessica and Lonnie, her X-rated movies, real estate and wealth, sex, her laughter, the disappearance? The link with the seance? Lonnie and his possessiveness, drugs, relationship with Wardley? Homosexuality?

8. Regency and his coming to the party, talking with Tim, the interviews, the blood, the talk about the drug stash in the forest, Tim going to get it? The letter of Lonnie? The irony of his being married to Madeleine, his lies about the family? His madness? The investigation, the irony of his doing the killings, trying to frame Tim? the maniac and the policeman? The final violence?

9. Madeleine and the flashbacks, nice, her relationship with Tim, living with him, the poem, the advertisement in Screw magazine, the Christian couple, going to Carolina, the wife-swapping, tier disgust, the church service? The drive back, the car accident, tier not having children? her anger with Tim? The irony of her marrying Regency? Their life together? Coming back to Tim, helping him with the investigation, the final killings? Her hatred of Regency? Buying the new house - a future?

10. The Christian couple, their advertisement, sex, Stu and his apocalyptic preaching? Patti Laraine, her playing the organ? Getting rid of her husband, Tim as the chauffeur? Divorce proceedings? The irony of their marriage, the parties, her glamour? Her marrying Wardley and the separatthe money deal? Her death?

11. Wardley and his friendship with Tim in the past, homosexuality, the marriage to Patti Laraine, the divorce proceedings? His devotion to Patti Laraine? The drug deal and the connection with Lonnie? The importance of his final confrontation with Tim, expression of love, with the gun? Tim responding to him, his shooting himself?

12. The rhetoric of the characters, wordiness of the screenplay? Persuasive -for instance Tim's 'Oh God, Oh Man, Oh God ...?

13. The seamy world of drugs, police corruption, sexual passion, violence, drinking, madness? The irony of the echo of Jessica's laugh at the end? To what purpose?