TOY TIGER

US, 1956, 88 minutes, Colour.
Jeff Chandler, Laraine Day, Tim Hovey, Cecil Kellaway, Richard Haydn, David Janssen.
Directed by Jerry Hopper.

Toy Tiger is a remake in Cinemascope and colour by Universal Studios of its Deanna Durbin hit Mad About Music. Deanna Durbin in that film pretended to have a famous adventurer father and chose visiting Herbert Marshall to pretend.

This time round, the film is a vehicle for Tim Hovey (Private War of Major Benson) with Jeff Chandler as the chosen father and Laraine Day as his mother. David Janssen appears in an early role as Chandler's assistant. There is an enjoyable duo performance by Richard Haydn and Cecil Kellaway as brothers running a special school. Incidentally, the alleged father's adventures take him to Australia and the librarian produces books describing Australia and its kangaroos and kookaburras. Direction is by Jerry Hopper, director of many comedies and action features at Universal during the 1950s.

1. Enjoyable family drama? Marriage, children, school? Child needing a father?

2. Cinemascope, colour, the gloss of the city, the school and the adventure outdoors? Musical score?

3. The title, its focus, Timmy and hisisense of adventure?

4. The focus on Timmy, his dead father, his busy mother, in school, his boasting, make-believe about his father, the adventures, getting tusks etc. from his mother, the letters? The boys and their taunting? His aoing to the library, buying the stamps? Getting information from the librarian? His needing a father, choosing Rick at the station, following him, inviting him, the lunch, Rick's playing along, the bond between the two? Rick's return, Timmy's telling him about being adult and free? His mother's arrival, the adventures in the wild, the happy reconciliation and his gaining a father?

5.. Gwen and her business, tough, dress and wearing hats, brisk? Her demands on Rick? His wanting to resign? Her.refusal? Going to see rimmy, shock at finding Rick? Trapped out in the wild? Her laughing at herself? The reconciliation?

6. Jeff Chandler and his style as Rick, commercial artist, wanting to paint? Attitude towards Gwen? Going to see Mike, Mike's persuasion about freedom? Support from Larry? The encounter with Timmy, his tiredness, going to the dinner, playing along, telling the boys all the adventure stories, his inventiveness? The return, deciding to resign, influenced by Timmy? His coming back, their weekends together, his painting? The encounter with Gwen, clash, in love, happy ending?

7. The two brothers and their eccentricity, running.the school, the comic styles, with the boys, with Timmy, with Rick, mixing up names?

8. The librarian and her eagerness about Australia? The artist and his philosophy of freedom? Larry as Rick's support, wary about hearing of the child?

9. Popular ingredients? Sentiment? America in the '50s? Success, achievement, family, marriage and love?

T.R. BASKIN (A DATE WITH A LONELY GIRL)

US, 1971, 89 Minutes, Colour.
Candice Bergen, Peter Boyle, James Caan, Marcia Rodd, Erin O'Reilly.
Directed by Herbert Ross.

The ugly, impersonal city is the villain of a number of films and its malevolent influence on potentially good people is vividly portrayed. This short film is like this. T.R. Baskin (an effectively subdued and ironic Candice Bergen) comes to the city with a chip about life; through experience, she hardens. Meeting a salesman (Peter "Joe" Boyle convincingly ordinary) she reminisces in flashback on what has happened to her, and then goes back to her apartment. The theme is obvious; it has been said before. But this film, in its
rather low-key realism, is both appealing and saddening.

1. The focus of the title and its seeming impersonal tone, the focus on the girl? An alternative title was A Date with a Lonely Girl. Is this a more appropriate title, more accurate? The focus or change of focus?

2. The importance of the style of the film: colour photography, music, Chicago locations, the atmosphere of the city with its offices, apartments, dating? The atmosphere of this modern city world?

3. Could the film be described as comedy, romance? How much of a message film was it? The blending of comedy and romance and message?

4. Candice Bergin's style as T.R. Baskin? The strengths of her performance? T.R. Baskin as a character, strengths and weaknesses? AS represents the American girl? From the small town with her rather naive and narrow background? The ingenous girl moving to the big city? Finding accommodation, work? Dissatisfaction with both? Friendship, for example with Dale? Following her advice? Encountering men eg. dating Arthur and her annoyance with his attitudes, limited conversation, chauvinism? The challenging of the values and style of the small-town girl? Her adapting to these, not wanting to adapt to these? How real a problem is this for the ordinary girl?

5. The character of Larry and the aspect of masculinity that he represented? His character strengths and weaknesses? His encounter with T.R.? The reason for their spending the night together? The revelation of his attitude in his giving her money? The revelation of her attitude in her angry reaction?

6. The relationship between Larry and Jack Mitchell? Jack's character in himself? The reason for his encounter with T.R.? What he expected of her? The reason for her accepting the afternoon with him? The significance of his talk and so much of it? Its coherence or incoherence? The important issues, his attitudes towards these? How well did T.R. listen? The effect on her? What aspects of masculinity did Jack represent? Jack's final question of her and her retort?

7. The importance of the encounter with T.R. and her parents by phone? The character of her parents and their influence on her? Her reaction to them? The dramatic pathos of the phone call? Its inconclusiveness?

8. The men as types in the film? How were men seen from the feminine point of view? From their own point of view? Arthur, Larry and Jack as symbols of the American man?

9. The contrast with the women and their presentation, their attitudes? Similarities between Dale and T.R.A. differences?

10. How is the film a short parable of the modern girl in the modern world? What is wrong with the modern city world? What values does it have? The style, the city talk? morals, values, questions?

THE TRIP

US, 1967, 85 minutes, Colour.
Peter Fonda, Susan Strasberg, Bruce Dern, Salli Sachse, Dennis Hopper.
Directed by Roger Corman.

The Trip is a curio movie. Filmed in 1967, it was made at the time of the drug revolution, drug experimentation, the use of LSD and the psychedelic era. A warning caption has been tacked onto the beginning of the film - a bit of mixed moralising.

The film was produced and directed by Roger Corman who had made his mark in the '50s with very small-budget thrillers and genre pictures. In the early '60s he merged with his series of Poe adaptations with Vincent Price and Ray Milland as well as a number of more ambitious features including The St Valentine's Day Massacre. The Trip was written by one of his collaborators in writing and acting in the 60s, Jack Nicholson. Nicholson was soon to appear in Easy Rider - the beginning of a career of top acting. Peter Fonda is the hero of this film (as of Easy Rider) and acts as a director of TV commercials who wants to experiment with LSD. The film is his trip - both in reality and in fantasy. Dennis Hopper (who would collaborate with Nicholson and Fonda in Easy Rider) appears in the drug culture. (Both Fonda and Hopper eventually cleaned up their lives and had successful film careers, especially Hopper in the late '80s.) Susan Strasberg appears as Fonda's
wife.

The film is very dated in its approach to life, to drugs. Audiences of later decades laugh at the 'hip' phrases and dialogue. Great reliance is put on psychedelic special effects. The film is an interesting example of film-making immersed in its time and eventually stuck in its time.

1. The impact of this film in the mid-'60s? Production attitudes towards drug-taking and experimentation? The visualising of trips - with a permissive tone? The moralising prologue? Seen in the perspective of later decades and the experience of drugs?

2. The work of Roger Corman: his being interested in film trends, small budget and quick film work? His friends and associates and their collaboration in film-making? Jack Nicholson's script? The cast and their work for Corman? The quality of the films produced?

3. The Los Angeles settings, the ordinariness of Los Angeles life, drugs and middle-class suburbia, the psychedelic effects for communicating the LSD trip? The blend of special effects and realistic flashbacks and fantasies? Musical score?

4. The film's attitudes towards drug-taking, the drug culture, experimentation, heightened consciousness, the effects for helping people, the damaging effects? The consequences for relationships? The situating of the drug culture in the mid and late '60s? Changing times and manners and moral perspectives (as indicated by the subsequent careers of the stars)?

5. Paul and his work as a commercial director, his relationship with his wife, tenderness yet the divorce? The signing of the papers? His decision to take the LSD? His friendship with John? John setting the scene and administering the drug? The previous visit to Max with the pot-smoking? The pot-smoking friends? The effect on Paul, his having to relax, the psychedelic visions and colours and patterns? His imagination - with the attractive girl, with his wife, argumentation, sexual relationship, the bedroom sequences with the psychedelic patterns? His fear of death, the hanging? The chase and the mediaeval monks? The dwarf in the countryside and offering the brew? The accumulation of these fantasies and their happening in the house, on the street, in the restaurant? The counter-balance with what was happening when he was stoned: in John's house, talking to him, the hip language to express the experience, the fear of death and the swim in the pool, his getting dressed, imagining John dead, out in the streets, in the house with the little girl and her parents, watching the television? In the restaurant and the encounter with the waitress? The going to Max's place? Meeting John again? The end of the trip? How well did the film communicate an LSD experience via cinema?

6. John and his friendship with Paul, having the drugs, being free himself, monitoring Paul's experience, apprehension about his fears of death, encouraging him, searching for him?

7. Max and his home, pot-smoking friends, hip language, concern about Paul?

8. The people that Paul met in his reality and in his fantasy: the blonde, the drug-taking women, the sexual attraction and encounters? The little girl and her friendship, her parents? The police chase? The bartender and the waitress in the restaurant? People on the street?

9. The glimpse of the perspectives and behaviour of the mid~'60s? Capturing an essence of that period? Judged in the perspectives of the '70s and '80s?

TULSA

US, 1949, 88 minutes, Colour.
Susan Hayward, Robert Preston, Pedro Armendariz, Lloyd Gough, Chill Wills, Ed Begley.
Directed by Stuart Heisler.

Tulsa is an action adventure of the late 1940s. It is colourful entertainment, highlighting the history of the state of Oklahoma, the discovery of oil, the need for conservation as against greed and exploitation, the rise of the city of Tulsa. It was co-written by Frank Nugent, writer of many westerns. it is a star vehicle for Susan Hayward and suits her fiery and dominating style. Robert Preston is exuberant as the lead and Pedro Armendariz is quiet in his role as the Indian. A strong supporting cast includes Lloyd Gough as the oil baron, Chill Wills engagingly comic as the Oklahoma cousin. There is a cameo by Edward Begley (so credited) which gives an indication of his type of role in the '50s and '60s (and his Oscar in Sweet Bird of Youth). Direction is by Stuart Heisler, director of many romances and actioners at this time, including Susan Hayward. A film of the '40s - which tells a yarn as well as shows American history (and the perspective of the '40s).

1. Enjoyable actioneer, American history, plea for conservation legislation?

2. Colour photography, action sequences, the landscapes of Oklahoma, the spectacle of the oil wells and the final fire? Musical score? Theme song and its use throughout the film?

3. Pinky's introduction to Oklahoma history, the emphasis on the use of oil, Oklahoma and oil and the city of Tulsa? The history of the Indian nations, the prairies, the coming of the cattle, oil and the changes?

4. A film of the American dream: resources, exploitation, luck, work and gambling? A future for whites? Blacks incidental? The role of the Indian and the change of lifestyle, royalties from the oil wells?

5. Cattle and oil, Lansing and his stock, Cherokee and her exuberance, Jim and his hopes? Freedom, the oil,, the death of Lansing?

6. Susan Hayward as Cherokee, a lively heroine? Tough, the relationshop with her father, riding with the cattle, her reaction to the oil at his death, going to see Tanner, the treatment by the lawyer, her determination and stubbornness, Tanner himself coming and offering her the money? Jim and his devotion and her friendship? The encounter with Brady, his going into the mud, her hitting his opponent, his regard for her and giving her the land claims? Tanner wanting to buy them?- Friendship with Pinky, his song, his song for her father? Watching her behaviour? The search for the oil, the failure, the arrival of Brad, the fight with the foreman? The three weeks wager? Throwing dice, success in the wells? Cherokee's wealth, position, the media? Ambition and greed? The questions of conservation? Tanner and his exploiting the Indians? Brady calling the meeting, showing the slides? The clash with Tanner and Cherokee? The promise to Jim about his property, the cattle and the wells? The build-up to the party, the deal, the governor's presence, the announcement of the engagement? The clash with Brad? Her success, the pressure on Jim? The fire, her change of heart? Going in to Jim, rescue? The figure of an Oklahoma heroine?

7. Tanner and his wildcat searches, wealth, no conservation principles, the clash with Cherokee, the gambling, offering her the money, the Indians, his speech at the meeting, the deals with the national company, ambitions for political power, marrying Cherokee, the pressure on Jim? Participating in the rescue, a change of heart?

8. Brad and his being the son of Brady? His arrival, the fight, the books, being called Professor? Geological knowledge and conservation? The three weeks, the gambling, the success? Order on Jim's ranch? The meeting, the slides, the warnings? His staying, the governor and the commission for conservation, the party, his jealousy, the announcement of the engagement, the clash with Cherokee, the fire, the rescue?

9. Pinky, the Oklahoma man, piano, wisdom, a chorus on what was happening, the singing with the opera star and the dancing, his taking sides against Cherokee?

10. Brady and his notary, loud behaviour, in the mud, laughing, avenged by Cherokee, his gift, his death?

11. Jim and the Indian background, the traditions, owning hi.s land, loving the cattle, devotion to Cherokee, the conservation on his,~ranch, his refusal to have more wells, the restraining order and the judge calling him mad, the long superimposition sequence of his memories and his behaviour, lighting the fire, collapse and rescue?

12. The background of the Indian nations, their role in Oklahoma, their past traditions, the claims, greed?

13. Oil and cattle? The possibility of both industries succeeding? Legislation? Wealth, the establishment of the state of Oklahoma and the city Tulsa?

14. A view from the '40s and the perspective of later decades?

23 PACES TO BAKER STREET

US, 1956, 103 minutes, Colour.
Van Johnson, Vera Miles, Cecil Parker, Patricia Laffan, Maurice Denham, Estelle Winwood, Liam Redmond. Directed by Henry Hathaway.

23 Paces to Baker Street is an interesting and enjoyable murder mystery. It was written for the screen by novelist Nigel Balchin and adapted from a novel by Philip Mac Donald. It is a British- American coproduction with Van Johnson, amiably persuasive in the lead. There is excellent support from an English cast including Cecil Parker and Maurice Denham.

The film is set in the 1950s, the hero is a blind playwright who overhears information about a crime. The atmosphere of London and the fog and the evocation of Sherlock Holmes with the title, puts the film in the Sherlock Holmes tradition. The film was directed by veteran Henry Hathaway.

1. An enjoyable and engaging thriller? Nigel Balchin and Philip Mac Donald? The evocation of Baker Street? The '50s?

2. The use of Cinemascope, English locations? The action, suspense, the musical score? The international cast?

3. Philip and his play, his dictating, blind, bitterness? Reliance on Bob? The break with Jean and her arrival? Going to the pub and the encounter with the barmaid? His listening, the sinister words, the gaps? His returning home and taping the conversation? Playing to the Inspector? Engaging Jean's and Bob's help? The phone calls to identify the piers? The visit to the lady, the information about Janet Murch? The visit to the Nanny company? Miss MacDonald's arrival and interview, the perfume? Bob following her? The placing of the advertisement, Janet Murch's phone call, the mock phone call and the information to Mr Evans? The false Mr Murch and his coming to the pub, Philip's near to death, the rescue by Bob? The information about the ship? The arrival, the Argentinians? The finding of the invalid's chair? His return home, the confrontation with Mr Evans? Detection, blindness, bitterness, action? Future?

4. The accidental hearing of the information, Mr Evans, the clues (and the screenplay concealing Mr Evans' identity from the audience)? The company, Miss Mac Donald, Janet Murch's murder, the murderer and his attempt on Philip? The final confrontation?

5. Jean as secretary, her devotion to Philip, coming to England, helping out, going to the company, the dangers, the reconciliation with Philip?

6. Bob and Cecil Parker's inimitable English style? Secretary, help, the comedy of following Miss Mac Donald, his cold, rescuing Philip, the end?

7. The Inspector, the English police and their reticence, caution? In action?

8. Mr Evans and Miss MacDonald? The build-up to the crime, the group and their work together, the murder of Janet Murch, the hiring of the murderer to kill Philip, the final confrontation?

9. Clues, suspense, concern?

THREE LITTLE GIRLS IN BLUE

US, 1946, 90 minutes, Colour.
June Haver, George Montgomery, Vivian Blaine, Celeste Holm, Vera- Ellen, Frank Latimore, Charles Smith, Charles Halton.
Directed by Bruce Humberstone.

Moon Over Miami and Three Little Girls in Blue are remakes of a romantic comedy of 1938, Three Blind Mice, with Loretta Young, Joel McCrea? and David Niven.

Moon over Miami and Three Little Girls in Blue are musical versions of the story of sisters looking for rich husbands. Walter Lang, director of many musicals directed Moon Over Miami. The film is an early Betty Grable vehicle and she performs with verve. Don Ameche and Robert Cummings are the suave heroes. Carole Landis is the sister and Charlotte Greenwood is enjoyable as their aunt. Jack Haley also has a role. There are a number of songs including 'You Started Something'. Obviously, Miami is the location for the fortune-hunting.

The story was remade five years later as Three Little Girls in Blue by H. Bruce Humberstone, a director of many Fox musicals. This time there are three sisters, June Haver, Vera-Ellen? and Vivian Blaine. The men have less of the spotlight. There are quite a number of songs and dances including 'You Make Me Feel So Young' with a fantasy sequence. A highlight of this version is Celeste Holm as a Southern Belle in her first film. (While the main action is in Atlantic City at the turn of the century, the visit to the southern homestead and the hunt are very reminiscent of Mame.)

The plot was also used in The Greeks Had A Word For Them which was remade as How To Marry A Millionaire.

The story is that of the American Dream: wealthy marriages - but ultimately true love.

1. The style of 20th Century Fox musicals in the 1940s? With stars like Betty Grable, June Haver, Vivian Blaine, Vera-Ellen?

2. Colour photography and chocolate-box style? The musicals scores? The singing, dancing?

3. The plot and its re-use - perennial and in danger of being creaky?

4. The importance of the stars, their personalities and presence, songs and dances?

5. The sisters and their background, coming into money, the plan to go to the city, the deception? The focus on each of the sisters?

6. The hotel, society, potential husbands? Living in high style, meals, dancing, swing music?

7. The deception and the farcical elements, girls and their longings, brooding, comedy?

8. The various mix-ups? People not in love in danger of marrying?

9. Everything being sorted out and true love prevailing?

10. The morality of the American Dream, success, money – but true love?

THE TALL GUY

UK, 1989, 92 minutes, Colour.
Jeff Goldblum, Emma Thompson, Rowan Atkinson, Geraldine James, Anna Massey.
Directed by Mel Smith

The Tall Guy is an offbeat British comedy, from the people who made such zany programs as Not the Nine O'clock News and Black Adder 3. The film was directed by comedian Mel Smith (Alas, Smith & Jones, Morons from Outer Space). He also does a small guest role as a drunk fan.

However, the film is Jeff Goldblums. Goldblum is an effective serious actor (The Fly, The Right Stuff) as well as comedian (Earth Girls are Easy, Beyond Therapy). He is well supported by Emma Thompson (Henry V) as the seemingly British nurse Ratchet, combined with Mary Poppins. Rowan Atkinson, a very effective comedian, is given a most unsympathetic role as the West End star who is completely obnoxious.

There are some very funny sequences skitting theatre life and television in England, especially a send up of Andrew Lloyd Webber's style of musical with a musicalised version of The Elephant Man complete with Phantom-like echoes and songs. However, there is also a great deal of rather crass and crude comedy which does not sit so well with the satire. A mixed comedy.

1. The quality of the comedy? British style? American hero? Satric and black comedy? Spoof of London theatre?

2. The London locations, the hospitals, the flats, the streets, the theatre? Authentic atmosphere?

3. The Rowan Atkinson comic routines, the world of the theatre, the parody with "Elephant"? The songs, the choreography, the grand finale with the achievement of The Elephant Man?

4. Jeff Goldblum as the American in London, type, pleasant, interaction with the English, the stooge for Ron Anderson and his routines? The standup comic? The mistakes in the routine? The ineffectiveness of his life? Hypercondriac, sick, sneezing? His relationships and the comic sex jokes and flashbacks? Carmen and his confiding in her, the wondering men in his flat? Her advice? Going to the hospital, the needles and his fear of them? The doctors and the psychological analysis? Seeing Kate, the change of attitude, willing to have the needles?

5. His seeing Kate, the stories that he made up, the series of needles? The build up to asking her out? Her brisk answers? The meal, the parody of lthe sex romp? Living with her? her work? Carmen and the friendship and the continued succession of men? The auditions and Kate's support? Her brisk work? The success of Elephant? His missing the show with Ron Anderson? The sending up of Ron? His being sacked, the farewell party with Ron drinking the champagne?

6. The effect of life on him, the bossy agent and her suggestions, the auditions for the commercials, the brogue for the TV serial? Auditions for the musical, singing out of key, the emotive producer telling him he had the part? The reading, the rehearsal, the effect? The star and the attraction, her seductive manner, the affair? the build up to the first night, the party, the reaction of the actress, Kate understanding, her gift, the breakup and her leaving? The effect on him?

7. Alone in London, sad, trying to see Kate, the reconciliator the possibility of starting again?

8. Kate as the brisk English nurse, facts and figures, the nature of relationships, dealing with patients, the affair, the outings, her supporting him with the play? Realizing the affair? The challenge? Leaving?

9. Carmen, her background, type, the naked men, the variety of types in her life, supporting him?

10. Ron, the terrible manner, cruel and vain, winning the award? The nature of his skits and their outrageousness? His dislike? The sack? The talk about Prince Charles? With Kate? His reaction on the first night party?

11. The world of the theatre, types, relationships? A blend of the amusing the spoof, the crass?

TAMMY AND THE BACHELOR

US, 1957, 89 minutes, Colour.
Debbie Reynolds, Leslie Nielson, Walter Brennan, Mala Powers, Sidney Blackmer, Fay Wray, Mildren Natwick, Louise Beavers.
Directed by Joseph Pevney.

Tammy and the Batchelor was a pleasant backwoods romantic comedy of the mid 50s. It was a Ross Hunter production - Hunter going on to lavish Lana Turner and Doris Day melodramas at Universal Studios. It was directed by Joseph Pevney, director of many action films and comedies at Universal at this period. However, it was to become something of a classic. Debbie Reynolds gives a pleasingly vigorous performance. Leslie Neilsen is a pleasant hero. There is a strong cast which includes Walter Brennan, Mildred Natwick, Fay Wray, Sidney Blackmer.

The theme song has also become one of the perrenials of popular music. However, it set a fashion and there were two sequels with Sandra Dee in the 60s as well as a television series. It is interesting to compare the basic formula for the Tammy films with such films as Crocodile Dundee - the naive and gentle backwoods person coming into civilisation and transforming it.

1. Pleasing romantic comedy? From the backwoods to civilisation? The pleasing perrenial formula?

2. Cinemascope, location photography in the south, the backwoods, the river, the mansion, the town? Musical score and the popular theme song, and sung by Debbie Reynolds?

3. The title and expectations? Romance and comedy? Romance in the 50s style?

4. Debbie Reynolds (at 24) as Tammy (aged 18)? Personality and screen presence, charm? Innocent, naive, with her goat, Looking in the water? Relationship with her Grandfather? Way of speaking, vocabulary? Growing up simple in the backwoods? Going to the plane crash, rescuing Pete, 'Looking after him? Falling in love? Sharing his presence, the swim etc? Her Grandfather's arrest, walking all the way to the mansion? Being received, the interpretation that Grandpa was dead? Cooking, Pete bringing her breakfast, Mrs Brent's reaction? In the household, Pete's dreams of the tomatoes? Jealousy of Barbara? The outing with Ernie and being rescued by Pete? Wanting to falling in love and her frank way of talking? The insults? Friendship with the Professor, with Aunt Renee? The preparation for the week, dressing up, the gown, seeing herself in the mirror, hearing the traditional story, telling it to the visitors and charming them all? Clash with Barbara? In love with Pete ? singing the song, running away from insults, talking to her goat, return home and Pete arriving with Grandpa? An attractive heroine?

5. Pete, the plane crash, being rescued, enjoying the company of Tammy? Return home, the dance rehearsal, the relationship with Barbara? Welcoming Tammy, defending her against attack? Rescuing her from Ernie? The outing with him? The story of his ancestors? The final romance?

6. Barbara, wealthy, with Ernie, with Pete, jealousy?

7. Mrs Brent and her snobbery, concern for her son, insulting Tammy, cleaning the house, her change of heart? The Professor hiding himself away? Charmed by Tammy?

8. The cook, her moodiness, friendship, supporting Tammy?

9. Aunt Renee and her art, wanting the bohemian life, supporting Tammy, giving her the dress, coaching her?

10. Ernie as the best friend, flirting, pushy, more courteous, in love with Barbara?

11. The visitor and his wanting to buy the mansion, change of heart?

12. Grandpa, the Walter Brennan character, old and folksy, going to prison, drinking? His charm, the letter from prison?

13. Tammy as transforming everyone's lives, the moral of the story, old values, people who are afraid, straightforward talk and changing people? The perennial charm of this kind of Americana?

TIGERS DON'T CRY

UK, 1976, 105 minutes, Colour.
Anthony Quinn, John Philip Law, Marius Weyers.
Directed by Peter Collinson.

Tigers Don't Cry is an average adventure thriller with a South African setting. It shows, from the vantage point of the mid-70s, an African black leader coming to South Africa and being kidnapped by a hospital orderly, someone who has wanted to make something of his life but, with a terminal illness, decided to take a stand in order to get money for his daughter. There is an assassination plot against the President as well as the South African security trying to protect him. The film uses excellent South African locations, especially for its mountain climax.

The film was directed by Peter Collinson, a director of a range of thrillers and comedies, often with special and exotic settings: And Then There Were None (Iran) The Italian Job (Milan), The Earthling (Australia). Anthony Quinn is more subdued than usual as the hospital orderly. John Philip Law is the sullen assassin. There are the expected action sequences, some twists with the relationship between the President and his kidnapper.

1. Interesting and exciting adventure? South African settings, politics?

2. African locations, the cities, the parks and open spaces, the mountains? The use of locations for atmosphere? Editing and pace? Musical score? The international stars?

3. The title, the reference to the president, two assassination attempts to death? Slade and his relationship with the president?

4. The focus on the president, his entourage (and later finding that they were planning to kill him)? The situation of African heads of state in the 70s? The South African government? The arrival, the entourage, the assassination attempt, the president in hospital, treatment by the staff, prejudice? Slade and his relationship, his looking after the president? The injection, his being abducted, waking up in the factory, the attack on Slade? Together, the plan? the fire and Slade rescuing the president? His gratitude? On side with Slade? HIs own pride on how he should be abducted and released? Ginny and her arrival, apologies? The truck, the chase, through the barriers? The president taking charge, Slade's illness? Going on the chairlift? The dangers, leaping from the roof? The plan, the conditions? Coming down? The stranded chairlift? The shots? Slade's death? The president emerging safe?

5. Slade, Anthony Quinn's style? Work in the hospital, brooding, looking after the president, rough with him? His love for his daughter? The clash with Jane and the breaking of the affair? His daughter's admiration for him? His weeping? His own illness? Buying the truck, buying the goods, the injections, the plan and taking the president, alluding the assassin? Holding him, his illness, the plan, his shrewdness in getting the money, setting the fire?

6. The truck, Ginny's coming, her apologies? Breaking the barrier, going to the top of the mountain, leaping from the cable car, the money? The conditions, the bond between the two men? Going down, his death, Tiger's Don't Cry? Plausible character, behaviour

7. The glimpse of the killer, the assassination attempt, his failure, the attempted suicide and getting himself into the hospital, covering the president, the other attempts? Discharge, the plan, going to the mountains, shooting at the cable car, the helicopter causing his death?

8. The security guard, plans to save the president, difficulties, his cold? The interviews? The barriers, keeping in touch? The confrontation at the end? The president saved? The picture of South African government officials, the minister and his severity?

9. Ginny, Her relationship with her father, believing him, his making up stories? Her grief, apologies to the president? Being saved?

10. Jane, the relationship with Slade? The breaking off, her not realizing what Slade had done? Collaboration with the security guards?

11. Popular ingredients for a thriller? Politics? The individual wanting to make something of himself? Black African? The background of South Africa and African nations in the 70s?

TRACKS

US, 1976, 90 minutes, Colour.
Dennis Hopper, Taryn Power, Dean Stockwell, Zack Norman, Michael Emil.
Directed by Henry Jaglom.

Tracks is written and directed by idiosycratic film maker, Henry Jaglom. His first feature was A Safe Place. Other films include Sitting Ducks, Can She Bake a Cherry Pie, Always. Jaglom has a particular viewpoint on the world, American society, relationships? He highlights the eccentric? He also allows his cast to improvise ? which can be creative or, on the other hand, can seem quite strained. Jaglom's films are an
acquired taste.

This film was made in the mid 70s, a reaction to the Vietnam experience and the conclusion of the war. Seen in the retrospect of many films which were made later, it seems more adventurous. However, the range of films from the Deerhunter, Apocolyse Now, Coming Home to Platoon, Full Metal Jacket and Born on the 4th of July, it can suffer by comparison. However, it highlights the paranoia of the war period, the victimisation of the Americans who fought there and the consequences for American society. Dennis Hopper is at home as the central character, a soldier accompanying a coffin across America by train. The supporting cast includes Dean Stockwell, and a number of actor and actress who were to emerge in films later.

Very much a film of its time. However, it highlights American perception of the Vietnam war.

1. The impact of the film? interest, entertainment? Henry Jaglom's perspective, his style?

2. The film of the mid-70s? American society? Nixon's opening words? The experience of the war, the defeat, the fall of Saigon? The response of the 70s? Seen in later perspective?

3. The title, the train journey? Interiors on the train? Exterior locations The parrallel with the train movies?

4. The real and unreal world? Dream and nightmare? Symbolic statements, actions? The improvised and spontaneous style? The range of music, the popular songs on Jack's radio?

5. The Vietnam war, the films attitude towards the war itself, American involvement, the Vienamese? The American government, Nixon? 1973 and peace? The individuals who fought, died? The consequent madness? Honour? The authorities and society?

6. Dennis Hopper's portrait of Jack: on the train, accompanying the coffin, his statement of his task? His continued listening to the music? His background, childhood, personality? His place in the military? His experience in Vietnam? the meeting with Mark, sharing ideas with him? The club car and the talk there, his reaction? His encounters with Gene and Emile? Whether they were there or not? The patter of people talking? The girls in the club car, Stephanie at the bar, talking to her, her refusing to go to his cabin, later changing her mind? Relating to her, sexuality, the clashes? Her leaving? With the nymphomaniac train traveller? His talk with her about his childhood? What was real and what imagined? Taking off his uniform, running naked through the train? Mark coming to his cabin, his asking to be saved, the attack and his being beaten? The hallucination with the gun? Outside the train with Stephanie, lyrical countryside? Gene and his talk about real estate, his being a government agent? The waiters in the going to the cemetery, alone, going into the co with the weapons in the coffin? His future? Real/symbolic character?

7. The meaning of the ending, Jack alone with the coffin, nobody, the gear in the coffin, his violent emmergence?

8. Chloe and Stephanie, their friendship, Stephanie at the bar, the meal, with Mark? In the cabin, their talk? Stephanie's clash with Jack? Outside, leaving? Abandoning Chloe and Chloe's sadness? Stephanie and her decisions

9. Mark, his presence on the train, easygoing, talking with Jack, the club car, the meal? Coming into Jack's cabin, being asked to knock? at the town, no one to meet him? His worries, his bursting in, pleading with Jack to save him, his being taken by the agents, the violence and the shooting?

10. Gene, playing chess with Emile, talking about land values, government agent? Emile and his presence, absence, genial, chess, sex?

11. The woman, nymphomaniac, having her meal, relating with the men, sex with the guard, with Jack?

12. The people in the club car, American talk, attitudes, cross section of people? Black and white?

13. A film of the war, its impact on Americans? Confusion and trauma? Future?