THERE MUST BE A PONY

US, 1986, 95 minutes, Colour.
Elizabeth Taylor, Robert Wagner, Chad Lowe, Ken Olin, James Coco, William Windom, Dick O'Neill.
Directed by Joseph Sargent.

There Must be A Pony is based on a novel by Janice Kirkwood, which was adapted for a play and has now been adapted for the screen by playwright Mart Crowley (Boys in the Band). It is a film about a star and is a star vehicle for Elizabeth T aylor. Audiences will have no difficulty in interpreting her portrayal of Marguerite Sydney as something of a portrayal of her own cocomplicated life. This gives the film a strong interest, a touch of purient curiosity.

Robert Wagner acted as executive prorlucer and has a good role as a charming gambler. It works well with Elizabeth Taylor. The film is also a good vehicle for Chad Lowe who appears as Margurette's sensitive son. A strong supporting cast includes James Coco as Marguerite's friend. Dick O'Neill is the police inspector. There is also a guest appearance by Mickey Rooney, appearing with Elizabetb Taylor for the first time since National Velvet 40 years earlier. The film is often thoughtful, often witty, showing the portrait of a star, her love for an audience and the entertainment business, tantrums, the savage need to be at the top with, its psychological consequences and its influences on love and
relationships. The film is directed by Joseph Sargent, veteran of many movies and telemovies.

1. Interesting character study? Hollywood and the movie industry? The consequences of stardom? The cost for human relationships?

2. The atmosphere of Los Angeles, the city, zones, the beach? The studios? The musical score?

3. The dialogue? wit, insight? the touch of Hollywood bitchiness?

4. The title and the explanation coming so late in the film in Ben's letter, the optimist and the pessimist and the search for the pony? As an interpretation of the lives of each of the central characters?

5. The film as a portrait of Marguerite? The background of Elizabeth Taylor's life and career? The quality of her performance and empathy with the character? Her looking so glamorous in this film? The backyround of her career (and the glimpses of Elizabeth Taylor's early films)? Her rise to the top, 81 films? The cost in terms of marriage and divorce? The affect of breakdown? Her arrival, glamour? The question of her maturity? an immature child? Being greeted by Josh, the love between the two, the strained relationship? David and his talk about studios and performances? Her return to the hone, lack of money? The clash with David and pulling the gun on him? The relationship with Josh, his telling the truth, her not wanting to hear it? Her friendship with Mervin and his advice, consolation? The races, meeting Ben, being charmed, the bets? rhe beginning of the relationship with him? Tenderness, the restaurant, her fear of being hurt, love? His presence in the home? Support for her, his drinking, criticism? The background of his deals, the buying of the house? His relationship with Josh? the audition, her tantrums, reading for the part? Performance, the clash with the director? The lawyers and the discussions about the reconciliation? Her need for an audience and performance? Her demands on Ben? Her fears, the interrogation by the police and her haughty manner? The being on her own again? Josh visiting her in hospital? His giving her the note? Some sense of reconciliation? Her genuine love for Ben? Possibilities for her life, her career?

6. Josh, his age, sensitivity? His relationship with his mother, the airport, exasperation, money? Her seeing him as a little old man? Concern? His own friends? His mother worried whether he was gay and yet her love for him? The bond with Ben, embracing him, being good at touch? His listening in to his mother's behaviour, concern? The possibility of the audition and her forbidding it? His own life, his friendship, the farewell? Grief at the death, picking up the gun? The questioning? his being hurt by his mother not ringing? His saving the money, telling the secret place to Ben, realizing where the suicide note was? Going to see his mother? The importance of Ben's farewell note and the story about the pony?

7. Ben, charming but erratic, at the track, the relationship with Marguerite, the restaurant, at home, staying at the house, love, drinking, sense of failure? The money deals, the buying of the house? The final figh, drinking, the farewell to Josh? His true story, his at the funeral and Marguerite's reaction? His lies and sense of failure? The importance of the notes to Marguerite and especially to Josh?

8. Mervin, his style, manner, friendship, support of Marguerite? The lawyer and his smooth manner of getting over dificulties?

9. The world of film and television? Jay and his friendship, getting Marguerite the part? The world of Television producers and directors? Performance? The director and his anger at Marguerite, her tantrum and? behaviour towards him?

10. The police investigation, the severity with Marguerite, suspicions? Was Josh suspicious? The effect? of the suicide and the interrogation of Marguerite?

11. Portrait of people? American way of life? The background of the film industry? Portrait of human nature?

TWO BROTHERS RUNNING

Australia, 1988, 87 minutes, Colour.
Tom Conti, Richie Singer, Elizabeth Alexander, Deborah Lee- Furness, Dorothy Allison, John Gregg.
Directed by Ted Robinson.

Two Brothers Running is a very entertaining comedy. It was written by novelist, Morris Lurie. It was directed by Ted Robinson, director of many television comedy as well as the films, The Settlement and Kokoda Crescent. The film has a Jewish setting (a Melbourne version of Norman Love's Rose, set in Sydney.) Tom Conti. is particularly good as Moses, the Jewish writer from Poland via the United States. The film gives Conti an opportunity to do many turns, use his natural capacity for wit as well as national impersonations. Richie Singer is quite good as his brother Ben. Elizabeth Alexander appears as his wife.

The film is particularly Jewish in its language and tone, its focus on Jewish customs. To that extent, it throws light on a minority group in Australia. However it relies on the well known devices of Jewish comedy. While the film is funny, there are serious undertones, a man in mid-life, facing himself, his relationships, crisis of career as well as comparisons with his brother. The film has the touch of the bittersweet.

1. Entertaining comedy? Australian atmospher? Jewish?

2. The literary style of the film, the screenplay by a novelist and short story writer? The world of films and screenplays? The verbal humour and wit?

3. The use of Melbourne locations, the visits to Sydney, the Australian highways? The songs and musical score? The jazz background?

4. Moses and the opening with the psychiatrist, his head upside-down, the close-up, his eyes? Talking? His Polish background, in the US, relationship with his parents, his relationship with Ben? Coming to Australia? His wife, children? In himself?

5. The portrait of Moses and Tom Conti's presence and style? Humour, droopy, the range of voices? His history? His telling of stories and jokes and people knowing the punch lines? The screenplay and the robbery, the Jewish family, the son, the finale with the son robbing the father? The story about Elmer the Elephant as a symbol of Moses? In the jungle, wanting to go back to the circus, being made to act, to jump through the hoops, finding the space empty, breaking the trampoline, going back to the jungle? His relationship with his wife, life at home? Initial meal, the squabbling children, the phone call from Ben? Ben's influence on the rest of the family? His wife and her studies, the university and his disdain of univerisities? Their sexual relationship, humour, play? His visit to his uncle and aunt, the question of food? His work, going to tell the story to the executivei the secretary and her attractiveness, the later meal, the seduction and the affair? Ben's arrival, so lively, the gifts and the toys, the attraction for the kids? Jogging with the football? Going to things with his wife, the gymnasium and the aerobics? Her anger about the wedding invitation? The visit of the academic and his wife, his telling Ben and talking about children, dressing up, their being ignored? His own preoccupation with the the affair? The visit out because of the aunt, stories at the table, drunk? The jazz? The humour? The wedding invitation? The decision to go, taking the the gift of the jazz record? The wedding, the questions, troubles? The dinners with Nelson and Nelson's girls? Moses and his later preoccupation? The secretary to his uncle, his aunt unwell, his lies? His wife finding going to the hospital? His moving out? The visit to Sydney, talking to Ben, their arguments, reconciliation? A future? Ben telling him the truth, his having to face it? Himself, responsibilities, a reconciliation with his wife and children? A new beginning?

6. Ben and his vitality, his engaging personality with the wife and children, the toys, the disguise, the arrival, going jogging, not inviting the neice and nephew to the wedding? Moses arguing him into it? The wedding and the guests, ignoring them? The visit at the end - and yet his capacity to tell Moses the truth?

7. Moses' wife, their love, the decision to study, her business, keeping cool, her anger with Ben, playful? The discovery of the truth, Ben hurt? The confrontation? Reconciliation?

8. The sketch of the kids, their love for their father, love for Ben, support? Their fights? The trip, the disappointment, all the mishaps on the way home with the car, loving their father?

9. The caretaker lady and her eccentricities, watching the televidton, her pessimism going to sleep, her illness but not going to the doctor, the phone calls, the relationship with Moses?

10. The executive producer, listening to the story, his cigar?

11. His assistant, her charm, listening to the story, the outing with Moses, the meal, the seduction, the lies, his waiting outside her house and seeing her with someone else?

12. Nelson, the world finance, women, mid-life crisis?

13. The sketch of the uncle and aunt, the relationship with Moses, his visits, feeding him, the aunts illness?

14. The importance of Jewish humour, manner, style, traditions - in Australia?

15. Insightful and humorous portrait of characters and crisis?

TRUE BELIEVER

US, 1989, 105 minutes, Colour.
James Woods, Robert Downey Jr, Margaret Colin.
Directed by Joseph Ruben.

True Believer is a first-rate legal thriller. Written tightly by Wesley Strick, it was directed very effectively by Joseph Ruben. Ruben made an impact with his political fantasy thriller Dreamscape and then with his critique of the conservative American way of life and its inherent violence, The Stepfather. Here he has a murder mystery, a police corruption thriller as well as a legal film. All the ingredients work particularly well. The strength of the film is in the central performance by James Woods. Woods has a manic energy which he usually gives to a range of villains or obsessed men: journalists as in Salvador, police as in Cop. Here he is on the side of the law, an eccentric lawyer, an idealist from the '60s who believes in civil rights and the Constitution but who has been defending drug criminals. A new assistant in the form of Robert Downey Jnr, excellently naive, gives him a chance to move oncep?again to defend those who are victims of society.

The murder mystery is quite effective, the expose of the villain quite dramatics. There is a, blend of the serious with some offhand humour.

1. An interesting and effective police story? Murder mystery? Drama of social corruption? A piece of Americana?

2. The prologue and the flashbacks in black and white, the dramatising of the killing, the evidence and the buildup to what really happened and the audience trying to see the truth of what happened.

3. The title and its reference to Eddie, his past, his career, the jolt to his principles, his commitment, the law, humanity?

4. A blend of the serious and the deadly serious as well as humour? Excitement? The range of genres and the conventions combining wealth? The strong acting?

5. Roger, his arrival, gawky, his looking for Ed, mistaking him for the drug dealer, following him in the street, naive and admiring talk, the shock of Ed's behaviour, style, clients? Helping in the research? Asking Ed questions about his stances? His interest, the dangerous visits with Ed, alert, finding Loader's address, following the wife from the court? Sharing in the victory? Learning? His future? A foil for Ed?

6. James Woods as Ed? His initial appearance, his way of talking, behaving? His dealing with drug runners and pushers, and their constitutional rights? Taking their money cash and helping the pot dealers for nothing? The newspaper clips of his past and his idealism, involvement with issues, personalities? His legal mind, skills, the dramatics in court? A driven personality? Why his ten years of fall from idealism during the'80s?

7. The audience and the prologue, the victim, the murder, the focus on the Korean, the situation visualised? The transition to prison, the chapel, the singing of 'Amazing Grace', the Nazi sign, the buildup to the fight and the killing? Introducing the themes at various levels?

8. The Korean's mother coming to the office, her plea for U to take the case? His soft-heartedness and decision to accept a detective friend and getting her involved? Skill in investigation? Roger as assistant? The finding of the witnesses? Going to the institution and the discussion with Cecil, his evidence about the killer, the humour of the discussion about Kennedy's murderer? His visiting the Korean in prison, his decision to take up the case? His theories? The call from the D.A., going to the fashionable hotel, the confrontation, the interview with the journalist and his team reviewing his exaggerations? His decision to persuade the Korean against any plea bargaining?

9. The recapping of the crime, the visit to Chinatown, going over the streets? Going through the files, ballistics? The nature of the case? The confrontation in the street and Loader bashing him? Ed's ability to identify him but conceal it from the police? The Nazi disguise and tears? in the factory, the tough reaction? and her help, finding Art? The meeting with his wife? Finding Loader, the dramatic chase in the factory? Finding Loader dead? Going to the morgue, Art identifying him?

10. The decision to take the case, the D.A's reaction? The court and the interviews? Cecil and his evidence and his right answer about Lee Harvey Oswald? Cross-examining the police and their hostility? The policeman in the wheelchair elicity compassion?. The eyewitness and her story? The nature of the evidence? The D.A. interviewing the Cuban and the secret society in private? The Korean's boasts? Anger, Ed not cross-examining? His visiting the Korean and expressing his anger?

11. Roger following the wife, their searching for Art in the files, dlieovering the cover?ups, the photoaadd the identification with the Khotan? The one and a half hours to the morguyer visiting the policeman, his sister, the telling of the truth? The policeman and Art confronting Ed? The bashing? Their desperation, killing Art, the policeman telling the story ? and the flashbacks? Ed's fear?

12. The court case, his calling the D.A., the dramatic uncovering of the trade-off? The policeman's arrival? The D.A. declaring the truth but asserting he would do it again?

13. The sense of freedom, the Korean and his family, a future?

14. The intensity of Ed's character, integrity, rights, realistic, orthodox or not? Courage and fear? Relationships? Achievement? The skill of his detective friend and her contribution?

15. Themes of justice and the law?

TORCH SONG TRILOGY

US, 1988, 120 minutes, Colour.
Harvey Fierstein, Anne Bancroft, Matthew Broderick, Brian Kerwin, Karen Young.
Directed by Paul Bogart.

Torch Song Trilogy is the film version of Harvey Fierstein's Tony-winning play. Feirstein has adapted the play himself and stars in the central role of Arnold, the New York Drag Queen, who has conflicts with his mother, his lovers and a prospective adopted son.

While the play focused on Arnold and was highly dramatic (and quite long), combining scarifying self-analysis with ironic humour, the film is opened out and, perhaps, softened in its impact.

There was criticism of the film that it was aid old-fashioned sentimental story, took very little notice of the '80s AIDS crisis. However, the setting of the plot is in the pre-AIDS period. The film is, in fact, finally dedicated to those involved in the struggle against AIDS.

The film re-creates the New York of the '30s and '80s. Fierstein is very interesting in the central role, an attractive yet abrasive character even in his voice. He makes the most of many of his own lines, especially in some soliloquies directly to the audience. Anne Bancroft personifies the Jewish mother as his aggressive and non-comprehending mother. There is a strong sequence between the two at the end (as in the play). Brian Kerwin is good as the doubtful Ed. Matthew Broderick is Allan.

There are more realistic suggestions of the gay bars than in the play and a presentation of Ed's farm. However, the dialogue is important and shows the portrait of a homosexual in contemporary society, self-doubt and self-hate, the need for relationships, the plea for some kind of respect if not understanding. On that level, the film works quite effectively, both seriously and humorously. Direction is by Paul Bogart, director of a few feature films, Mr Ricco, Class of '44, as well as many television shows.

1. The impact of this work of Harvey Fierstein: the play, the screenplay, the performance?

2. The world of New York in the '50s to the '80s, New York City, the gay world of New York, the streets, homes, school? The farm?

3. The importance of music: the burteqque during the credits, the music for the impersonation? Songs, popular songs ironically used, Our Love is Here to Stay, etc)? Arnold's performances and songs? Background score?

4. The title of the film, its reference to Arnold as a torch singer impersonator, his relationships?

5. Harvey Fierstein as Arnold: how autobiographical the writing and the performance? Arnold as a character, the boy and his dressing up in the closet, his relationship with his mother, the initial monologue and his comments on himself, jokes and bitterness, self-pity, resilience, irony? His job and his various names? His performance? Rilationships? The question of love and people meaning it? Hopeful and hopeless?

6. Arnold at work, getting made up, the dresses, his talk about himself and identifying himself as a drag queen? The other drag queens and their friendship with Arnold, the skill of their impersonations, the humour of their names? Talent, take-off? The range of audiences, homgeexual and heterosexual, their reactions? Positive, heckling? The queens and their changing to normal? Masculine/feminine? Their manner, talking? Their going shopping for the dresses and their camp style, especially with the shop assistant? The bonds between them and their depending an each other?

7. The gay bars, the types at the bars, 'Paradise' and the darkness, anonymous sexual encounters, Arnold and his wry comments? Returning there for self-destructive experiences?

8. Meeting Ed at the bar, Ed's approach, hesitant, smiling and youthful, Arnold's shy and uncertain reaction? Going off, the bond between the two, the development of the relationship, the two weeks anniversary, the comedy of going to Ed's farm anddthe hard work and cooking? Ed forgetting Arnold's birthday? His visit, the encounter with Laurel? The fight between the two? The nature of the argument, Ed's self-consciousness? Ed's return and the break-up? Ed and his bisexuality, deceiving himself, not telling his parents and keeping away from them? His relationship with Laurel, their living together? Reassuring himself? The decision to invite Allan and Arnold for the visit? The tensions at the picnic, going off with Allan and the eexual encouhter? Laurel's visit and telling Arnold, Arnold's being hurt? Ed and the confrontation? T11h eventual separation, Ed coming to live with Arnold and David? The encounter with Arnold's mother? His final declaration of love? A future with David and Arnold? The portrait of the gay man trying to insist that he is not, relying on the title of bisexual? The comments of Arnold's friends about the unreality of bisxuals?

9. Laurel and her broadmindedness, relationship with Ed, living together, inviting Allan and Arnold for the picnic, her going to tell Arnold the truth, the complex and mixed motived for her behaviour and relationships?

10. Allan at the show, the hecklers, the confrontation by the black man, Allan's fainting, Arnold taking him home, his return, joining them with the shopping? Their living together, the happiness, the visit to Ed and Laurel, the encounter with Ed? At home with Arnold, going out to do the shopping, rescuing the homosexual from the gay bashers? His death? Living in Arnold's memory, the portraits? Sharing in the funeral of Arnold's father? His character, the story of the past and his coming to New York, the change with Arnold? his youthfulness, hopes? Being buried with Arnold's family?

11. The decision to adopt David, Arnold going ahead with the plan, David and his backigound, the juvenile courts, the homosexuality? At school and the fight, Arnold coming in the bunny slippers, his dressing up to meet Ma his joking with Arnold as 'Mum', calling him 'Dad'? His behaviour towards Arnold's mother, with Ed, the possibilities of his being adopted and the repercussions for them all? Arnold as modelling gay life for David?

12. The sketch of Arnold's father and brother? His father's support but not understanding? The contract with his brother and family? The clash with his mother, Anne Bancroft embodying the Jewish mother, calling in on his birthday and commenting on what he should do, continuillu criticising hinL~ the phone call at the death of his father, sharing in the funeral, her wry remarks about Allan and his being Jewish? Going to Florida and wanting to die? Her coming back, the violent encounter with Daviddand the apology? Her anger with Arnold, especially at the cemetery? Her attacks on him about Allan, his way of life? Her reminiscing about her life with her husband, love? Criticism of Arnold and his relationships? Her staying, Ed's attempp to make peace? Her hearing his declaration of love? Her accusing Arnold of keeping her out of his life? The truth told between the two? The possibility of respect, love? Her final gesture to her son?

13. The portrait of Arnold: as a middle-aged man, his background, the pressure of the heterosexual world, his not making his own choice in life? Arnold and his growing up, self-image? The attraction towards Ed, the fulfilment in the relationship, his being hurt by Ed's self-deception, behaviour, breaking off? The impottance of Allan in his life, understanding, love? His grief at his death? The plan for adopting David, his acting as a parent (the modelling of his mother)? His concern about his mother, her arrival, his clashbs with her, especially about David? His attacks on her about her not understanding himself and his needs?. The impact of her criticisms and paralleling of his love for David with her love for her husband? His hearing her criticisms? The final reconciliation between the two? how secure?

14. The overall impact of the film for an audience to understand the homosexual man? In society? Pressures? The gay world? The gay bashers? Criticisms? The plea for respect? The film in the context of the development of AIDS during the '80s?

TELL ME A RIDDLE

US, 1980, 105 minutes, Colour.
Melvyn Douglas, Brooke Adams, Lila Kedrova, Zalman King.
Directed by Lee Grant.

Tell Me A Riddle was directed by actress Lee Grant. It is a serious film, a focus on an ageing couple played expertly by Lila Kedrova and Melvyn Douglas. Refugees from Russia, they have made their home in America and brought up their family. As they grow old and weaker, they seem to move apart, each in their own world. Their families try to cope. The film traces the last months of the life of the wife, the selling of the house,the visiting of relatives, the gradual re-awakening of love, memories and disappointments and death. Brooke Adams gives fine support as a granddaughter living in California.

An excellent film portraying themes of old age.

1. An interesting serious film? Relationships? Age? Memories, illness, death?

2. The sensitivity of Lee Grant in directing the film, working with the stars? The quality of the stars' presence and their performances, their rapport with each other? Their credibility?

3. The film as a piece of Americana: the action spanning the?East, the Midwest and the West? The origins of the couple, Europe and the migration to America, making America their home and becoming American? A 20th. century picture?

4. The significance of the past, Eva's memories: joy, falling in love, relationships, Russia, the pogroms, prisons, executions? Their being inserted throughout the film? The monochrome tone of the flashbacks? Their being patterned on Eva's behaviour in the present? The contrasts between past and present? The musical score and themes of the past and their place in Eva's memory?

5. David and Eva: their age, pottering around their house, painting, clCaning and cooking? A wandering life? Not communicating? Irritating each other? The domestic details of their life at home? Watching television, painting, ladders, kitchen? The question of selling the house?

6. The focus of the film on Eva: her age, illness, revealing her vigorous past, her love for her family, the reunion and the dinner, her cooking, her sadness, hiding, her gradually coming alive? Her relationship with David, wanting to stay in her home? Knowing that he had friends? His desire to sell the house and go to a home?

7. The glimpse of the family at the meal, their relationships, friendliness, concern for their parents, the selling of the home?.

8. The decision to travel: the flight, the meeting of the various members of the family, the Midwest, Eva and David as grandparents, with the children, the differences, the generation gaps, the loneliness? The telling of the riddles with the grandchildren ? and the title of the film?

9. Moving on to California, meeting Jeannie, her apartment, her relationship with Matthew? Her work as a social worker? Her style? The couple in California, amazed at the lifestyle and appearances? Wandering, discovering the sea? Their room, memories? Illness? Eva in the shop seeing her old friend, goingito her apartment and contrasting it with their own, the importance of friendship and talking? Support in illness?

10. The growing bond between David and Eva, yet Eva's decline and wanting to go home, discovering the truth about the selling of the house? her withdrawal? Her decision to go to the party, the memories of Russia? Fever, death?

11. David trying to tend his wife, the truth about the house, his having to admit it, his weeping? Her fever, illness and death?

12. The meaning of life, memories, age? Eva and Jeannie and their talks together, sharing a feminine perspective on life and relationships? Eva and her books in her memory? Her living in her mind?

13. The portrait of Jeannie, her work, style, relationship with Matthew, his film?making? Their clashes, breaking off? Jeannie and her reliance on her grandmother?

14. The title, telling riddles with the grandson and the riddles of life?

15. Insight into American life in the 20th. century, migrants and their adaptation to their new country, founding families, the relationships between men and women, mutual sensitivity and hurt, ageing and death?

THE TALL STRANGER

US, 1957, 81 minutes, Colour.
Joel Mc Crea, Virginia Mayo, Barry Kelley, Michael Ansara, Michael Pate.
Directed by Thomas Carr.

The Tall Stranger is one of the numerous B-westerns that Joel Mc Crea appeared in during the mid and late '50s. This one is based on a story by Louis L'Amour and has strength from its plot. Virginia Mayo had appeared with Mc Crea in Colorado Territory. She is also at home in this kind of film. There is a villainous Michael Ansara.

The film was directed by Thomas Carr. It is one of many such of the time, filmed in colour and Cinemascope, but which, because of its basic plot and characterisation, does not date and is still enjoyable as a modest western.

1. B westerns and their style in the '50s? enjoyable at the time? Now? The work of Louis L'Amour and his basic western plots?

2. Colour and Cinemascope photography, the West, the valley? The staging of the battles? The score?

3. The introduction, the title, Joel Mc Crea as the western hero, Ned Bannen and his coming back from the war, seeing the cattle rustlers, his being wounded, the blurred vision of the man with the spurs, mystery?

4. The wagon trains and the people coming after the war? Harper and his smooth leadership, his ideas, deceiving the people? The groups, the families, teh hardships? Their hopes? California? Ellen and her son? Cap and his leadership? The hardships of?the journey? Going to Bishop's Valley?

5. Ned and the group helping him, the confrontation between Yankee and Southerners? His relationship with Bishop, his advice to the group? His going to see Bishop? The people's suspicion of him? The clash with the villain, the pretence that Ned was the villain, the encounter with Ellen and her son, his rescuing them and taking them to the homestead? The tension of the siege?

6. Bishop and his tough attitudes, owning the valley, the war, his son as no good, going with Quantrell, his death? Blaming Ned? Stark and his devoted 20 years and help?. Wanting to kill Ned, fighting him? Listening to him, doing a deal about the settlers? The violence and his wanting to attack? being persuaded not to because of Ellen's boy? The siege, the smoking hayrick, his dying and having had a good fight?

7. Ned and Ellen, their relationship, her telling the truth? The scene at the river, the bandit and his attack?

8. The battle, the wagon and the smoke, the deaths, the survivors? Ned allowing the settlers to stay?

9. Cap Judson and the young couple, a portrait of the group in the wagon train? Harper and his associate, the deception and the plan? His hiring the villains? The various shootouts?

10. Themes of the American West, the effects of the Civil War, the pioneers and the opening up of the land?

TALES OF ORDINARY MADNESS

Italy, 1981, 101 minutes, Colour.
Ben Gazzara, Ornella Muti, Susan Tyrell.
Directed by Marco Ferrari.

Tales of Ordinary Madness is another offbeat study of human nature by writer director Marco Ferreri. Some of his more notable films include Dillinger is Dead, The Last Woman and the internationally-known, La Grande Bouffe. ferreri has a wry look at human nature, considering its eccentricities and taking them to extremes.

This film is based on a book by Charles Bukowski, Erections, Ejaculations, Exhibitions and General Tales of Ordinary Madness. The title indicates the themes and treatment, though it is not always as bold as Bukowski's title.

Ben Gazzara does another of his impersonations of the weary and seemingly cynical American hero, an alcoholic poet and womanizer. Ornella Muti (Swann in Love, Flash Gordon) who was Ferreri's Last Woman is the enigmatic prostitute. Susan Tyrell has a supporting role as Vera, one of her many slatternly characters which she does so well.

The film's settings include New York and Los Angeles but are seen from the point of view of an Italian, a European view of America, American men and women and role?playing, the American dream. And disillusionment.

1. The impact of the film? Entertainment, art, message? Observation and critique of America?

2. The title of the film and indfcation of themes? Of the original book? Expectations of content and treatment?

3. Marco Ferreri and his picturing of reality, understanding, exploration of meanings? Real/surreal? Understanding men and women, relationships, role-playing? Sanity and madness? The universal implications of the film? A European viewing the United States?

4. The cast and its international flavour? The particular styles of the cast?

5. The worlds of Los Angeles and New York, familiar and unfamiliar, lifestyle, locations for ordinary madness, for American types? The cities used as environments? The blend of the ordinary and the bizarre?

6. Colour photography, special effects? The use of colours for moods, garish tones, restful tones? Realism? The score by Philippe Sarde ? score and songs?

7. The portrait of Charles Serking? His ordinary madness? Ben Gazzara and his presence, image and style? Offhand, cynical, clever? Disillusioned? Life and mid-life crisis? The American poet? The quality of his poetic experience, imagination? His recitations and the audiences? Drinking and lack of meaning? A womaniser? The encounter with the young girl? The irony of hJs ticket being stolen? His journey and the traversing of the U.S.A.? His relationship with his wife, their clashes? Their living adjacent to each other? The meeting with Vera, the sexual encounter, the calling of the police, the rape accusation? Fantasy and reality? His being a barfly? Wandering the city? The encounter with Cass, attraction to her? His response to her symbolic action with the safety pin? Going home with her, the erotic encounter, passion? A relationship between the two? Her appearing and disappearIng? Prison and his offering bail for her? The hospital experience and the realisation of his own limitations? Vicki and Cass visiting him? The intermittent relationship with Cass and its effect? Suicide attempts? Her killing herself eventually? The beach house, the beach? Prospects? going to New York, his possibility of a career, fame? Cass' return, the closing of her vagina? The contrast between Cass' impulsiveness and meaning and his own life? His grief at Cass' death, his being turned out? The return to the beach, the sexual encounter idththe girl? The ordinary man, macho, American, mad or sane? Or both? Observation and/or insight?

8. The range of women: Vicki and her relationship with Charles, fighting him? Possibilities and failure? Vera, using her, her, using him, tricking him with the police? Cass and her mystery, beauty, madness, a victim, her symbolic gestures, appearances and disappearances, life as a prostitute, her despair? A woman of extremes? Her death, dressed as a novice nun, purity in death? A failure? The young girls as sex objects?

9. The contrast of the world of New York: poetry, art, cult, pretentions, money, fame? The types illustrating the world of New York and publishing?

10. The sleazy world of Los Angeles, apartments, the bars, the beach, police stations? A partial world?

11. The quality of the emotional experience? observing these tales of madness? Insight?

THE TALL T

US, 1957, 78 minutes. Colour.
Randolph Scott, Richard Boone, Maureen O'Sullivan, Arthur Hunnicutt, Skip Howeier, John Hubbard, Henry Silva.
Directed by Budd Boetticher.

The Tall T is a strong Randolph Scott western. It is one of many made during the '50s. The film has strong credits including a screenplay by Burt Kennedy who was to become writer director of many successful westerns during the '60s and '70s and is based on a story by acclaimed writer Elmore Leonard. Direction is by Budd Boetticher, who directed a number of westerns especially with Scott. His critical favour has increased over the decades.

The supporting cast is also strong and includes Richard Boone and Henry Silva (a type that he was to perfect for over 30 years). The heroine is Maureen O'Sullivan.

1. An interesting and enjoyable western? Popular ingredients of gunfighters, stagecoaches, sieges?

2. Colour photography, locations? Pace and action? Stunt work? Musical score?

3. The focus on Pat Brennan, a ramrod, a ranch-owner? His violence behind him? His being on board the stagecoach? The hold-up? His reaction? His being left with Doretta? His reaction to Usher? His shrewdness in undermining Chink and Billy Jack and their confidence in Usher? His,outwitting them in shootouts? The final confrontation with Usher? Doretta's suspicion? Her growing dependence on him? A hero of the West?

4. The hold-up of the stagecoach, the gang? Usher and his roughness, shrewdness, the death of the driver, the shrewdness with Willard Mims? Mims revealing Doretta's wealthy father? The possibility of a ransom? Usher and Willard's death? His despising him? His going to collect the ransom? The loyalty of his men? Their surviving his absence? The final confrontation with Pat Brennan?

5. Billy Jack and Chink following Usher, their cruelty, greed? The siege? The attitudes towards Doretta? Towards Brennan? Brennan's making them suspicious? Playing them off against each other? His outwitting them and killing them?

6. Willard Nims and Doretta? The proper couple in the West? Mims and his cowardice? His death? Doretta’s disillusionment? Her response to the hold-up? her dependence on Pat? The future with him?

7. The atmosphere of the western towns, Ed Rinton, Teenvoorde? The western background characters?

9. The picture of the American West? Violence? gunfighters? Law and order?

TARZAN'S NEW YORK ADVENTURE

US, 1942, 71 minutes, Black and white.
Johnny Weismuller, Maureen O'Sullivan.
Directed by Richard Thorpe.

Tatzan's New York Adventure is one of the later Tarzan films with Johnny Weismuller and Maureen O'Sullivan. By the early '40s they had appeared in a number of films and established the characters, established the character of Boy as well as Cheetah. This film relies on audience acceptance of those conventions.

The film has its opening in Africa, the familiar territory - where we see Tarzan and his family at home in the jungle. There is delight in seeing the familiar characters in familiar surroundings living their blend of primitive and civilised life.

The second half of the film has Tarzan going to new York. The delight of this part of the film is seeing the primitive man coming from the jungle and having to cope with city life. Part of the enjoyment is the transforming of Tarzan into the urban gentleman - clothes, manners, meals. It is enjoyable to see him incongruous in New York, in the hotels. However, with the dangers and the usual plot of kidnapping for circus exploitation, we see Tarzan able to exhibit all his action prowess - but in the trappings of the city.

The film, once again, highlights the noble savage, the noble heart and his instincts for good and evil, right and wrong. Jane has the opportunity to be at home in the jungle as well as in the fashions of New York. There are some excellent set pieces showing Tarzan in the city as well as his rescue work and the circus.

One of several very enjoyable and finely-crafted Tarzan features from MGM of the '30s and '40s.

TARZAN THE APE MAN

US, 1981, 108 minutes, Colour.
Bo Derek, Richard Harris, Miles O’ Keefe, Wilfid Hyde White, John Philip Law.
Directed by John Derek.

This film achieved some brief notoriety in 1981 because of its treatment of the traditional Edgar Aice Burroughs' characters and for the exploitation of Bo Derek. The criticisms were overstated. All in all, this is a pleasant enough yarn, fairly innocuous and only mildly suggestive. It certainly focuses on Jane rather than on Tarzan though Tarzan appears more than the criticisms led audiences to believe. Miles O’Keefe? is introduced in a non-speaking but yodelling role. lie fulfils all the activity requirements of Tarzan. He is also attended by cheetahs and elephants.

llowever, the focus of the film is on Bo Derek as Jane. The colour photography on location in Sri Lanka and the Seychelles Island is beautiful and of course is meant to match the beauty of Bo Derek. She is a rather prim 1910 American in search of her explorer father, who intrepidly speaks feminist points of view and goes on an expedition to encounter Tarzan and hostile tribe. Richard Harris portrays her father and gets top billing with Bo Derek. He seems to be enjoying himself - although he declaims and overacts as if Shakespeare had. written the part for him. John Phillip Law, on the other hand, is pleasantly restrained as his stolid assistant.

The dialogue at times tends to be over serious - played rather straight. At other times, the screen play is strongly tongue-in-cheek and is in the vein of humorous parodies of heroes of yesteryear, especially those done by Mel Brooks and Marty Feldman. There are obviously lapses in taste and in-jokes which may or may not amuse audiences. There are some action scenes but the film always reverts to Bo Derek. At times she acts well, at times does not at all. The film can be seen as one of several parodies of the past as well as nostalgia echoes of the straight up-and-down, black and white heroes and heroines of the past. These seem to be yearned for in so many action films of the late seventies and early eighties - following the Star Wars, Superman trend. Bo Derek's husband, former actor John Derek, photographed and directed the film. It is a pleasant, inoffensive piece of fluffy inanity.