TARZAN THE APE MAN

US, 1932, 99 minutes, Black and white.
Johnny Weismuller, Maureen O'Sullivan.
Directed by W. S. Van Dyke.

Tarzan the Ape Man is the first sound film in the Tarzan series and the first to star Johnny Weismuller. Weismuller was an Olympic swimmer and established himself well in the Tarzan role for over a decade. He is well-matches by Maureen O'Sullivan as Jane.

The film was directed by W. S. Van Dyke, an expert genre director from MGM who had worked in Africa at this time on Trader Horn. This film is quite studio-bound, with a lot of rear projection as well as an amount of stock material of the jungle.

The film is a romanticising of Tarzan. He is presented as the noble savage. He is presented in the context of the jungle and his harmony with the animals. There is the light and romantic comic touch in his interaction with Jane, learning her ways, her attempts to teach him English? There is also melodrama as he rescues Jane from dangers.

There is a lot of African flora and fauna, safari material, dangers and deaths, battles with dwarfs, elephants~rescuing the humans, gorillas, the elephants' burial ground.

The score was arranged by singer-composer, Ivor Novello.

The many sequels with Johnny Weismuller and Maureen O'Sullivan had great vitality and humour. Successive Tarzans generally worked according to formula. In the '80s there was a Bo Derek satiric Tarzan story, Tarzan the Ape Man, as well as Hugh Hudson's excellent and classic treatment, Greystoke: the Legend of Tarzan, King of the Apes with Christopher Lambert and Ralph Richardson.

1. The popularity of the Tarzan stories? The 19th century adventures of the noble savage? Primitive life and civilisation? The writings of Edgar Rice Burroughs? The cinema silent tradition and this film?

2. MGM production values: black and white photography, imaginative effects, studio?bound techniques, stock jungle footage?

3. The stars: Johnny Weismuller embodying Tarzan for over a decade? Maureen O'Sullivan as the personification of Jane? The strong supporting cast?

4. Tarzan as a figure of the jungle, the noble savage, the human instincts, the primitive instincts? His appearance in the jungle, the confrontation with the white safari? The attraction towards Jane? With her, learning English, imitating her? His harmony with the animals? The safari and the dangers, the rescue? The elephant?ride to the burial ground of the elephants? The attractiveness of Tarzan? Heroism? Larger than life?

6. Jane and her father, civilisation, the flighty city girl? Her love for her father? With Harry Holt? The expedition? The dangers? The encounter with Tarzan and her being carried off? The gentle treatment? His name? Her liking being with him? Harry's rescuing her and the death of the monkeys? Harry's attack on Tarzan and her pleading? Her being taken by the monkey to Tarzan and her helping him with his injuries? Affection? Her seeing her father, rescuing him? Reunited with her father, his death? her decision to stay with Tarzan?

7. James Parker and Harry Holt on safari, the African outpost, the lifestyle, the expedition, the native carriers, the animals, the dangers? The encounter with Tarzan and their fears for Jane? The shooting and the killing of the monkey, the injuring of Tarzan? Their understanding Jane's wanting to be with Tarzan? The danger with the gorillas? The dwarfs? The elephant burial place? James Parker and the elephant dying? Harry's return?

8. The jungle sequences, lyrical, comic? The basis of a cinema legend?

TRAPPED IN PARADISE

US, 1994, 111 minutes, Colour.
Nicholas Cage, Richard B. Schull, John Lovitz, Maedchen Amick, Dana Cavi, Florence Stanley.
Directed by George Gallo.

Trapped in Paradise is a pleasant entertainment, not particularly startling, often silly, but silly funny, not silly stupid. On the other hand, the three brothers involved do some very stupid things, including robbing a bank in the most friendly town in existence, Paradise, Pennsylvania.

Two of the brothers are perennial jailbirds. John Lovitz portrays a pathological liar, Dana Cavi is a kleptomaniac. Nicholas Cage, however, wants to do the right thing. There are echoes of It's a Wonderful Life and a kind of Frank Capra optimism in this 1990s treatment of criminals in a pleasant town on Christmas Eve. All kinds of mix-ups occur but there are quite a few laughs.

1. A pleasing comedy? The serious sides of the portrait of the brothers, their criminal behaviour, the town itself, their having to change their attitudes for Christmas?

2. The Christmas setting, the town of Paradise, Pennsylvania, the small town, its appearance, decorations for Christmas? Homes, families? Prison? The bank? The musical score?

3. The title, the experience of the three brothers, the irony of their wanting to get out of Paradise with the money but being trapped there? On Christmas Eve?

4. Bill Firpo, his work in the restaurant, the customers, the kitchen, New York City life? His wallet, finding the money? His going to confession, his saying that he returned the money, the priest, his knowing Bill, telling him about his brothers and their being released from jail?

5. Bill, not wanting to pick them up, going to the jail, Alvin and his going to the candy store on the way home, his attempts to rob the candy store? Bill's reaction, trying to put the money back, the brothers and their having to get away from the police?

6. Their mother, her comments, her attitudes towards each of her sons, her tongue? Dave and Alvin and their letter they have brought her, her weeping? The letter asking them to go to Paradise, the inmate, his daughter, their going to see her? Bill's reaction, the wallet being found at the candy store, going to Paradise with his brothers?

7. Christmas Eve, the local bank, its not having many guards or security? Sarah at the bank? The money arriving? Bill and his reaction to the money, Alvin and Dave and their having guns? The attempt to rob the bank, the masks, getting the money, the awkwardness of trying to get out?

8. Vic, in jail, people terrified of him, his plan to rob the bank in Paradise - and suddenly hearing the news that the bank has been already robbed?

9. The escape attempt, the brothers in the car, the crash, the river, their being saved, taken to the home of the bank president, his kindness? His story about the money, the money for the town's Christmas Club savings, the robbery causing the bank to close? The family and their kindness to the brothers, Sarah living there, her kindness? Taking them to the bus station?

10. Bill, his going to church, talking to Sarah, attracted to him, telling her that he wants to change - and Sarah's attitude, her thinking that he was a robber?

11. The getaway on the sled, the horse, their decision to rescue the horse? Bill, his change of heart, trying to persuade the brothers to return the money?

12. Vic, his escape from the jail, kidnapping their mother, Bill and his thumbing a ride - and almost being picked up by Vic?

13. The returning of the money, the police, the Anderson house and Vic inside, Ma and everyone else as hostage? Sarah revealing that she is Vic's daughter?

14. Dave, his having planned the robbery, the shootout, Vic and his being captured? The townspeople changing their minds, giving the brothers their alibi? Sarah and her love for Bill, forgiving him?

15. The return to New York City, Bill and Sarah staying in Paradise? The film as a 90s attempt at screwball comedy, Capra-like optimism? The funny situations, characters, dialogue?

THIEF

US, 1971, 74 minutes, Colour.
Richard Crenna, Angie Dickinson, Cameron Mitchell.
Directed by William Graham.

Thief is a brief look at a middle-aged American who has been a thief since a teenager and a gambler. He is in financial difficulties, wanting to get money to pay Reno gambling debts. We see him in action, with his sympathetic lawyer, with a woman with whom he has been living for some months and wants to marry to be the mother of his estranged son. While the ingredients are slight, the film gains from the strengths of the performances and offers brief insight into the characters. The action is brought to a sudden, ironic, violent ending.

Richard Crenna is persuasive as the irresponsible gentleman thief. Angie Dickenson is sympathetic. Cameron Mitchell gives a surprisingly warm performance as the lawyer who does his best for his client. Robert Webber is the Reno boss.

An interesting character study with social implications.

1. Interesting and entertaining telemovie? Character study? Social observations?

2. Americana - affluent city life, the good life, the gambling casinos, the jewellery shops, wealthy homes? Law, social workers?

3. The title and the focus on Neil? On his 'vocation'? The film's sympathetic but critical portrayal of the thief?

4. Neil and his relationship with Jeannie, his avoiding Charlie's phone call, his robbing the woman and still being charming to her, the encounter with Charlie, the decision to go to Reno? His visit to the social worker - and the social worker's dissatisfaction with his progress?, The decision to take Jeannie to Reno after the lunch, the gift of the pearls? Her hesitation? His love for her, wanting to marry her, his hoping to gain custody of his child? His irresponsibility, the gambling at Reno, losing more money? His dealings with the fence, bargaining for sales of jewellery, borrowing money? His not wanting to face his creditor? His decision to go in, the clash? His facing some responsibility? The decision to return home; to do more burglaries, his suave skill in robbery, manners? The reconciliation with Jeannie and telling her the truth? The desperate phone call to Charlie - unable to help him anymore? The irony of the thief in his own home, having read his card, deliberating that there was money, shooting him? The meaning of his life?

5. Jeannie and her broken marriage, relationship with Neil, man of mystery, hestitations, not knowing anything about him, the lunch and her waiting, the man trying to pick her up, her love for Neil, puzzle, the gift of the pearls, going to Reno, the return, hearing the truth - and the irony of her sleeping while he was killing?

6. Charlie as a decent lawyer, his phone calls, his contact with Neil, the fact that Neil did not tell him the truth, his going to Reno with him, pleading with the financial boss, his sympathy, not wanting a person to go to jail? Final exasperation during the phone call in the night?

7. The social worker, concern, exasperation with Neil and his irresponsibility? The chance meeting with the petty thief in the office and the irony of his coming and killing him?

8. The world of Reno, casinos, big business, financial interests, loans, debts? James Callander and his style, his reading Neil correctly, treating him realistically but toughly, his attitude towards Charlie? His comments on responsibility and accepting it?

9. The picture of the fence, his contacts, his control of Neil, the many robberies? His being able to control the money?

10. The glimpse of the people robbed - the woman doing the shopping, the society party and Neil using his charm? The world of affluence and consequent robberies?

11. Brief character sketches? Psychologically credible? The basic situations - and the insights offered?

THIEVES' HIGHWAY

US, 1949, 94 minutes, Black and white.
Richard Conte, Valentina Cortesa, Lee J. Cobb, Jack Oakie, Millard Mitchell, Joseph Pevney, Barbara Lawrence, Hope Emerson.
Directed by Jules Dassin.

Thieves' Highway is a tough thriller about truckdrivers and gangsters in California. It was written for the screen by the author of the novel Thieves' Market, A.I.Bezzerides (author of the Humphrey Bogart vehicle They Drive By Night). The film was directed by Jules Dassin, who was emerging as a director of tough thrillers at the period including Naked City, Brute Force. (After being blacklisted he moved to work in Europe with such films as Rififi, Never On Sunday, Topkapi.')

The film has a strong cast and marks the American debut of Italian actress Valentina Cortesa. Jack Oakie, later director Joseph Pevney and Millard Mitchell are very good as the hero, Richard Conte's, buddies.

The film is one of those realistic grim and gritty thrillers.

1. An interesting and entertaining thriller? Slice of life?

2. Black and white photography, the California roads, cities, markets? authentic atmosphere? The driving sequences, crashes? Musical score?

3. The title and the focus on the truckdrivers, the gangsters in the background, their pressures? On the U.S. roads?

4. The focus on Nick? His return to San Francisco? His reunion with his family? His vengeance against those who cheated his father, were responsible for the accident in which his father lost his limbs? His search? The truck-driving, the picking up of the apples? The difficulties with the pick-up, the indication of the rackets? His buddies? The drive during the night? The competition? The group of trucks and their getting through? The thugs and the bashing? The arrival in the city? Tracking down Figlia and his cohorts? The friendship of Rica, her contacts? helping him out? Her being used as a decoy? The final confrontation? Nick's vindication?

5. The portrait of Nick's associates - Slob, Pete, Ed? Their friendship, styles? The comic patter? The getting of the apples, the trucks and their need for repair? Driving through the night? Distances, fatigue? Ed and his crash? The film's sympathetic portrayal of these characters?

6. The home background? The portrait of Nick's family, their concern, the pressure from Figlia and co? Learning to live with this pressure? Polly and her hopes?

7. Figlia and his racketeers, the hold on the markets, the, apples and the farmers' pressure on them to sell under the price? The victims of racketeers? The pressures on the truckdrivers? The market scenes, Figlia and his hold on the fruit-sellers? Nick and his breaking into the monopoly? The violent clash? The'd~teat of Figlia?

8. Rica and her presence around the bars, the money to lure Nick, her being attracted to him, her decision to help him out and warn him?

9. A vivid picture of the markets, the rackets, the truckdrivers, pressures, The consequences for families? Violence? A persuasive slice of life?

THIRTEEN AT DINNER

US, 1985, 87 minutes, Colour.
Peter Ustinov, Faye Dunaway, Jonathan Cecil, Bill Nighy, Lee Horsely, Diane Keen, Alan Cuthbertson.
Directed by Lou Antonio.

Thirteen At Dinner is a telemovie version of Agatha Christie's Lord Edgeware Dies. It is a star vehicle for Peter Ustinov as Poirot, the role that he established (after Albert Finney in Murder On The Orient Express) in Death On The Nile and then in Evil Under The Sun. The ageing Poirot in this film is right into the television age. His old friend (the Doctor Watson equivalent) is Captain Arthur Hastings.

The film is also a star vehicle for Faye Dunaway in the glamorous, Marilyn Monroe style blonde, actress Jane Wilkinson. She has a double role, portraying a fashion designer Carlotta Adams. There is an interesting supporting cast of British actors and actresses including David Suchet as the obtuse Inspector Japp. Leigh Horsley sends up the serious moustachioed American hero of action films (in the Tom Selleck vein) as actor Brian Martin.

The film uses London locations well, is directed by telemovie director Lou Antonio. The acting tour-de-force prevents the audience, perhaps, from seeing through what is one of Agatha Christie's less mystifying mysteries.

1. The popularity of Agatha Christie? Her mystery puzzles? Clues? Solving the problem? In the form of Hercule Poirot?

2. British locations, London settings, John Addison's jaunty score? The techniques for Faye Dunaway's double role? Editing and pace for supplying clues?

3.The title and the emphasis on bad luck (especially for Donald Ross)? The more sombre title bit the original novel: 'Lord Edgeware Dies'.

4. The popularity of Hercule Poirot: Belgian, his skill as a detective, using his gre cells? His vanity? His friendship with Hastings and Hastings being the foil for him? Peter Ustinov's impersonation? Poirot in the TV age? The humour of having him interviewed by David Frost? His being lured into the mystery? Jane Wilkinson's begging for his intervention about the divorce? Brian Martin and his asking for his help? Play-acting? The visit to Lord Edgeware? The news of the death? His suspicions? The various interviews? His presence on the film set? The suspicion about Geraldine? The visit to Sir Montague - and his beating him at croquet? The discovery of Carlotta Adams' body, the spectacles? His testing them out on Miss Ellis and Miss Carroll? His phone call with Donald Ross? The discovery of the truth? His assembling all the characters in the theatre? His expose? His denunciation of Brian Martin and the satire at the expense of the so-called action actor with his work being done by a stunt man? The ingenious Poirot? Hastings and his friendship, not seeing the culprit, vocalising doubts? The foil to Poirot?

5. Faye Dunaway as Jane Wilkinson? The Marilyn Monroe-style blonde? vivacious? Watching the television? Carlotta's impersonation of Jane on the David Frost Show? The irony that Jane would use this? The dinner, the friendship with Carlotta? Imploring Poirot's aid? Her flamboyant style? Film-making? her wanting to divorce her husband, marry the Duke of Merton? The background of her affair with Martin? The death and the hostility of bar family? Her alibi? The discovery of Carlotta's death? The behaviour of Jane - the dress for mourning, the party, her flip answers? Her presence at the filming? Her being unmasked? Audience suspicions about her? The flashbacks to show the ingenious nature of her plan, the substitution with Carlotta, the tearing of the letter, the poisoning of Carlotta? Losing the glasses? Donald Ross's murder? Her being photographed at the end as a celebrity - her murders being more famous than her films? The satiric touches with the glamorous actress? The contrast with Faye Dunaway's performance as Carlotta, enjoying the hoax, friendship with Ronnie, her carrying off the hoax? Her death?

6. Audience suspicions of the minor characters: Ronnie and his drinking, escorting Carlotta, love for Geraldine, his presence at the house on the night of the murder, his arrest7.-at the hunt? Geraldine and suspicions, Jane during the jogging diverting Poirot's attention towards her? The relationship with Ronnie? Miss Carroll and her disapproval of Jane, her evidence, though not seeing Jane's face? The glasses? Miss Ellis and her work for Jane, her glasses?

7. Sir Montague and his party, guests, the croquet game - bad loser? The Duke of Merton with his so-called monkish style? His dismissal of Poirot - though Poirot reading his letter upside down?

8. Donald Ross and the dinner, the bad luck, his detecting the inconsistencies between Jane and Carlotta? His death?

9. Brian Martin and the American hunk star, the interview with David Frost, the stunt work and its ingenuity - and his appearing at the end of each scene and criticising, the frustrated director? The poking fun at film-making?

10. David Frost being himself? Successfully?.

11. The popularity of murder mysteries? Characters and stereotypes? Audiences perceiving clues? Trying to read character and motivations?

A TASTE OF HONEY

UK, 1961, 100 minutes, Black and white.
Dora Bryan, Robert Stephens, Rita Tushingham, Murray Melvin, Paul Danquah.
Directed by Tony Richardson.

A Taste of Honey was one of the major plays of the so-called kitchen-sink British drama which took London by storm from the mid-50s. The play was written by Sheila Delaney and set in Salford, near Manchester. The film recreates the atmosphere of the period and uses Salford locations to great effect in the black and white photography.

The film raised a number of themes. The focus at first is on family, where a promiscuous mother has detrimental effect on her immature young daughter. When the mother marries, she turns out the daughter. The daughter becomes very friendly with a gay social worker and they have a flat together. During a one-night stand, with a black man, the young girl becomes pregnant. The homosexual friend then becomes her saviour, her partner, preparing everything for the birth.

The film was directed by Tony Richardson who had directed a number of the film versions of these plays from the late 50s: Look Back in Anger, The Entertainer, The Loneliness of the Long-Distance? Runner. After that he won the Oscar for directing Tom Jones and moved to direct internationally with a variety of films, some specialist like The Sailor From Gibraltar and Mademoiselle, some big-budget films like The Charge of the Light Brigade. During the 70s and 80s he had a mixed career with film and television films, especially in the United States.

The film won many awards, especially BAFTA, with Dora Bryan winning best actress. The film also was screened in the Cannes film festival with Murray Melvin and Rita Tushingham winning the best actor and actress awards. Rita Tushingham also won a number of awards, including a Golden Globe, for most promising newcomer.

Rita Tushingham was to appear in a number of British films during the 60s, capitalising on her waif-like and slender appearance: The Leather Boys, Girl With Green Eyes, The Knack, Smashing Time. Murray Melvin was to continue as a character actor in many British films.

The film has a deep sense of humanity and compassion.

1. The meaning of the title, its irony, indication of themes?

2. The quality of the black and. white photography, the atmosphere of the nineteen-sixties, the emphasis on realism? How effective?

3. The film was based on a play. Was this at all evident?

4. How much emphasis was there in realism in the treatment? How much were the characters and their situations symbolic of modern life?

5. The film's focus on Jo: her North English background, a modern young girl in modern society. her relationship with her mother, the effect of her mother on her? The background of a sleazy life, their escaping from lodgings? The essence of her loneliness? How credible was she as a typical young girl, her needs, the inability of people to help her? How much compassion did the characterization evoke?

6. How credible was the relationship between Jo and Jimmy? The nature of their friendship, Jo as a schoolgirl, reacting to her mother and Peter, the sexual fulfilment, the problem of the baby? Jo's revulsion at having the baby? The providential friendship of Geoffrey? Her growing through this friendhsip and confronting her baby a bit more realistically?

7. How credible was the portrayal of Helen? Insight into a "good-time girl" grown into middle-age? Her love for Jo, her possessiveness? The slatternly nature of their home? Her lack of responsibility? Her singing, emphasis on her beauty, having a good time? The nature of her relationship with Peter? The trip to Blackpool and sending Jo away? Coming back to Jo when it suited her? of her taking over? The possessiveness and harshness

8. What was left between Jo and Helen at the end? for the future? What were the prospects?

9. The portrayal of men? Especially Peter and the types that Helen picked up with? Their capacity for relationship? The style of their lives, the quality of their lives? The bars, Blackpool etc.?

10. The contrast of Jimmy? The race question? Love without responsibility?

11. Geoffrey and his wistfulness? A note of optimism? The treatment of homosexuality? Geoffrey and his capacity for being hurt? Helen's cruelty at the end? Jo's searching for him? Her not following up the search? The future for Geoffrey and his loneliness?

12. How pessimistic was the film? How bleak and bitter? Were there any hopeful signs? An insight into English life? Into human beings and their plight?

TEA FOR TWO

US, 1950, 98 minutes, Colour.
Doris Day, Gordon Mac Rae, Gene Nelson, Eve Arden, Billy de Wolfe, S.Z. Sakall, Patrice Wymore.
Directed by David Butler.

Tea For Two is one of the best-known songs from the musical No, No Nanette. The plot of No No Nanette is updated to the '50s for this Doris Day-Gordon? MacRae? musical. It is one of the many musicals that Warner Bros made at this time, taking song titles to enhance their popularity. This could be the archetypal Warner Bros musical of the period.

Doris Day is at her bright and beezy best. Gordon Mac Rae is a singing hero. Gene Nelson dances energetically, Patrice Wymore sings Crazy Rhythm and also dances with vigour. Billy de Wolfe provides his usual raised-eyebrow style of comedy, there is S.Z. Sakall being as cuddly as usual- and there are also eve Arden's wisecracks. who could ask for anything more?

The film contains a flashback from the '50s to the crazy days of the late '20s. The setting is the Wall Street crash. There are many songs from No, No Nanette as well as other popular songs of the period. Direction is by David Butler who directed nany of these musicals.

1. The popularity of this kind of Warner Bros. musical comedy of the '50s? The theatrical background? The music, singing and dancing? Doris Day? Gordon McRae?

2. The background of the plot of No, No Nanette, the score, singing and dancing? Colour photography? America in the '20s? Theatre, Wall Street, mansions? Fashions and style?

3. The flashback style of the the '50s and the youngsters learning the lesson of the '20s? The humour of the ending with Macrae and Day as their parents?

4. The show must go on genre: the show itself, the stars, the need for money, the Wall Street Crash, the double dealings, the bet that Nanette makes, the jokes, the happy ending?

5. Doris Day as Nanette, singing, in love with Jim, singing, dancing, her uncle, the bet, her having to say 'no' and her devices for saying it? Her role in the musical, the rivalry with Beatrice, Larry and their engagement, his two-timing? In love with Jim ? Her uncle? The advice from Eve Arden and her wisecracks?

6. Jim and his singing, in love? Gene Nelson as the buddy, the show must go on, choreography, dancing?

7. Larry and Billy de Wolfe's raised eyebrow, double-dealing? Patrice Wymore and her singing and dancing? Virginia Gibson as the ingenue dancer? her prima donna style?

8. The contribution of eve Arden and her character, wisecrack observations, contribution to the plot?

9. S.Z. Sakall and his cuteness, worried comedy?

10. The popular ingredients of the '50s musical?

TEXAS

US, 1941, 94 minutes, Black and white (released in sepia).
William Holden, Glenn Ford, Claire Trevor, George Bancroft, Edgar Buchanan.
Directed by George Marshall.

Texas is an old-style western. It was a star vehicle for two emerging stars of 1940: Willian Holden who had made an impression in Golden Boy and Glenn Ford who had appeared in So Ends Our Night. They seem, in the light of their subsequent careers, particularly young. They were to be teamed later in The Man From Colorado, an effective western directed by Henry Levin. In this film Holden is the baddie and Ford the hero. They reverse roles in the later film. Claire Trevor, who had made some impact in Stagecoach, is a lively heroine. George Bancroft appears as a tycoon in Texas. The show is stolen somewhat by Edgar Buchanan as Doe, the wily dentist, with a song-and-dance routine, who is the mastermind of the rustlers.

The film purports to be a focus on Texas after the experience of the Civil War, sees itself as working on a grand scale and in fact has some strong cattle-moving sequences. Direction is by George Marshall, director of such westerns as Destry Rides Again, who was to work in the '40s and '50s, specialising in westerns. Glenn Ford was to work with him many times including such westerns as The Sheepinan.

1. An interesting and enjoyable western? The American heritage? The state of Texas?

2. Black and white photography, editing and pace, stunts and special effects, the western town, the open countryside, the cattle runs? The railroad? Musical score? Songs?

3. The title and its focus, Texas and the Civil War, the southerners, the Union, the United States? The opening up of the state? The railroad? Cattle, cattle-rustlers? The need for the Eastern Seaboard states to have meat? Americana?

4. The focus on Dan and Todd? Their experience in the Civil War? Their arrest? Their fine being paid by Windy Miller? Dan and his being hot-headed, Todd calmer? Good friends? The boxing bout and Dan's success? Their going on their way? Paying all their debts? The holding up of the stagecoach, their robbing the robbers? The pursuit and Dan's escape? His working for Mike and her father? Danny and his escape, threatening that there were Indians, his clash with Mike and the carriage? Their going their separate ways? Dan and his meeting up with Doc, the extraction of his tooth, becoming part of the gang, involved in cattle-rustling? Todd and his working, becoming an authority on cattle, falling in love with Mike? Their meeting, on different sides of the fence? The dilemma in the town, the cattlerustling, the need for the herd to go through, Todd persuading the people? The cattle herd, the trek? Todd and his success, his being wounded? Dan and his participation, the plan, his thwarting the plan and robbing Windy Miller? The build-up towards the violence, the shoot-out, Windy Miller's death, the confrontation with Doc, their deaths? Todd and his friendship with Dan, death? The romantic rivalry - Dan and his gallant sweeping Mike off her feet? Todd and his perseverence? The work of the two young stars in the film?

5. Mike, ladylike, boisterous, the encounter with Danny, the friendship with Todd, love for her father, the cattle, swept off her feet by Danny, the dances, romance, the possible marriage? Todd and his devotion?

6. Windy Miller and his status in Abilene, the courts, his influence, the railroad? Tying in with Doc and the rustlers? His deal for getting the cattle? The plan for the stealing of the cattle? The friendship with Dan and Todd, the boxing match and his betting, the final confrontation with Danny? The powerful man of the West, working outside the law?

7. The stagecoach robbers, their attitude towards Danng, his becoming part of the gang, the cattle-rustling, his influence on them, their robbing Windy Miller? Their boss and his dealings with Doc? Danny's confrontation, deaths?

8. Doc and his presence on the stagecoach, false teeth, his seeming innocence? Hi's appearance, rough? His dental work in the town? Humour, ironic? His song and dance turns? His masterminding the rustling, ruthlessness, final confrontation with Danny?

9. The themes of Texas, the western towns and cities, the opening up of the railroad, the cattle treks and rustlers, law and order, violence and the West? American heritage?

THERE'S THAT WOMAN AGAIN

US, 1939, 72 minutes, Black and white.
Virginia Bruce, Melvyn Douglas, Margaret Lindsay.
Directed by Alexander Hall.

There's That Woman Again is a second feature of the late '30s. It is a detective story, very similar to episodes of television series of the '70s and '80s. In fact, these second features ran only just over an hour, not much more than the time for the average episode of the series.

This is the second in a series of two where Melvyn Douglas plays a detective. His wife in the first filia was Joan Blondell. Here she is Virginia Bruce - one of the most scatterbrained and irritating wives in screen history. Douglas is tempted to murder her at times, so he says -and the audience is in agreement. Nevertheless,this husband and wife, especially the wife in her daffy way, solve the murder and robbery mystery. Margaret Lindsay, a star of the period, is the suave villainess.

The film was partly in imitation of the Nick and Nora Charles stories of Dashiell Hammett's The Thin Man, popular at this time. Melvyn Douglas and Virginia Bruce are no match for William Powell and Myrna Loy.

The film seems particularly dated - and yet, if one overlooks the fashions, styles and manners of speaking, it is probably just the same as the television episode.

Direction is by Alexander Hall, a director of many romances and comedies at Columbia in the '30s and '40s.

THEY DRIVE BY NIGHT

US, 1940, 97 minutes, Black and white.
George Raft, Humphrey Bogart, Ann Sheridan, Ida Lupino, Gale Page, Alan Hale, Roscoe Karns, John Litel, Henry O'Neill, George Tobias.
Directed by Raoul Walsh.

They Drive By Night is a still, very entertaining truckie melodrama. It was a typical Warner Bros. production, was directed by Raoul Walsh, the veteran of so many action films at Warner Bros. It also had a very strong cast - doing their expected thing, but entertainingly so. George Raft and Humphrey Bogart are brothers. Raft had established himself as an actor by this stage. Bogart was about to emerge as a considerable presence. He followed this film with High Sierra and was soon to make The Maltese Falcon, Casablanca. Ann Sheridan was a star at Warner Bros, Ida Lupino a character actress.

The film has the atmosphere of the truck-drivers in California, their hard lot, payments, the tough life. It is complicated by melodrama, murder and romantic jealousy. The film is an enjoyable one from its time.

1. The entertainment value of Warner Bros. melodramas? How well does this film fit in? Taut action, romance, melodramatic resolution?

2. Warner Bros. production values: an atmosphere of the road, the trucking stations, the cafes, courts? Black and white photography? Atmospheric musical score?

3. The title and the indication of themes? The truckies, their way of life, difficulties? Night and dark, day and light? A shadow life? The themes of relationships? The men and women of the road?

4. The focus on the two brothers? Joe and Paul and their bonding? Their working together? Joe's ambitions? Paul as more volatile? Their work, the payments on the track, the corrupt boss, accidents, injuries? The deals? The encounter with Carlsen? Friendship with Cassie? Paul's accident and his working for Carlsen? The encounter
with Lana, her forcing herself on him, his talking about his feelings for Cassie, her vengeance, the contriving of Carlsen's death, her telling the truth to Joe, framing him?

5. The two brothers and the two women? Emotional tangles? Resolution? The character portrayal - George Raft as the more subdued and coping brother? Humphrey Bogart as the more emotionally involved?

6. Cassie and her work as a waitress, friendship with the brothers, with Joe, with Paul? Her friendliness, going on the road, her banter? A sign of contradiction for the brothers?

7. The Carlsens - Carlsen and his fleet of trucks, friendship with the brothers, giving them jobs, accidents? His relationship with Lana? Lana as the femme fatale, her ability in the firm, keeping the books, organising the team? Her relationship with her husband? The attraction to the brothers, to Joe? Her dissatisfaction with her life, the murder, her telling Joe? The court scene, her breaking down and going insane in front of everyone?

8. The range of minor characters: the truck-drivers, the garages and cafes, the men in the trucking firms? The court sequences? Authentic atmosphere?

9. The familiar material of the truck-driver's life? The familiar melodramatic aspects of jealousy, murder and betrayal? The elements of soap opera - but dramatically presented?

10. Satisfying entertainment? A slice of life? A focus on values,