STORM FEAR

US, 1955, 88 minutes, Black and white.
Cornel Wilde, Jean Wallace, Dan Duryea, Lee Grant, David Stollery, Dennis Weaver, Steven Hill.
Directed by Cornel Wilde.

Storm Fear was the first film to be directed by Cornel Wilde who had a ten-year or more period as a Hollywood idol, even receiving an Oscar nomination for his portrayal of Chopin in A Song to Remember, 1945. Over the next twenty years he made eight films, generally action films, often with his then wife Jean Wallace. They include Lancelot and Guinevere, The Naked Prey, Beach Red, No Blade of Grass.

This is familiar material, a group on the run from a bank robbery visit the house of the leader’s brother and threaten the family. This is familiar material from the different versions of The Desperate Hours. Cornel Wilde plays the leader of the robbers with Steven Hill as one of his henchmen. Day Duryea portrays his successful brother, married to Jean Wallace.

The film is brief, creates an atmosphere, along with Elmer Bernstein’s score. The writer was Horton Foote, later author of such moving films as The Trip to Bountiful and Tender Mercies.

1. The significance of the title for the weather during the film and also the internal states of mind?

2. How successful a melodrama was this? Did it matter if it was not original? What insight into human behaviour and character is possible via melodrama and its conventions? The heightening of dramatic situations for excitement and for insight? Was the film successful here? Why?

3. How well did the film combine its various elements to make satisfying, grim entertairment? The credibility of the criminals, their robbery and their escaping to the farm, the family with the tensions of situation; the role of David Jr, the family and his relationship to Uncle Charlie; the isolation of the farm in the weather and Hank as the farmhand? How interesting did these ingredients make this melodrama?

4. How realistic was the home situation and its unhappiness? How was this quickly established in the early sequences? The relationship between Elizabeth and Fred? The relationship of Davey to both? The contrast of his relationship to Hank with his parents? How did this give a basis for the melodramatic developments to follow?

5. Who was the central character of the film? The boy, Charlie, Elizabeth? Would this alter our response to the film? Why?

6. How well presented was the character of Davey? His life on the farm, relationship to Hank, to Fred, to his mother? 'Why did he respond so well to his Uncle Charlie and want to help him? His experience of violence during that time, the fact that he wanted to lead Charlie to safety, what he saw of his father's suffering and his mother's suffering? His seeing of Edna left in the snow, his shooting of the criminal? And his seeing his uncle shot? What was the ultimate effedt of his so being used by adults and his future life? Was this facet of the child's role in the film. well explored?

7. Did the film establish relationship between Elizabeth and Fred successfully? The radio and the bickering. the role of Hank? Their discussions about their marriage, the fact that David was Charlie’s child? Fred's ambitions and his disillusiorment? His self-awareness at Hank's speech? The pathos of his death in the snow? His attitude towards Charlie and the others?

8. How attractive a criminal was Charlie? What were his good qualities? His bad? His being sorry and thoughtless? His impact on Elizabeth? On Fred? The clashes with Benjie? His impact on Davey and his response to him? How much was love and how much using him? Did he tell him the truth or did he tell him lies about his past to help Davey? His carrying him to the shack? Was there any other end for him than what he received?

9. How conventional were Benjy and Edna as criminals? Benjy’s maniac attitude towards people? His cruelty and violence? Edna, and the typical gangster's moll? Her human touches? The pathos of her being left in the snow and its effect on audiences?

10. How attractive a character was Benjie Rio help for Davey? The implications of his talk in the kitchen and his being overheard? His pursuit of Charlie and shooting him? The future for Elizabeth and Davey?

11. The film was grim and violent with several deaths. What attitude towards death and crime did the film have?

12. Was the resolution satisfying? The death of Charlie and the reunion of Davey with Elizabeth and Hank? What future would they have?

STORM WARNING

US, 1951, 93 minutes, Black and white.
Ginger Rogers, Ronald Reagan, Doris Day, Steve Cochrane.
Directed by Stuart Heisler.

In retrospect, Storm Warning is a very interesting film. It was produced during the unAmerican activities witch hunts for communists as well as the period of the black list. Instead of focusing on communists, this screenplay (written by Richard Brooks who had already written Crossfire and was about to become a director, including versions of Tennessee Williams’ Cat on a Hot Tin Roof, Summer and Smoke and In Cold Blood). The film was directed by Stuart Heisler who had directed a number of interesting films in the 1940s and was to direct The Star, I Died a Thousand Times.

Ginger Rogers portrays a model visiting a southern town to see her sister, played by Doris Day in a non-singing role. She is married to a member of the Ku Klux Klan, Steve Cochrane. Ronald Reagan portrays the local district attorney. When the model sees a murder committed, she collaborates with the DA to bring the killers to justice. In the process, the film unmasks the members of the Klan, their bigoted attitudes, as well as their violence. The Klan had been the subject of a number of films – favourably in D.W. Griffith’s Birth of a Nation, unfavourably in Otto Preminger’s The Cardinal as well as Costa-Gavras’? 1988 film, Betrayal.

The film is interesting in a 1950s perspective on the Ku Klux Klan and its activities as well as its moral and political stances.

1. The meaning of the title? Its reference to the people? to the United States? Audience expectations? The use of clouds during the credits?

2. The style of the film of the 40s and 50s? Black and white photography?

3. Thriller structure and techniques? Type structure and characterisation? How effective? The exploration of such themes in 1950? The portrayal of America? American feeling and patriotism, social comment, abuses in the south? The use of prominent film stare for such a message film? Its impact then, now?

4. How well did the film balance the plot and the message? The effect of seeing Ginger Rogers whipped. Doris Day shot?

5. Consider the film as a piece of Americana: the social observation of people, towns. structures; a picture of the south; American politics and law and order; the abuse of the Klu Klux Klan; popular frenzy and hysteria; social injustice? How well explored and presented were these issues?

6. The Klan? Our first seeing it in action, the explanation of its organisation and purpose, its seeing issues in black and white, white supremacy over blacks, the background deals of swindles and the use of money? The Klan seeing itself as doing good? Did it do any good? Its disruptive hold in the town? Cruelty? The pressures for loyalty? The rights, the dress, the violence?

7. Comment on the use of the structure of an outsider visiting a town, the tight organisation, viewing a murder and being puzzled, being affected by the issues, affecting the issues and then leaving. How did the audience share this particular point of view?

8. The importance of Marsha as the central character? Audience identification with her as the outsider, observing the situation, the emotional involvement, the fears? Marsha presented in the bus, the job, family life? As a weak and ordinary person, frightened? Her reaction to the murder? To her family and Hank? Her wanting to help yet being afraid? Being pressurised by the family? The pressure by Rainey? Her withholding evidence, the inquest? Her self-disgust and people’s congratulations? The brutality of Hank? The brutality of the Klan and her being whipped? Seeing her sister shot? Audience identifying with this characters?a sophisticated New Yorker in the south? How would she stand for most people’s reactions?

9. Audience identification with Lucy and her ordinariness? Her home life, marriage, looking forward to a baby? Gradual disillusionment and fear? The fact that she was shot? Thematically? Dramatically?

10.How fair was the portrayal of Hank? His participation in the murder, his brutality? Pity for him and disgust? A yes man? Easily intimidated by both sides? His final cruelty? His attack on Marsha? How typical was he of the type of man that the Klan attracted?

11.The contrast with Rainey and his fight ofr law and order? His goals? The frustrations of collecting evidence and stacked courts?

12. The presentation of the Klan people, pressure on jobs and families, on the courts? The presumption that they would get off scott free?

13.The presentation of the trial? Mrs Adams? The hysteria of the people?

14.How valid were the judgments made on this kind of society? How important that films should be made on organisations such an the Klu Klux Klan?

THE STORY OF ALEXANDER GRAHAM BELL

US, 1939, 98 minutes, Black and white.
Don Amerche, Loretta Young, Henry Fonda, Spring Byington, Charles Coburn, Harry Davenport, Gene Lockhart.
Directed by Irving Cummings.

An entertaining and interesting film rather than a study of the inventor. It was made at 20th Century Fox at a time when Warner Bros had the market on studies and biographies, especially those starring Paul Muni, for example Louis Pasteur, Emile Zola, Juarez.

Popular comedian and light actor Don Ameche is serious-minded as Bell and shows some of the difficulties of the genius inventor, his poverty and his attraction for Mabel Hubbard who influenced his work. Loretta Young is charming in this role. Henry Fonda offers solid support as Thomas Watson, Bell's assistant. The film illustrates Bell's understanding of elocution, the ear, the transmission of sound waves and the possibilities of transmitting sound waves through wires?, The invention of the telephone is a momentous occasion and is demonstrated humorously. The problems of patents and court cases are also shown. Not a great film but pleasant and interesting.

1. The appeal of film biographies of famous people? Their life, personality, achievement, difficulties?

2. The popularity in the thirties of biographical films? The stars? The 19th century atmosphere?

3. Bell's fame, achievement, impact on communications in the 20th century? The film as a tribute to him?

4. Don Ameche's style as Bell? His work with the deaf and his skill, knowledge of elocution and sound, concern? The scenes with George and his father? His scientific abilities? His application to his work? A strong character and a pleasant one yet able to cope with difficulties? The meeting with Mabel, her encouragement of his work? Accidental discoveries of the transmission of sound? His work with Watson and their hunger and tiredness? The support of the wealthy Mr Hubbard? Bell's tirelessness, joys of discovery?

5. Henry Fonda’s portrait of Watson, his help, his being a practical man, his humour, poverty and starvation, sharing Bell's achievement?

6. The atmosphere of Boston in the 19th century, 19th century experiments, patents, financial interests. companies, fears, court cases?

7. The character sketch of Mr Hubbard and his punctuality, eccentricity, hesitations about Bell, ruling of his house, his ultimate support of him? Mrs Hubbard and her genial support?

8. Mabel and her hitting Bell in the snow, her disability, her need to lip read, her shutting her eyes and not hearing? An attractive girl, her sisters? Her determination to marry? The carriage ride and her support of Bell, her advice to him, waiting, her decision to marry with the prospect of the trip to England? Her support of the court case with the letter and the interrogation?

9. The various demonstrations and tests? The final unveiling of the telephone - the musical arrangement, the humour of the landlady rousing on Bell? The demonstration for Queen Victoria?

10. The change of atmosphere with the court case, the impugning of Bell's honesty, the abuse? His presenting himself honestly? The statements of the lawyers? The lack of evidence. Mabel producing the letter, its being conclusive? The Western Union people coming to Bell and the amalgamation?

11. The joy of the birth of the child? Bell's future? How enjoyable a study of a personality, a man with opportunity, his need for support? A portrait of inventiveness, genius and the way inventions are discovered?

DZIEJE GRZECHU (THE STORY OF A SIN)

Poland, 1975, 130 minutes, Colour.
Grazyna Dlugolecka.
Directed by Walerian Borowczyk.

The Story of a Sin is one of the earlier films of famous director Walerian Borowczyk. He had made Gotto Island of Love as well as Blanche (1971) and established himself as a serious director. He made this film in his native Poland before moving to France – and to much more explicit erotic themes in film films (Behind Convent Walls, Three Immoral Women, The Beast …)

This film is based on a well-known Polish novel by Stefan Zeromski.

The film opens with a young girl, Ewa, confessing and worried about impure thoughts and feelings. What follows is more than one sin. She becomes involved with a young man, becomes pregnant, kills the child when she is abandoned, moves into prostitution, travels abroad and becomes involved with confidence tricksters.

Borowczyk is much more reserved in his presentation of this story of sins. It does not have the overtness of his later films but relies rather on suggestion – perhaps because he was working in the Poland of the 1970s with the Communist Party in control and with the influence of the church. This leads to one of Borowczyk’s more reticent but most successful films.

1. The overall impact of this film? A Polish film? The atmosphere of the turn of the century?

2. Comment on the visual style, the recreation of period, the Polish atmosphere of city and country, the international flavour? A social film, a psychological film? How contrived, yet how authentic?

3. The significance of the title, what meaning of sin? The initial Catholic emphasis and the happiness and guilt? The downfall frame work and structure of the film, the conventions of the fall of a woman, her responsibility towards others and her harming them? How sinful was this?

4. How much initial empathy for Eva? The meaning of her name as ‘sinner' or as the person who lives? What was she like at the beginning? How did she change and why? Was she a hopeless case? The possibility of redemption and forgiveness of her sin?

5. The importance of the initial Catholic atmosphere, Catholic Poland, the Sacraments, the emphasis on purity and Innocence? Eva and her Innocence, her infatuation, her not going to Communion? The beginning of her downfall? How much was she a victim of circumstances? The irony of Lucas' divorce, his being in the city and meeting hero, their mutual infatuation? Forgotten influences and accidents shaping Eva’s whole life and downfall? The irony of life and environment? How much was the film blaming individuals, free will, circumstances?

6. Eva’s mother and her influence on her, her propriety, the fight that she had to prevent her leaving? Her mother's late hostility and wanting her out of the house? Comment on the mother-daughter relationship? Contrast the father-daughter relationship, the father as a genial and loving old man, proud but out of work, a drinker? His regret at Eva’s leaving, his welcoming her back? The importance of her parents on Eva and her subsequent career?

7. The irony of Eva’s seeing Horst wake the prostitute in and her innocent reactions? The contrast with her later life, Horst's following her and wanting to marry her? His seeing her when she was at her depths?

8. The impact of Lucas? How admirable and likable a character? The detail of his arrival and Eva’s awareness of it, the audience gauging the effect of his impact on Eva? A man who loved but told the truth, who didn't want to harm Eva, who wanted the divorce and the annulment and went to great lengths for it? Comment on the film's building up their relationship by showing their mutual letters and reading, Eva reading them at work, the roses and her discovery of sensuality?

9. How profound was the impact of Lucas's presence and then his absence on Eva? How did she change, the deal with her sister, the long vigorous fight sequence with her mother? Her leaving?

10. The intensity of her tracing Lucas, the story she told, the reconciliation in the rain? How irrevocable was her commitment to him by this time?

11. The impulsive decision to leave her work? Her going to the hospital and what it meant to Lucas? The story of the Count and the duel? Her living as his wife, yet separate and the comments of the Jewish landlord? His spying and our spying with him? Her pregnancy, the importance of the sequence of the birth of the baby, her doing everything herself, her killing her child? How much audience sympathy for her at this stage? (The consequence of the sensual experience between the two?) The irony of Lucas' being absent and not knowing any of this?

12. The introduction of the Count, his liking of Eva, his loyalty towards Lucas, keeping her informed, supplying her with money? His pursuing her to the city, making good her robbery? The irony insofar as what was to come? Her seeing him at home, his proposition to her at the art gallery? His enabling her to make a new start In searching for Lucas? Why did she accept? Her dislike of the Count?

13. The irony of Lucas' having been freed from the Roman prison, the irony of the sequence at the Riviera and discovering that he had been back to Poland and had been disillusioned with her? Eva’s immediate sexual response? Eva then becoming a victim of the men, yet also a victim of herself?

14. The presence of the Count and of Stephen? Their earlier presence giving hints of what was to come? Stephen's spying out the Count and Eva? His hold over Eva because of the death of the baby, pursuing her from the train, his scheme and her evil consent? The importance of her luring the Count to the city? The pressure of her writing the letter and the subjective effect of her voice on the Count making him come to the city? The irony of his sensual experience and Eva’s destroying him? The victimization of the Count?

15. The impact of seeing Eva, now as a prostitute, her whole way of life and learning the tricks of the trade? To what had sin led her?

16. The irony of the possibility of her redemption, the eccentric Count and his interview with her in her room, the establishment that he ran, the discussion amongst the girls themselves of their own happiness, the possibility of a Utopia of redemption? And yet Eva could leave this. (The significance of her grief at the Count's death and the failure of his experiment?)

17. The final irony when she was at her depth of prostitution again, dependent on Stephen and the Count, their petty thieving, their decision that Lucas be the victim? The importance of her warning him against being killed, the fact that in prison when she died the was still loved? The possibility of some kind of redemption?

18. How moral a film was this? Its exploration of individuals and environment, circumstances? Sin? The woman as the virgin and the whore? The achievement of this kind of film?

STORIA DI UNA DONNA (THE STORY OF A WOMAN)

US/Italy, 1970, 90 minutes, Colour.
Bibi Andersson, Robert Stack, James Farentino, Annie Girardot.
Directed by Leonardo Bercovici.

The Story of a Woman is a very emotional film. With an international cast, it has Bibi Andersson as a woman struggling with her relationships with two men, played by Robert Stack and James Farentino. Set amidst beautiful Italian settings, Rome and Cortina, the film probes the dilemma of the woman and her final decisions.

1. The tone of the title, its appeal? The emphasis for a feminine audience? A woman's picture?

2. What constitutes a woman's picture? Aspects of plot and characterisation, situation, emotions? Why is this genre looked down on by critics? Was this a good example of the genre? The emphases of the 60s compared with previous decades?

3. The importance of colour, Roman locations, Sweden, America? The finale in the snowfields at Cortina? How real a world was this, the world of glossy magazine stories?

4. The focus on Karin? Could the audience identify with her? Was she an interesting character, her experiences interesting? Sympathetic? Typical? Her strengths as a woman, her weaknesses?

5. Response to the contrived accident at the start? An introduction to ordinary people, to Karin and her work as a student in Rome? The introduction to Bruno and his Italian charm? (A genuine Italian, or an American-style Italian?) How well did the film show their growing relationship, their sharing Interests, the sensual aspects of their love? The romanticizing of it, the running through fields...? The counterpoint with Karin and her musical work? Her ability to cope with the affair? The effect on Bruno and the genuineness of his love for her?

6. The impact of the revelation that Bruno was married? Audience like or dislike of Liliana? The way that she hurt Karin? The impact of the truth on Karin? The encounter with Bruno outside the apartment? Their bickering during the drive? The reason for Liliana’s death? The effect on Bruno? The irony of his letters being unanswered?

7. How well did Karin cope when she returned home? The picturing of her in lonely landscapes? The effect of the affair and the breaking of it? How well did she cope and get over it? How well did she think she did?

8. Another chance encounter with David? David and his contrast with Bruno? The reliability of his work, his background? A gentleman and courteous? His entering Into Karin's family and their celebrations? The genuineness of his marriage proposal? Her wanting to tell the truth? Her love for him? The transfer to America, the swift transition in time to show how they had established the marriage, child, status?

9. The importance of the theme of telling the truth? Was this credible behaviour on Karin's part? Was it inevitable that she should begin to tell lies? The effect on her, on David?

10. Audience anticipation of Karin's meeting Bruno again as the plane went towards Rome? The chance encounter at the party, his pursuit of her? Her trying to cope by returning to her music? Her not telling her husband the full truth? Seeing Bruno at the football and David's sharing in this? The sequence on the holiday and his saving the child, his football injury and Karin's visiting the hospital? What did she discover about her emotions?

11. The effect of Bruno on Karin, her moodiness, her lies and confusion? The effect on him and the reawakening of his love, without any ties?

12. The effect on David, the credibility of his patience, the transition to anger when he confronted Karin? Should he have done otherwise? Was he too angry?

13. Was the snow holiday a good thing? What was revealed about their love, about each of them, to each other? The credibility of Karin's final decision? The impulsiveness of Bruno's death?

14. How realistic was the uniting of husband and wife at the end? A basis for a future?

15. How typical of the plot ingredients of a women's picture? Did it transcend the ingredients? What values about life, marital relationships, affairs did the film presuppose in its audience?

STRANGE BEDFELLOWS

US, 1965, 98 minutes, Colour.
Rock Hudson, Gina Lollobrigida, Gig Young, Edward Judd.
Directed by Melvin Frank.

Melvin Frank and his writing partner, Norman Panama, wrote a number of very funny films including Knock on Wood and The Court Jester for Danny Kaye. This is not one of their better efforts. It was a concoction to reunite Rock Hudson and Gina Lollobrigida after their success in Come September in 1961.

Rock Hudson, in only a slight variation on the roles that he was playing against a number of Hollywood’s leading ladies in the 1960s, is an oil executive who has impulsively married a bohemian Italian artist, played by Gina Lollobrigida. They agree on nothing and decide to divorce. Five years later, they meet again, Hudson is persuaded by Gig Young that it would be better for promotion if he were married and they try again to marry. In the meantime, Edward Judd is engaged to Lollobrigida.

The film is slight, amusing rather than funny – although there is some farce in a Lady Godiva parade through London.

1. The continued appeal of American marital and sex comedy? With social overtones? How good an example was this? A contribution of the sixties style?

2. The importance of colour, London locations, music or commentary, the stars? The guest stars? Audience expectations from this kind of film, their fulfilment?

3. The suggestive tone of the title? The political references during the film? The irony of the title as regards the central marriage? Indication of themes?

4. The quality of the dialogue, the wit, the hilarious situations and their impact?

5. The importance of the humour in the prologues the rushed nature of the marriage, the fulfilment, the differences, the career and characters of the main two? The tone for the whole film?

6. Carter Harrison as the typical American type? A Rock Hudson role? His conservative American ideas, his emphasis on action, success in business, love and attractiveness. yet his inability to stand the ideas of his wife? The dominant and scheming and manoeuvring type? How admiral, how repellent?

7. How likable was he, the plausibility of the story, his plot. his acting a role, his jealousy? Was his conversion genuine at the end? Would he really change?

8. How attractive a woman was Toni? The Italian background. very feminine, the humorous aspects of her character, the eccentricity of her causes. her quick ability to fight? Her reliance on Harry? Succumbing to Carter? Could she see through his deception? The reality of her forgiving him at the end?

9. How conventional a man was Harry Jones as the other man? His causes, love for Toni, British nonchalance, the C.I.A. deception?

10. Carter's American friend? The pressure and the push about American morals and standards? His participation in the deception. especially about Godonga? His being deceived by Jones as regards the C.I.A.? The satire on the American businessman?

11. The satire on the American boss and his wife, their moral expectations? Reality? The airport scenes?

12. How successful in the bedroom farce was the film? Tender moments transforming into anger and fights?

13. These farcical aspects of Toni’s causes? Especially the Art meetings? The Lady Godiva enterprise and the fiasco in the streets?

14. The contribution of the taxi comedy with the taxi driver's communicating the messages and the argument? The contribution of Terry Thomas as the undertaker?

15. The climax at the airport as a build-up to the issues for the film?

16. Carried over into the street crisis and the court case? The humour and irony of the court case?

17. The standard ending? To what audience does this kind of film appeal? What values does it present to this kind of audience?

STRANGE LADY IN TOWN

US, 1954, 112 minutes, Colour.
Greer Garson, Dana Andrews, Cameron Mitchell, Lois Smith, Walter Hampden.
Directed by Mervyn Le Roy.

Greer Garson is not the immediate name that springs to mind for a leading actress in a western. A woman of great dignity and bearing on screen, she had begun her career with Goodbye Mr Chips, moved into dramas with Walter Pidgeon (Blossoms in the Dust directed by Mervyn LeRoy), winning an Oscar for Mrs Miniver and continuing for the next twelve years as a leading lady at MGM Studios. This was her first film outside the studios. She is teamed with Dana Andrews and Cameron Mitchell.

The film is quite entertaining. Dana Andrews is the doctor in town. Greer Garson is a doctor who has travelled in Europe and who has some up-to-date ideas. The two doctors clash. Meanwhile, there are the various incidents that usually occur in westerns ranging from outlaws to saloons and victims needing doctors. The film is enjoyable in its way, especially for Greer Garson fans to see her in a different kind of role.

Mervyn Le Roy had a long career from the 1920s to the 1960s, directing a great range of films including Little Caesar and I Was a Fugitive from the Chain Gang before he moved into ‘more respectable’ films at MGM including Waterloo Bridge, Random Harvest, Madame Curie. He also directed Quo Vadis and a number of the musicals at MGM in the 1950s. In the 1960s he directed The Devil at Four O’ Clock, A Majority of One and Gypsy.

1. The appeal of this particular film as a western, Greer Garson vehicle? Its particular qualities?

2. The contribution of colour, western locations, wide screen? Musical background and song and its repetition?

3. The film as a fifties soap opera, set in the west? The presentation of sentiment, good, right and wrong religion, healing? The combination of these ingredients for popular appeal?

4. The character of Julia Garth? Her first impressions, her lady-like behaviour and style, her friendly encounter with the workers, her popularity , her qualities as a doctor, strength of character, charm, stubbornness, her progressive beliefs as a doctor? Audience response to this kind of heroine?

5. The presentation of her achievement in her work, the visit to the hospital? The eyes? The impact of her work?

6. The presentation of her in her home, the western town? her attitudes of rivalry of O’ Brien, her devotion to her brother and her blinding herself to his faults, her admiration for Father Gabriel.

7. The conflicts in which she was involved? The conflicts about profession, the role of men and women with O’Brien? Her running away from the east? Her belief in women’s status and their role in society? Her proving her beliefs?

8. The character of Spurs? Her devotion to Julia, getting the original patient, staying around, discussing her father, helping Julia, especially at the end? How good a characterization of such a young girl in the west?

9. David and his lack of character? A conventional, weak villain for such a film? Julia’s lack of influence on him? This working into the structure for a sub-plot? The weak type, the army role, dishonesty and gambling, violence and shooting, involved in a robbery, the spectacular gunfight, the inevitability of his death?

10. The staging of the bank robbery, the background of the fiesta, the irony of killing Fr Gabriel and his work?

11. O’Brien? as the hero of he film? description of him, his attitudes towards his practice, his criticisms of things
new? The background of his marriage? Fascination with Julia, stubbornness? The manifestations of his love yet his irritation? Teaching her to write? The romantic proposal and poetry? Then the flare ups? The party and the celebration of her bitthday? How engaging a masculine hero? His fighting for Julia?

12. The visualising of the medical rivalry? Especially her diagnosis of Governor’s troubles?

13. The aftermath of the gunfight? The portrayal of the hostility of the town? O’ Brien’s speech against them and its significance?

14 How appropriate the happy ending? This kind of film as humane, sentimental, religious, an atmosphere of niceness? The kind of impact that it has?

THE STRANGE ONE

US, 1957, 100 minutes, Black and white.
Ben Gazzara, Pat Hingle, Peter Mark Richman, Arthur Storch, Paul E. Richards, Larry Gates, Clifton James, Geoffrey Horne, James Olson, Julie Wilson, George Peppard.
Directed by Jack Garfein.

The Strange One is based on the autobiographical novel and play by Calder Willingham, End as a Man. The action takes place in a military school. This is the material from such later films as Taps and The Lords of Discipline.

The film was directed by Jack Garfein (who, as a child, was in Auschwitz and moved to the United States after the war, directing theatre as well as marrying Carroll Baker and directing her in Something Wild, 1961). The film was the debut of Ben Gazzara. It is a very striking performance as the malicious cadet, a psychopath, who is out to destroy everybody merely for the sake of enjoying such destruction. Other cadets include Pat Hingle as well as James Olson and George Peppard.

The film shows the hothouse of this kind of military school, the strict rules, the destruction of the son of the executive officer when Gazzara makes out that he is drunk, the sexual taunts, the underlying theme of homosexuality.

The film relies on atmosphere and characterisation rather than the malice portrayed in the plot.

1. How interesting a study of the military, education, men, interplay of characters? The entertainment value of the film?

2. The focus of the title on Jocko de Paris? The alternate title 'End as a Man' and its significance and focus?

3. How well does the film show an atmosphere and ethos of the 1950s? The army, America, masculinity? Power, education? Bullying? The impact then? Now? How true are the basic themes explored?

4. The style of the film, black and white photography, jazz musical style? The atmosphere of the Academy, the Academy as an environment and its influence on the soldiers? The contract with the sequences outside the Academy for example the night clubs, the open fields and the train?

5. How evident was it that the film was based on a play? The strength of dialogue, the confined nature of the scenes? The small space of time and the dramatic development? Was the film stagey or sufficiently opened out?

6. The audience entering the film via the gates of the Academy? Leaving in the same way? The experience of a visit for the audience, observation, emotional response and judgment? The visual look of the Academy, the building, grounds, the rooms and dormitories? The refectory? The emphasis on the institutional environment and its way of life, rigidity? The contrast with the outside and the audience's own experience? The culmination in the judgment on the Academy and its style?

7. The focus on Jocko as the central character? The significance of his being a strange one? His motives for being at the Academy? His reputation? As a character, strengths, weaknesses? As a type? Feeling at home in the Academy with his power, control, ability to read people? His ability to twist people’s attitudes and statements to his own Purpose? The putting of himself as a victim? How did he fit into their way of life in the Academy? The judgment on the Academy that it could find a home for a person like Jocko? His skills, enjoyment of power, his enjoyment of physical punishment and brutality? His lack of feeling towards people, jealousy for Avery, control of Roger? His enjoyment of blackmail? How could he be seen as a Iago character? motiveless malevolence?

8. The pace of the film in the setting up of the game? Jocko and his control? Harold as his seconder, yes-man? The imposition on Simmonds and his fear? The blackmailing of Robert Marquales? The victimizing of Roger? The amount of time given to the game, its progress? Illustrating Jocko’s bullying, cheating? Use of drink? Toadying to Roger, saying Simmonds's lines for him? The intrusion by Avery and Jocko’s skill at the cover-up? Audience response to him by the end of the evening?

9. The contract with Avery, ordinary, conscientious? His being victimized and humiliated by Jocko? The frame-up, cover-up? His father's concern and his being restricted by regulation? Jocko and the lies that he continued to tell about Avery?

10. What was the power that Jocko had over Harold? Over Simmonds and Marquales? Why could he continue to restrict them even though they reacted against him?

11. Harold as an admirer of Jocko, the yes-man? His being caught and humiliated by Jocko and his reaction against him? Harold an a credible character within this environment?

12. The characters of Simmonds and Marquales? Simmonds the writer, his mother, homosexual undertones? His fear of Jocko? His fear of women? Marquales and the set-up at the night club? The terror and torment that he experienced? His sharing a room with Marquales? Robert as potential hero, his holding his place in the institute, his working for it and not wanting to lose it? Simmond’s condemnation of him as a coward and the mutual recrimination? The type of power exercised over them, that they exercised over one another? Seeing them within the ordinary routines of the Academy? The interviews?

13. Roger and his presence in the Academy, his lack of intelligence, sports capacity, drinking and gambling? A butly, his being used? His wealth?

14. The dramatics of the dining hall scene and what this illustrated? Clarifying issues, characters, audience response?

15. The interviews and the official attempt to understand the truth? The importance of the encounter between Avery and Jocko and the mutual threats and Jocko winning? Using regulations against the superior officer?

16. The night club sequences as contrast, the focus on Simmonds meeting the girl? A place where something of the truth could emerge? Where Marquales could relax, where Jocko tried to control? His going too far?

17. The credibility of the group's reaction against Jocko, the importance of their meeting, their turning against him and the feeling of betrayal? Marquales and his role in the meeting? His decisions to leave the Academy as a consequence of this? Simmonds and his presence, Roger and Harold?

18. Audience sharing in the kangaroo court, the treatment of Jocko, the effect of his fear, running? Justice being administered to him? His fear and covering, the bully overcome? His being put on the train and his terror. his realizing he was safe and the reasserting of his self-assertion and pride?

19. The film's critique of institutions, the army, strict regulation and impersonal training?

20. What had been achieved by the end of the film? The experience of the audience and its judgment of similar institutions?

THE STRANGE POSSESSION OF MRS OLIVER

US, 1977, 78 minutes, Colour.
Karen Black, George Hamilton, Robert F. Lyons.
Directed by Gordon Hessler.

A psychological thriller based on a screenplay by Richard Matheson. Matheson wrote the screenplay for 'Duel' and such films as 'The Omega Man' and the Jack Palance version of Dracula. He has had quite an influence on the horror/science fiction films of the seventies. This is a fairly slow moving thriller but ultimately makes an impact with its more psychological overtones of possession rather than by some outside or occult power. Karen Black is effective in the central role. George Hamilton in fairly stolid as her husband. The film really relies for its impact on Karen Black's performance and the mystery of her possession.

1. The title, expectations from the title? The thriller genres of the seventies? A good example?

2. Colour photography, interiors and exteriors, dreams and fantasies? The special effects especially in the dream? The score and its atmosphere?

3. The psychological background of the film? The overtones of the eerie and the extrasensory experience? The "normal" psychological explanation at the end? The plausibility of the plot and such a possession? The surprise in the ending?

4. The opening and its atmosphere, eeriness, visual impact? The arrival at the cemetery, the long haul and its ritual and religious overtones? husband and wife? The substitution of Greg for Mark? The coffin and the two Miriams? The violets? The later repetition of this dream? The way the ingredients ware incorporated into the dream? The repercussions in real life? The effect of the dream on illiriam and its recurrence throughout the film? The effect on the audience? The gradual revelation of the truth?

5. Miriam as a character? Repressed, housewife, sweet and docile? Her desire to do something more and to break out? The discussions with her husband and his dominating her? The effect of the dream? The experience of imagining herself in the wig and the blouse? The way that she bought these? The decision to buy the house? Her moving into the house and the discussion about her dancing and the transition from shyness and awkwardness to sensuous dancing? The visit to Miriam's mother and the revelation of the truth, the seeing of the portrait? The suggestion of split personality? Karen Black's ability to move from one mood to another? The build-up to indicate the possession?

6. The conventional sequences at home, Miriam as a docile wife, Greg as a busy husband?

7. The mystery of Mark and his presence during the dream, his observing Miriam, his following her, the attempted murder and its explanation, the confrontation with Sandra at the end?

8. The revelation of the truth about Sandra and Miriam? The portrait, the visit to Miriam’s mother? The memory and flashback and its being visualized? The trauma of the death, the burning of the house? Sandra’s guilt?

9. Was this sufficient reason for Sandra to take on Miriam’s personality? How consciously did she do this? how sub-consciously? Conscience, guilt, fear? Possession? How was she saved? Greg intervening?

10. How successful were the thriller aspects, the "possession" aspects, the mystery?

THE STRANGER

US, 1973, 100 minutes, Colour.
Glenn Corbert, Cameron Mitchell, Lew Ayres, Sharon Acker, George Colouris, Dean Jagger.
Directed by Lee H. Katzin.

The Stranger is a small science fiction telemovie, distinguished by a very interesting plot which shows a 1984 kind of other planet which is very similar to earth and its 20th century development. There is an uncanny feeling in seeing ordinary situations and cities of earth portrayed as an alien civilization. Glen Corbett is a competent hero but Cameron Mitchell has a very substantial part as the head of the planet and its Perfect Order. There in quite a lot of good social observation in this popular telemovie. Directed by Lee H. Katzin, a television director who has made such films as Whatever Happened to Aunt Alice and Steve MoQueen's Le Mans.

1. An interesting and enjoyable telemovie, presenting adventures, science fiction, social comment for home viewers?

2. The appeal of science fiction in the seventies? Technical aspects? Modern science fiction and the comparison of worlds? Space, human development, parallel development?

3. The blending of space science fiction conventions with those of the chase and the fugitive? How well did they complement each other?

4. Entertainment, interest, suspense?

5. The conventions of the space craft opening, introduction to the characters, the authentic atmosphere of American space exploration? A transition from a familiar world to what looks familiar but was foreign? The audience identifying with space exploration and moving to the strange new world?

6. The effect of using modern America as a parallel world to earth? The strange feelings of the history of a separate development which was so similar to that of earth? The visual impact of using earth settings for a strange far away planet? How well was this presented from the point of view of Stryker? Its seeming to be homer the words of the doctorsq their being caught out with Paul Revere? The eeriness and the strangeness for Stryker and for the audience - the hospital, languages, the moons and behaviour on the planet? How was this device a comment on human development and society in the 20th century?

7. Stryker as hero - a space man, his coping with the situation, hospitalised, testing his captors, the ingenuity and excitement of his escape, the encounter with Bettina, and later relating with her, the hitchhiking, the radio and his escaper the various chases especially by Benedict? Friendship with Bettina and the bond with her? Friendship with the Professor and his help? The possibility of his leaving? The effect of this experience on him, his not escaping and his being trapped? Audiences identifying with this kind of popular hero?


8. Benedict as dictator, feelingless control, pushing Stryker in the investigations? His ruthlessness, political power, scientific background? His clash with the doctor and persecuting him? His later torture of Bettina? The obvious parallels of Benedict and his henchmen as an American view of the Russians? The totalitarianism?

9. Bettina an heroine, her knowledge of Stryker and love for him, her changing, brainwashing and betrayal? The torment for her?

10. The Professor and his criticism of the new views. presenting a more humane view, his helping of Stryker, his illness, death?

11. The theme of Perfect Order and the parallels with 1984, the trappings of the totalitarian State and Big Brother watching, conformism of thought? Again, the American view of Russia?

12. The grandeur of the world of space and technology yet the inherent violence and control? The film's comment on the permanent aspects of human nature?

13. The ending and Stryker being trapped, in a familiar world yet with its unfamiliar moons and background? What van the audience left with as Stryker faced the future?