THE STORY OF THREE LOVES

US, 1953, 122 minutes, Colour.
Pier Angeli, Ethel Barrymore, Leslie Caron, Kirk Douglas, Farley Granger, James Mason, Moira Shearer, Agnes Moorhead.
Mademoiselle, directed by Vincente Minnelli.
Equilibrium and Jealous Lover, directed by Gottfried Reinhardt.

The Story of Three Loves comprises three loosely-linked stories. The three leading ladies are not Americans. Moira Shearer appears in Jealous Lover, a ballet film with James Mason. Moira Shearer had appeared in The Red Shoes. Farley Granger and the French Leslie Caron appear in Mademoiselle. Italian Pier Angeli appears with Kirk Douglas in the circus story, Equilibrium.

The film has a musical score by Miklos Rozsa (Spellbound, Quo Vadis, King of Kings).

Vincente Minnelli directed the Leslie Caron - Farley Granger section Mademoiselle. German director Gottfried Reinhardt directed Equilibrium and Jealous Lover.

The Jealous Lover is a kind of Svengali story, an apt performance by James Mason who portrayed a similar kind of role with Ann Todd in The Seventh Veil.

Mademoiselle is a love story, the communication of a child’s point of view, with Leslie Caron as a governess. The character of Mrs Pennicott is played by Ethel Barrymore – real or a witch, transforming the little boy into a grownup.

Equilibrium is a sadder story about a circus group after World War Two – a story with love as well as suicide and death.

1. What did the title of the film lead you to expect? What effect did the whole film have?

2. Comment on the use of the light romantic film style. It was meant to be light and enjoyable. It used the ship as the central focus for the three stories. Was this effective? Or was it rather a cliche?

3. The Jealous Lover: How interesting was this as a story of love? Did you become involved in it? Did you enjoy the dancing and the music? What kind of a person was Coutray? A Svengali type? Was he more interested in his own appreciation and holding of beauty than of other people? What kind of a person was Paula Woodward? Why did she wish to dance despite her illness? Despite the warnings of her aunt? What happiness did she achieve in her dance for Coutray? What beauty did she achieve? Did he appreciate it well? Was it enough for her life? How did the dance symbolise the yearning for happiness in life and its achievement ? It was ultimate achievement for her - was it enough? Was it a story and a dance of love?

4. Mademoiselle: was this an enjoyable love story? delightful fantasy, love story or was it too laboured? The French atmosphere of the film? How successfully did the film communicate a child's world, and a child’s point of view? What kind of person was Mademoiselle, an ordinary governess? Her coping, her teaching of lessons? How was she idealised? The influence of Mrs Pennicot? Was she a real character, a witch? The delight of her transforming the little boy into a grown up? How was this happiness of the little boy with mademoiselle something that he would remember all hie life? Its effect on him? Was the ending of this story successful as Mademoiselle found a real person to love?

5. Equilibrum: was this an interesting love story? Realistic? A feeling love story? The background of the circus and the trapeze? The significance of the name Equilibium? Pierre Norval? why was he so broody? His sense of responsibility at the death of his partner? Did he need to be changed? The effect of his encounter with Nina and rescuing her from the Seine? His care and devotion for her? Why was she so bitter? How was she transformed by Pierre’s looking after her, training her? The impact of the risk of death in the trapeze act? Audience expectations?
The act as successful? Why did they give everything up when they had faced death? Was this a symbol of success in loving?

6. The overall effect of the film ? Did it throw insight into love? or was it a pleasant diversion about love?

A STREET WITH NO NAME

US, 1948, 91 minutes, Black and white.
Mark Stevens, Lloyd Nolan, Richard Widmark.
Directed by William Keighley.

A Street With No Name is a tribute to the FBI, under the administration of J. Edgar Hoover. By 1948 the FBI had a very strong reputation.

This film shows a typical American city, gang-related killings. A suspect is framed and arrested and released. Mark Stevens then portrays an agent who goes undercover, ingratiating himself with the mad leader of a gang, played by Richard Widmark a year after his manic performance in Kiss of Death. Lloyd Nolan portrays a police inspector.

The film was directed by William Keighley who had a strong career at Warner Bros in the 1930s including directing The Adventures of Robin Hood. After this film he directed Errol Flynn in the western, Rocky Mountain, as well as the Robert Louis Stevenson adventure, The Master of Ballantrae.

1. This film was made in the late forties. Does it still seem relevant to modern times? Why?

2. How successful was the documentary style of the photography and the narrative? The voice and tone of the narrator? The values implied by the narrator? Is this style relevant now?

3. The picture of the FBI in this film. Was it impressive? Did it show convincingly the work of the FBI and the need for such work? Or was this just a propaganda film?

4. The implications of the title of the film and J.Edgar Hoover's comment on America as the Street with No Name, the gangsterism and the crime in this street? How typical was this story meant to be of America after the war? Did this seem convincing? Why?

5. How interesting was the mission of Gene Cordell? What motivated him to be an FBI man and to live this kind of life? How sincere a man was he? How interested in his work? How skillful? How interesting were the preparations for his infiltration into the gangs, his ability to submerge himself in the character and world of the gangsters?

6. What right did Briggs have to put Cordell in such a position? To run the risk of Cordell's being murdered? Is this necessary for such police work? Comment on the danger of the various times when they needed to communicate with each other?

7. The character of Gordon. His infiltration into the skid-row world, his contacts with Cordell, his radio contacts with Briggs, the risk he ran of losing his life - and his being sad at the end? what motivated a man like Gordon?

8. Was the picture of American gangsterism after the war convincing? Comment on the style of the gangsterism - the restaurant and bank robberies, the armories and the weapons, the masks and the getaways, Alex Styles and his running of his boys, the cover of the gymnasium and the boxing?

9. What kind of criminal was Alex Styles? Was Richard Widmark's performance too much of a caricature or do American gangsters act like this and want to act like this? What were the main characteristics of his style of gangsterism? How feeling was he? Why was he prepared to commit murder, how greedy was he, how ambitious, how cruel - especially in the scenes with his wife?

10. How did the film generate tension - in Cordell's assumption of the character of George Manly, his easy going confidence in the boxing, the need for contact with the police and the risks that this ran, the tip offs, Cordell's examining the armory, the final chase and fights?

11. Comment on the picture of police corruption, their being bought by gangsters, the access to files and their communication of these to the gangsters, the ruthlessness that such employment by gangsters enforces on policemen?

12. Was this film too moralising to be convincing or was it convincing because it moralised?

SUBMARINE X-1

US, 1968, 90 minutes, Colour.
James Caan.
Directed by William A. Graham.

Submarine X-1 is a conventional war film, coming more than twenty years after the events. It is based on the X submarines who are able to target the German ship Tirpitz. However, the episode is fictionalised in this conventional film.

1 What is the main appeal of war films for audiences? The appeal of this film?

2. What was the quality of this war film? Average or more than average? The particular qualities? A war film of the late sixties?

3. What in the main interest in war films? Personnel, the mission, the sense of achievement? Which predominated here?

4. The plan and the trainings the details of the mission, the personal conflicts, the details of the practice, the danger and the skills the final capture, the final success? How well visualized were these? The atmosphere of suspense, the attention to detail?

5. How important were the human themes? The,personality of Bolton, the initial loss of the submarine, his being blamed for the loss? The clash of personalities? His being exonerated, his new command? His decisiveness? impersonality? Daring and relentlessness? The impact of the training? The nature of his success?

6. The detail of the human conflicts, the prologue and the sinking of the submarine, the hospital sequences, Shiton's demands for obedience, Quentin and his pushing himself? Sumner, Davies, and the decision to try to get through the day?

7. The portrayal of the British Commander, the decisions of those in authority, the backing up?

8. The drama of the German raid and the action in the film?

9. The presentation of the climax, the getting through the wire, the frogmen, the capture, the torture, the escape, the final explosion?

10. What is the explanation of the mystique of war in the film tradition? Questions of patriotism? The presentation of the British and their achievement? How real does this seem? What values to war films like this stand for?

SUCH GOOD FRIENDS

US, 1971, 101 minutes, Colour.
Dyan Cannon, James Coco, Jennifer O’ Neill, Ken Howard, Nina Foch, Laurence Luckinbill, Louise Lasser, Burgess Meredith, Sam Levene, Rita Gam, Nancy Guild.
Directed by Otto Preminger.

Such Good Friends is in the vein of the novels of Harold Robbins and Jacqueline Susann. The film focuses on Dyan Cannon who is concerned about her husband who goes into hospital and is in coma. She discovers his little black book – and names and dates for his affairs. In the spirit of the ‘liberated’ 60s, she gets revenge on him by having affairs herself.

The film was adapted by skilled comedian and playwright Elaine May so the film is sharp in its dialogue, even though the material is that of soap operas, serials.

The film has a reasonably strong cast and Dyan Cannon was nominated for a Golden Globe as best actress. Some of Preminger’s veteran actors like Burgess Meredith also appear.

While the film is satiric, it is a reflection of the changes of morals and external manifestation of morals in wealthy society in the United States at the period.

1. Was this a trashy film or a serious comedy?

2. If it was trash, why? Plot, characters, treatment, vulgarity,lack of psychological depth?

3. If it was serious, how sharp was its observations on character, New York, how telling its satire?

4. Atmosphere of New York, colour, music, the hospitals, society? An authentic world? A world set up for satire?

5. How important was the plot, in terms of realism, satire and allegory? A response to the realism? A response to the satire? How much difference?

6. The focus on Julia, Diane Canon's performance and style? Would the audience identify with her? Could women identify with her? An interesting character, her marital situation, her reaction, her morals and judgments? A modern American woman?

7. The portrait of Julie aad the indications of this film as a satire on men from a fem¬inine point of view? Was this borne out in any details dialogue, situations, the ridic¬uling of men?

8. The portraying of Julie in her family, with Richard and the children? Her decision about the dress and her behaviour at the party? The point of her imagining the author dancing naked with her? The level of her imagination - vulgarity? Ridiculing men? Her understanding of her husband's affairs, her reaction to him in the hospital, her resent¬ment? The credibility of her reaction with drinking, nude photography? Her response to the doctor and the erotic impulses? The purpose of this character, insight into her reactions, the meaning of her reactions? What was she left with at the end?

9. The portrait of Richard as the average nice American male? His work, friends at the office, the party? Response to his being hospitalized, a seeming victim of illness? Audience knowledge of the truth? Julie's need for revenge on him? Audience response to his death?

10. The portrait of Cawl and his telling the truth to Julie? What kind of person was he? presented sympathetically, attacked? The importance of the session with Julie and his inability to go through with it? A type? His relationship with Miranda? Her relationship with Richard? the comparison of his relationship with Julie and with Miranda? How well delineated and sympathetic a character was Miranda? Credible within this society?

11. The role of Dr Specter, at the hospital, in relationship to Richard, Julia? The sex scene and its notoriety, bad taste,vulgarity, crudeness? To what purpose? The corset?

12. The significance of Bernard Colman, his attitude toward Julie, his role in society, his work, Julie imagining him dancing naked - to what purpose?

13. The portrayal of the other women in themselves, in relationship to Richard, in relationship to Julie? Marcy Burns and her marriage, her reactions? Doris, Molly and their work on the magazines?

14. The purpose of introducing Julie’s mother? Her attitude in society, influence of Julie, moral standards? Object of satire?

15. How important was the delineation of character - in subtlety or in broad sweep? The contrived situation? The truth?

16. What had been achieved by the end of the film?

17. How could the film be seen in the satire on hospitals and medicine genre of 1971? How just was the attack on hospitals? How humourous the satire? Incompetence, danger to life, audience reaction to this in combination with the reaction to the human situations? A symbol of modern American society and relationships, health and danger to death? Has the film anything or nothing to say?

THE SUICIDE'S WIFE

US, 1979, 96 minutes, Colour.
Angie Dickenson, Gordon Pinsent, Peter Donat.
Directed by John Newland.

This film takes a difficult theme for a telemovie. It portrays an American family, the disappointment of the father in his career and his subsequent taking of his life. The film focuses on the response of his wife - her having to cope with the fact, her puzzling over the motives, her unravelling some of the mysteries of her husband's personality and trying to assimilate these. She also has to cope with the damaging effect of the experience on her son. The film is rather melodramatic and soap operatic in its treatment rather than straightforward. However, this may be a helpful for a wide home audience to respond to this theme. be able to watch it and reflect on it. The film is also a vehicle for Angie Dickenson who does very well in the difficult role. She also looks her age. The film is important for the themes and the issues that it raises even though they might have been done so much more tellingly.

1. The relevance of the theme, its authenticity, reality? The subject for drama? The presentation for a telemovie and the home audience? The style of treatment needed? hard, soft? Sympathetic sentiment? For what audience was the film made? Women empathising?

2. The soap opera style of the screen play - suitable for serious study, authenticity? A view of a situation and the eliciting of empathy?

3. Audience response to telemovies – emotional, involvement, understanding? Angie Dickenson and her popularity? Colour photography, West Coast locations, the score?

4. The atmosphere of California - representing the United States? The atmosphere of university, family, school, ordinary people anywhere?

5. The establishing of the family: bonds, joy, domestic sequences, picnics and swims? The family knowing each other and not knowing? The establishing of the characters - especially for their response to the suicide, the changes in their lives?

6. Diana at home? family woman, supporting her husband. Watching Mark growing? Her idolizing Wayne? Her seeing him an a scholar? Her love for him as husband? The situation of academic hopes, changing homes and settling down? Wayne and his hopes, real view of life, unreality?

7. The portrait of Wayne? the important sketching him in to make an impact after his death? The classroom scene, the student arguing with him, his asking him to leave, the interview and his not getting the job, later information that he had taken the money from the bank and published his book, its lack of popularity? The finality of the decision to kill himself and his seeming calm? His taking Mark to school, love making with his wife, his last words about her? The dramatic impact of his death?

8. Diana and her having to face the reality of Wayne's death, the fact, letting Mark know, getting him back from school, the practical arrangements for the police, taking the body away? The funeral and grief? Talking with people afterwards and their curiosity, blame, questions? The business world and people's hostility? Her grief and puzzling why? The discussions with Alan and probing Wayne's character. discovery about the money, the publication of the book, her refusal of delivery of the book, her anger? Mark and his withdrawing, the school sequence, the boy mocking his father? His taking the death very hardly, the diaries and idealizing his father? Mark's suspicions of his mother especially the outing with Alan, her spending the night with him? The build-up to moving, the garage sale? The beach sequence with Sharon and Mark pretending to have drowned? Diana’s anger and the confrontation? The importance of details of meals, the two cars, harshness, the inquiry about how each other felt?

9. Sharon as a friend, as a balance, her stories, support?

10. Mark and his withdrawing, taking the dots of blood, his school experience and the boy's mockery, listening to his music, making up stories about his father, smoking, abuse of his mother, pretending to drown? The resolution and facing the future?

11. The sketch of Alan - as friend, his inquiries, the book, the evening together, the garage sale? beach sequence with Sharon and Mark pretending to have drowned? Diana’s anger and the confrontation? The importance of details of meals, the two cars, harshness, the inquiry about how each other felt?

SULLIVAN’S TRAVELS

US, 1941, 90 minutes, Black and white.
Joel Mc Crea, Veronica Lake, Robert Warwick, William Demarest, Franklin Pangborn, Porter Hall, Eric Blore.
Directed by Preston Sturges.

Sullivan’s Travels was released the same month as the Japanese bombed Pearl Harbour. It was one of the great classics of American comedy. Sturges, a prolific writer who was beginning his directing career (rather short-lived), wanted to tell the story of a director, pampered by Hollywood, who wanted to make a film about poverty and who went out onto the road as a hobo and learnt the realities of life, American style. There is a great deal of comic writing, slapstick, along with touches of the surreal.

Joel Mc Crea is the American everyman, the decent upright screen presence with whom audiences could identify. Veronica Lake has an early appearance as the girl. Several other American comedy actors fill out the cast.

The film has a lot to offer in terms of reflection on American society – and is worth comparing the present with this image of the United States.

The film that Joel Mc Crea’s director, Sullivan, was going to make, was to be called Oh, Brother, Where Art Thou. This was the origin of the Coen brothers’ choice for the title of their 2000 comedy.

Preston Sturges was to go on to make his classics The Miracle of Morgan’s Creek and Hail the Conquering Hero.

1. How good a comedy satire was this? It was considered very highly in its day. What were the main qualities of its comedy, of its satire? Incidents, characters, dialogue?

2. How evident was it that this was a film of the forties? The black and white photography and its style? The portrayal of the Hollywood studios? The cinematic effects?

3. How important for the success of the film was the impact of Joel Mc Crea and Veronica Lake?

4. How enjoyable a satire on Hollywood was this? The importance of the opening sequences and the filming of the western? The portrayal of contracts, studio life, the ideas men, the protection of the producers, the publicity, the lengths which the studios went to to protect their properties, push their causes? What overall picture of Hollywood and its people did the film give?

5. How interesting and attractive a character was Sullivan in himself? His role as film director, his serious approach to filming, his relationship with his wife, his work, his ambitions? What was his motivation in going on the trek to find the truth? The irony of his wanting to be poor with the advice of his butlers? The initial lack of success in going out into the world? The importance of his encounter with the girl and his not telling her the truth? Her support in his travels? What did he begin to learn on his travels? The accident? The importance of the prison sequences? The work in the swamps? The effect of films on the prisoners? What had he learnt by his return? Why did he want to change his projects for the future?

6. The film was dedicated to clowns. Why? What ideas did the director have about clowns, satire and their effect on audiences? The importance of the long chase sequence and its humour? The prisoners laughing at the Disney humour? SullIvan? beginning to laugh? How serious was this film underlying its humour? Especially as regards prison and the seeming hopelessness of prison? The serious themes of film-making?

7. The importance of the Hollywood heroine? The role of the girl in this film? Her relationship with Sullivan and her support of him?

8. How well portrayed was Sullivan's wife,, the agents and their arguing, the people out to protect Sullivan during his travels, the publicity people etc? Were they characters as caricatures?

9. What was the purpose of making this Hollywood Odyssey?

10.How was the film an Odyssey of entertainment? Of humour and seriousness? Of the varieties of audience response? The value of making a film like this about film-making and its purpose?

SUMMER INTERLUDE

Sweden, 1951, 96 minutes, Black and white.
Maj- Britt Nillson, Alf Kjellin.
Directed by Ingmar Bergman.

Ingmar Bergman's first important film of the fifties. He had established himself as writer and director with plays and with films in the late forties. He had given a great boost to the Swedish film industry. Critics say that this is the first film which indicated the genius was to produce so many films over succeeding decades. In retrospect one can see the themes and the treatment realistically and symbolically which was to pervade Bergman's films over the decades. His film immediately after this was Summer With Monica - with which it links thematically very strongly. The star of this film was Maj- Brit Nillson who had starred in several of Bergman's films. Treatment is serious. The theme is love and death. The background is a familiar one to Bergman: the world of theatre and music.

1. The impact of the film as the work of Ingmar Bergman? The early phases of his career? Signs of themes and styles to come? In retrospect? An interpretation of the film in the light of later films?

2. Bergman's techniques and interests in the early fifties? The Swedish background and production? The quality of the black and white photography, light and darkness. interiors and exteriors? The various devices for illustrating the plot: realism, symbol? The use of he sea, the weather, the seasons?

3. The musical background, the world of ballet, the choice of Swan Lake and the scenes presented? The overtone of Coppelius? The classical atmosphere for the treatment of the love story?

4. How important was the structure of the film? The focus on Marie as the star? The delivery of the diary and its effect on her? The importance of the encounter with David and her trip back to the island and through her memories? The placing of the flashbacks? The present plot and Marie coming to terms with herself in the light of the flashbacks and the intercutting of the two plots? The importance of Erland in the past, in the present, the catalyst of the diary? The new encounter with David? The advice of Coppelius? The possibility of integration of past and present and the facing of the future? The psychological freedom, to love?

5. The importance of the various symbolised: omens, the smell of the theatre, the lights, the opinions given, the weather, the sky and the clouds, the silence, the owls, dreams. the theatrical symbols especially the grease paint?

6. The contribution of the ballet and its music, art. stylized skills? The practice sequences and their discipline - a symbol for Marie especially after the tragedy? The beauty of ballet, its physical involvement? The recapitulation of the film with the finale from Swan Lake?

7. The significance of the title and the focus on the interlude and its place in Marie’s life? The focus on summer and the significance of it as a season? A summer interlude for the young, first love and its joy, the transition from summer to autumn and the prospects of the future, death in autumn? Its effect and the winter consequences for Marie and her life?

8. How attractive a heroine was Marie? Strong, involved in her career, a star? Seeing people's reaction to her at the theatre? David and his expulsion from the theatre? The visit of Erland and leaving the diary? Marie's aging? Her decision to make the trip and the chance encounter with the vicar and his comments and his presence in the flashbacks especially with the old lady dying of cancer and playing chess with her? Her appearance, journey on the boat? Her wandering into the house, the island, the cliffs and the shore? Her wandering through her memories and facing them? The confrontation with Erland and his advice? His presence to her at the beginning, an evil presence, his seduction of her, his redemption through giving the diary that he had taken? How able was she to return to the theatre and rehearse? Her sitting at the mirror and receiving Coppelius's advice, taking off the grease paint? Looking at herself and coming to terms with herself? The question of age and her future, career? Her capacity to love David? The importance of his reading the diary to understand what had happened to her?

9. Her hardness as she grew older and the explanation of it? The importance of Erland. as a character and his presence? Her imprisoning herself and his imprisoning her? Her ability to forget the affair with Henrik and its hurt? Did this seem possible? The risk of reopening the hurtful memories?

10. Why did Erland send the diary at this particular stage? Their discussion on the island? His love for her and wanting her to be freed?

11. The importance of Marie’s narrative and its confession style? An acknowledgement of the past and its power? For healing?

12. The device of Henrik’s diary and its revelation of himself, his love for Marie, the incidents and their being visualized in memory? Whose memories were visualised ? Henrik's or Marie’s?

13. The narrative development of the interlude within the context of the flashbacks? The summer, the place, Henrik and his youth, Marie and the attractive young girl, their meeting, their relationship and joy in being together, seduction, love? The rapport between the two and the integration of the sexuality? The experiences shared during
the summer and their exhilaration? The significance of the fight about Marie’s work? Henrik as strong, weak - his running away and Marie's following him? Their reconciliation? The building up of the possibilities and their facing the future?

14. The effect of facing the future, the talk about the seasons and the sudden intrusion of death? Death and the seeming futility of what had gone before? The futility of plans? Death as the ending of a life for those who die as well as for those who live?

15. Marie’s trying to cope? Her refuge in Erland and the affair? The background of Erland and why she trusted in him? The importance of the vicar and the religious overtones? The old lady and her dying of cancer and her attitude to Henrik? The talk about death?

16. The aftermath for Marie and the spinning out of her life over the years? Her immediate longing for Henrik and the death of memories?

17. How well did the film illustrate the interplay between past and present? The importance of at some stage reliving the past in order to integrate it - the futility of living in the past, the hurt of forgetting it?

18. The contribution of the ballet master and his comments. the clown and his comments, the stage-hands and their reaction?

19. The importance of David and the possibility of Marie’s love for him? His appearing at the beginning and end? The need for him to read the diary?

20. The significance of an interlude in a person's life and its aftermath? The insights of the younger Bergman?

STROH FEUER (SUMMER LIGHTNING)

Germany, 1972, 100 minutes, Colour.
Wolfgang Bachler, Maria Bruner, Margarethe von Trotta.
Directed by Volker Schloendorff.

Summer Lightning is a telemovie about Germans of the 1970s, marriage and relationships and tensions. It was co-written by the director Volker Schlondorff with his then wife Margarethe von Trotta who portrays the central character, Elizabeth.

Schlondorff was to continue for several decades with a very strong career with an Oscar for The Tin Drum in 1979. Margarethe von Trotta also became a distinguished director with many awards including The Long Silence and Rosenstrasse.

Of interest as an early film, made for television, but a stepping stone in the careers of Schlondorff and von Trotta.

1. The meaning of the title as explained in the film? The alternate title of Stray Fire?

2. The qualities of the film as a German film? The style, atmosphere? The presentation of Germany and German characters? The contrast with the presentation of Germans in Italy? The film for a German audience?
A more universal audience?

3. The film presenting visually the style of the seventies? The atmosphere? The light touch, the serious touch? The irony and the cynicism? A portrait of the social aspects of Germany? A placing of persons in this environment? The mutual relationship between persons and environment?

4. The themes of men and women and their relationships? Women and their emancipation? The difference between male and female responses to the characters in this film? Themes of society. lay? Traditions and the Church? Work and job opportunities? The truisms of the past as applied to people trying to cope in the seventies?

5. The impression of the opening with Elizabeth riding her bike to the court? The atmosphere of the divorce and the atmosphere of the court itself, evidence, personal revelations? The focus on Elizabeth without explanation on her side? Audience sympathy for her and hostility towards Helmut? Was this justified in the rest of the film?

6. The presentation of Elizabeth and Helmut at work? What they had in common? The reason for their marriage break-up? Indications of blame on both parts? The presence of Oskar amongst the writers? The importance of Elizabeth's going for such a long journey with him? What did she learn during the journey? Oskar's response? The importance of her decision to return to Munich? Helmut and his reaction to Elizabeth's behaviour, his preoccupation with himself? How is this illustrated in the sequences with Nikky? Elizabeth wanting to take her books? Their discussion about blame? The various visits that Elizabeth made and the discussions with the neighbour who looked after Nikky? Helmut’s wanting to take the home?

7. The film's insight into the theme of marriage? What is required, why it fails? Helmut and his attitude towards remarrying? The contrast with Elizabeth's behaviour with Oskar, with the Director of the gallery and his discussions about sexuality and Willhelm Reich? The fact that the film ended with Elizabeth's remarriage? Would it give her a sense of permanence and purpose in life?

8. How well did the film show the realities of divorce and the repercussions on people's feelings, lives? The amount of hurt, the need to cope? The importance of proving things and disproving things? The wife having to prove herself in order to have custody of her child? The importance of the sequences with Elizabeth and her legal advisor?

9. Elizabeth and her personality? The people with whom she lived? The importance of the sequences with the pregnant friend, her apartment? Her friends?

10. The significance of the work sequences and Elizabeth trying to get jobs? The importance of her singing lessons and her future in singing, the dancing lessons and the romantic overtones of Hollywood? Her age and lack of ability and training? The importance of her work as a tour guide during the Games, the encounter with the Japanese visitors and their photographs? Her work in the store? Her work in the gallery (and the detailed tour of the gallery)and the friendly conversation about art and meaning with the co-director?

11. The importance of music and dancers background to the film? The significance of the fantasy of Oskar in the musical number in the store? The singing on the part of Elizabeth and the songs sung?

12. The dramatic significance of the trip to Milan? The evident amorous intent of the director? Elizabeth and her reaction and warding him off? Her ability at work? The reaction of the director and her leaving the job? The significance of her inviting Oskar to Italy? The affair in Italy? Italy as a suitable environment, the way that the Italian countryside was photographed, the places, the countryside, the people? The significance of the bond between Oscar and Elizabeth?

13. The film's highlighting of Elizabeth as a happy person, her wanting Nikky, the sorrow and pain that her ex-husband was causing her? The importance of the sequences with her child?

14. Helmut and his remarriage and the attitude of his new wife? Elizabeth and her visits? Her decision to remarry - the atmosphere of the ceremony and the hope for the future?

15. What future would Elizabeth have? For what was she groping? As a person, as a woman, in German society in the 70's?

THE SUMMER OF MY GERMAN SOLDIER

US, 1978, 100 minutes, Colour.
Kristy Mc Nicholl, Bruce Davison, Esther Rolle, Michael Constantine.
Directed by Michael Tuchner.

A moving and entertaining telemovie. It shows the unusual story of German prisoners of war in Arkansas. A small group of them come to a country town and the film shows the reactions of the populace, especially their hostility towards Nazism and the bringing of the war into their lives. One of the soldiers escapes and is befriended by an adolescent girl who is not accepted by her parents. A tender friendship grows only to end in tragedy. The ingredients are full of sentiment but they are handled with delicacy and strength. Bruce Davison has a very good role as the German soldier, a mixture of arrogance and humanity. Kristy McNicholl?, of the T.V. series Family, and Burt Reynold’s The End, is moving as the heroine. The supporting cast is excellent and includes Esther Rolle, who won an Emmy for her supporting performance and Michael Constantine as the aggressive father. The film is made with care and was directed. by English director Michael Tuchner, who made such films as Villain, The Likely Lads and Mr. Quilp.

1. The impact of this telemovie? Interest, entertainment, involvement, emotional response, judgment on issues of war, friendship?

2. The production values and the qualities of the film: the re-creation of World War II period in Arkansas, the ordinary American town, the German prisoners and their work, the F.B.1. and their investigations? Colour photography, the score? The feel and atmosphere of time and place for the issues?


3. The film's interest in World War II and American involvement? The reversal of war film expectations? Audience knowledge of British and American escapes with help from people round the countryside of Europe? The reverse happening? Audience expectations of a war escape film? The reaction to Germans, to Nazis and to Hitler? The dialogue highlighting this? The importance of the Nazi treatment of the Jews? The family being Jewish? The Jewish girl helping the German escapes? The themes of prejudice, human friendship, love? The strength of these motivations?

4. The title and its reference to the heroine? How attractive a girl, in herself, her quiet character, growing up? Her place in the family and her being hurt? Her father's continued attacks on her, especially at the table, his physical punishing of her? her mother's care for her but disregard? Comparisons with her little sister? her being hurtful to her and then being sorry? The family's place in the town, the shop, friendships, jealousies? Their being Jewish, the scene of their worshipping in the synagogue? The girl and her own world in Arkansas, her own hideout and her creating her own world? The details of the drawing of her character, emotions? The impact of the prisoners arriving on her, watching the men, selling Anton the hat? her decision to help him and hide him? her devices for feeding him? Discussions about the war, Germany, his family and background, the fate of his parents? Her own American views and feelings? The emotion and nonpolitical feelings transcending the war itself?

5. The crisis in her life and for Anton? her emotional reaction, her fear? his escaping again, rescuing him? her denials? The dramatic impact of the news of his death? The repercussions of her shielding Anton for the family and its reputation, for her own reputation? Legal proceedings?

6. Anton and his place among the prisoners, seeing them arrive, at work, buying the hat? The jewellery? Anton's story and his arrogance? his father’s academic background? The build-up to the escape? his hiding, reliance on the girl. his demands? his fears, friendliness? the ingenuity of the two of them? Also ingenuous? Audience sympathies for him, hoping for his escape, sharing the girl's attitude towards his escape? Audience response to his death?

7. The portrait of the father and his reputation, his hardness towards his children especially the incident with the birthday present, his severity at meals, his work in the shop, his agreeableness to the F.B.I.? his punishing his daughter physically? The mother and her part withdrawal? The devotion to the little girl - as illustrated in her Shirley Temple imitation? The favourite?

8. Ruth and her work in the home, her help? Prejudice towards black servants - as illustrated by the neighbours and the catty wife? Ruth's seeing Anton when he wanted to come to the rescue? Helping him, feeding him? her being dismissed, returning home? Her support of the heroine? The proud walk through the town?

9. The picture of the F.B.I. at work, the intensity, the old-fashioned F.B.I. style?

10. The political themes of America and its involvement in the war, fighting Hitler, Ruth with her son at war and the feelings against the German prisoners? The equating of Germans with Nazis?

11. The nature of prejudice, its deepseatedness, the occasions for its eruption?

12. How well did the film parallel popular escape stories set in Europe? Reversing emotional response?

13. What was the audience left with in terms of the girl's future, the family and its place in the town? The jolting of the audience's presuppositions about friend and enemy? The ordinary human values of supporting those in need?

THE SUMMER OF THE 17th DOLL

Australia, 1959, 94 minutes, Black and white.
Ernest Borgnine, Anne Baxter, John ills, Angela Lansbury, Vincent Ball, Ethel Gabriel.
Directed by Leslie Norman.

The Summer of the 17th Doll (called in the United States Season Of Passion!) is the film adaptation of Ray Lawler's excellent play. The film was adapted especially for American audiences and made by an American company. The stars were all imported, although Anne Baxter was living in Australia at the time. The result is an enjoyable film – though one is conscious of the stars trying to be Australians. Stanley Kramer's On the Beach was being filmed in Melbourne at the time and the action of the play, set in Melbourne, was transferred to Sydney – especially for its scenic effects. The ending of the play was also altered to give a much more obvious optimistic ending. m e film captures the atmosphere of the play – but with the dependence on overseas markets and overseas finance and influence, the effect of the play is diminished.

1. The overall impact of this drama? Real people, its issues, insight?

2. The importance of the Australian setting and its communication? The detail of the city, Sydney's harbour, the pubs, the type of houses, Luna Park? The contrast with the atmosphere on the cane fields? The fruit-picking? How well did the film communicate atmosphere and flavour? Atmosphere as helping the meaning of the film?

3. Was it evident that the film was based on a play? Staginess, scenes, the quality of the dialogue, the highlighting of the personal conflicts?

4. The American title was Season of Passion. Comment. The use of the original title? The symbol of the doll, as a symbol for Olive? The smashing of the dolls?

5. The atmosphere of the opening? The return for the 'lay-off' season? Its flavour; pubs, good time, money? Nancy's absence and the presence of Pearl? Olive, Roo and Barney romanticising? The comparisons? what did the lay-off season mean to each of them? The contrast with Pearl?

6. How did the film communicate the change in all of them? The truth and the lies, the pretence, age? The change from a glowing holiday into realism? Nastiness and fights, lack of money? Clashes hinted and then more manifest?

7. Olive as the focus of the film? What kind of pers-on was she in herself? Growing up in this way? Bubba providing an image of the young Olive? Her explanations to Pearl? ! At home, at the pub, love, dolls? Her happiness with what she had? The outings with Roo? The New Year's Eve celebrations? What happened when she discovered the truth? How hurt was she? Her difficulties in coping? Her future?

8. Roo as presented at the beginning of the film? His reputation, as he was in himself? The humiliation of the season? His lies? The atmosphere of mateship, work? The need for money? The men turning against him? His toughness and his weakness? His hostility towards Dowd? The fight at Luna Park? Barney trying to help him? Roo's pride in not wanting to be helped? His facing the truth and coping with it? What future did he have?

9. How did Barney contrast with Roo? His bluster, his story of his marriages and children, all talk, his loyalty to Roo and to his mates-? His drinking, trying to help Dowd and Roo? His lack of effect on Pearl? Their clashes? Was it best that he went off?

10. The contrast in the character of Pearl? Her initial aloofness, questioning the arrangements, hesitant? Her attitudes towards the romanticising? Her ideas of marriage? Mer making them face the truth? The significance of her leaving them?

11. Bubba and Dowd? The echoes of Olive and Roo? As characters in themselves? Not making the same mistakes?

12. What did Emma contribute to the film? Her personality, telling them the truth?

13. How well explored was the theme of ageing? The romanticising of life and not facing reality? The quality of love? The gaining of wisdom?