SWORD OF SHERWOOD FOREST

UK, 1060, 80 minutes, Colour.
Richard Greene, Sarah Branch, Peter Cushing, Richard Pascoe, Nigel Green, Jack Gwillam, Oliver Reed, Derryn Nesbitt.
Directed by Terence Fisher.

Richard Greene had starred on British television in one hundred and forty-three episodes of Robin Hood between 1955 and 1960. This film gave him the opportunity to be seen as Robin Hood on the big screen. He is matched by Peter Cushing as the Sheriff of Nottingham and some interesting casting with British character actors like Nigel Green as Little John and Niall McGinnis? as Friar Tuck. Oliver Reed has a small role (but his voice was dubbed).

The plot is the usual material associated with Robin Hood stories, centring on the villainy of the Sheriff of Nottingham and the attraction of Maid Marian.

The film was directed by Terence Fisher who had pioneered the Hammer film classics of Dracula, The Revenge of Frankenstein and The Mummy in the late 50s. Hammer produced this film. Fisher was to go on during the 1960s to direct quite a number of the Hammer horror films.

1. Audience expectations of Robin Hood? So many films? A good one, better than usual?

2. The appeal of Robin Hood and his heritage, robbing, upholding rights? Norman- Saxon clashes? Life in the forest, Maid Marion, Friar Tuck and Robin's other assistants? The Sheriff?

3. The use of colour photography, locations, medieval sets, medieval and effective music?

4. Audience interest in the story of Robin Hood, his role in the forest, way of life, protest? The credibility of the encounter with Maid Marion and falling in love with her? The Sheriff and his social oppression, getting properties, working for Earls? The Earl of Newark, his assistant and their plans? The murder of the Archbishop of Canterbury?

5. The character of Robin Hood: conventional hero, spill with arrows, the Earl of Newark hiring him as an assassin, the encounter with Marion, the saying of the Archbishop? An attractive hero? Maid Marion and her contribution? Friar Tuck and his walk to the town and his intelligence system? The Sheriff as villain, his relationship with Marion, oppression, death? The Earl of Newark and his ambitions, ruthlessness, final fight to the death? His aide and his arrogance?

6. The minor characters of the towns, the forest soldiery, the initial victim and his message?

7. The special effects in the forest scenes, the battles, the court case, the falcon flying and shooting, the final sequences in the convent, the fighting?

8. Why do audiences respond so well? Heroic entertainment, quests, liberation? Courage and endurance?

SYLVIA SCARLETT

US, 1935, 95 minutes, Black and white.
Katharine Hepburn, Cary Grant, Brian Aherne, Edmund Gwenn.
Directed by George Cukor.

Sylvia Scarlett has a strange reputation. The producer, Pandro S. Berman, loathed the film. It contributed to Katharine Hepburn’s reputation in the late 1930s as ‘box office poison’.

The film is based on a novel by Compton Mac Kenzie (whose novels formed the basis for films like Whisky Galore, Rockets Galore as well as the series for British television, Monarch of the Glen).

The film is about a widower, played by Edmund Gwenn, who is accompanied by his daughter Sylvia as they escape from France to England after embezzlement charges. Sylvia is disguised as a boy, Sylvester, and continues as a boy, deceiving most people. They are joined by another conman, played by Cary Grant, who helps them in some of their con tricks. However, eventually Sylvia falls in love with an artist, played by Brian Aherne, and reveals herself to be Sylvia.

The film is strong in the records of films which play with gender and sexual identity.

The film was directed by George Cukor who had directed Katharine Hepburn in Little Women and was to direct her in Holiday as well as The Philadelphia Story (both with Cary Grant). Cukor had a long career in Hollywood, making many memorable films, winning an Oscar for directing My Fair Lady and guiding a number of performers to Oscars including Ingrid Bergman, Gaslight, Ronald Colman, A Double Life, Judy Holliday, Born Yesterday, Rex Harrison, My Fair Lady.

1. How interesting and enjoyable a film? Its entertainment value?

2. The film as a Katharine Hepburn vehicle? The interest in presenting her as playing a character masquerading as a man?

3. The 1930s style of the film, black and white photography, musical background, the quality of the sound?

4. What was the predominant character of the film's comedy, drama? Which predominated? how well were they blended? A human and humane comedy drama?

5. The importance of the scene being set at Versailles? The French background, atmosphere, the transition to England via the Channel, the English atmosphere? The stance of the English background?

6. Sylvia, as a character? Her relationship with her parents, with her father and her support of him, her decision to go with him to England, on the boat, the entry into crime, her lighthearted attitude to life and to crime? The importance of the man/woman character? How did she change during the film? The ambiguities of her relationships and behaviour? (The skills which Katharine Hepburn used to create the masculine and then the feminine aspects of the character?)

7. Audience interest in the man/woman situation? What did the film say about sexuality in itself, the way that masculinity and femininity could be used, the impact on others, the truth? Did this seem a bizarre treatment of the theme? Or an interesting and humorous treatment?

8. The atmosphere of stealing, for example, the street scene, robbing the sick?

9. The characterization of Sylvia's father, the English type living in France, his gambling attitudes, his skills in robbery, the comic aspects of his character, the pathos? His drinking, acting the clown in their show, his infatuation, his becoming mad with the infatuation and drink, the tragedy of his death?

10. How attractive a hero was Jim? His initial crookedness with the father and daughter on the ship, in the train? Exploiting them and joining them? The skills in getting money from the people in the streets, from the maid who would be a singer? His exasperation? His relationship to father and daughter? What made him finally decide to help Sylvia? His using the Russian noble?

11. How heroic a hero was Michael? As an English type, wealthy playboy attitude, relationship with women, attraction towards Sylvia, her infatuation with him, his discarding her? The discovery of the truth and the madcap kind of chase at the end with its revelation of real feelings?

12. The maid who wanted to be a singer? The comedy aspects of her characterization, her joining the troupe, the infatuation, her empty-headedness?

13. The Russian countess, an exaggerated character, a melodramatic character, with Michael, with Sylvia, with Jim and the would-be suicide? Her being tricked?

14. How well delineated were the characters? Or were they types for the comedy-drama? What classic status has this film now?

SYNANON

US,1965, 105 minutes, Black and white.
Edmond O’ Brien, Chuck Connors, Stella Stevens, Alex Cord, Richard Conti, Eartha Kitt, Barbara Luna, Bernie Hamilton.
Directed by Richard Quine.

Synanon is of interest in giving a glimpse of how the United States started to deal with drug addiction in the 1960s. Addicts were not accepted into Alcoholics Anonymous and there were no organisations to deal with the increasing number of addicts at the time. Synanon was founded to deal with the addicts, wean them off the drugs, offer some kind of rehabilitation – and some severe penalties for those who broke the rules.

Edmond O’ Brien is in charge of the organisation. Stella Stevens portrays an addict who wants to get off drugs and reclaim her child. Unusually, in the supporting cast, is Eartha Kitt.

The film may seem somewhat primitive because of the prevalence of drugs in later decades.

The film was directed by actor-director Richard Quine who performed in a number of films in the 1940s, began directing small-budget films in the 1950s and from the mid-50s to the mid-60s produced a number of very entertaining films including The Solid Gold Cadillac, The Notorious Landlady, How to Murder Your Wife.

1. The film was made in 1965. Is this evident in its style? In its language? In its concerns? If it seems dated, does this detract from the purpose of the film? What was its purpose in 1965? Assessing its style and what its impact must have been then?

2. Was the film helped by its documentary style? The fact that Synanon was a real place? Its presentation and open nights? The financial problems of Chuck Dederich?

3. How was Zandie the central character? How did focusing on him show the meaning of the work of the Synanon House? Did he draw audience sympathy? The sequences of his anguish at the beginning, on the beach, the symptoms of withdrawal, his taking refuge in the house, his sceptical reactions to the treatment he was given, his antipathy towards much of what was going on and his criticism, the fact that he was able to learn something there, but the fact that it did not penetrate? His ultimate failure? Did this give a realistic picture of the problems facing the Synanon people?

4. Did you agree with the style of treatment given by the staff at Synanon? Were they realistic in their attitudes towards one another? Towards those who voluntarily came? Were the encounter sequences too severe, for example the truth that was told by Raid to Joannie? The harsh treatment given to Zandie and Joannie? The blunt treatment given to Ben?

5. The sending out of Pete after he was found with drugs? Was this the only way possible to ahcieve the effects? Is this style of treatment in vogue today?

6. How interesting a group were the staff? Why did Chuck Dederich found Synanon? He put on a tough style? Was he really that tough? His speech to the open house people, his treatment of the staff and the patients? The fact that he was being pressurised for money? The point he made about being an alcoholic and not being put in prison, then being put in prison when trying to raise money for Synanon? (what comment on social justice did this make?) Batty and her speech at the open house, the change that it had in her, was this convincing? Was she helpful in the running of the place and sympathetic towards the others? Her encounters with Reid and his type of attitude towards the people in the place? The value of the open house sequence in informing the audience an well as the people about Synanon? Joannie?

7. Was Alan a convincing character? Her initial sympathy when she was trying to help Sandy? Her ups and downs and the fact that she forgot the truth? Her explanation of the toughness in the encounter group? Her love for her boy and her previous neglect? Her deceiving her husband? to go off with Zandie? Did she love him at all? Her reaction to him finally, was he merely a substitute for her boy? Why did she leave to search for him? How strong was the temptation to take the heroin? Why didn't she? Why did she return?

8. The importance of Ben in the film? The prison background, the comments on the department and his parole? His throwing his weight around in regard to Zandie? His memories of his dead wife? His relationship towards Joannie? Did you have sympathy with him when he was provoked into fighting Zandie? Was he to blame for Zandie’s going? Was his making reparation and finding Zandie too contrived? His going off at the end? Did he have any alternatives? How important was the sequence where Pete was discovered with drugs? Another failure of Synanom? How well did the authorities handle it? Would you have done the same? how strong was the temptation to take the heroin? How important were the sequences of Zandie at the end and his taking the heroin again? Being helped by his friend? They not believing that he could die? Were you sorry that he died?

9. The film ended on a hopeful note. Was this justified? How ironic was it in Dederich being taken to prison?

10. What insight into the world of drugs did the film give? The social effects of drugs? The help that in offered by generous people? The values of the civilization where people want to help others overcome their difficulties?

11. Did the film preach, was it moralistic, or was it a satisfying entertainment that communicated a message?

THE SYSTEM

UK, 1964, 95 minutes, Black and white.
Oliver Reed, Jane Merrow, Barbara Ferris, Julia Foster, Harry Andrews, Guy Dolman, Andrew Ray, John Alderton, David Hemmings.
Directed by Michael Winner.

Michael Winner’s reputation has gone up and down over many decades. After finishing direction in the 1990s, he became a television personality on quiz shows and competitions as well as doing a range of commercials. However, in the 1960s he made a number of small-budget films which were quite effective including The System. He worked with Oliver Reed who was to appear also in The Jokers, I’ll Never Forget What’s ‘Is Name and Hannibal Brooks for Winner. Winner went to the United States in the 1970s and made more prominent films like Chato’s Land, The Mechanic, Scorpio, with Burt Lancaster and Paul Scofield, and, most significantly in retrospect, Death Wish.

The American title of this film was The Girl Getters, a more explicit title for the theme of the film. In a tourist town, the locals pursue the tourists for sexual conquests. Oliver Reed plays their leader – but finds himself falling in love and having to rethink his values. This was in the vein of Alfie which was to appear in 1966.

1. The interest in and appeal of this film?

2. The film and the 1960's style? Black and white photography, its realistic atmosphere, locations, the types? The overtones of artistic influence from the Continent?

3. The significance of the title and its use in the song? The American title was "The Girl Getters". Was this a more appropriate title?

4. Interest in the beach resorts and their presentation in the film? The satiric commentary on the types of people who holiday there, the visualizing of this? How were the types characterized? The young men, the photographers, those trying to make money, the spivs, the people at the dances, the escorts? The ordinary people on holidays? The upper classes holidaying in wealth with parties and tennis? The film's commentary via the presentation? How satirical how cynical?

5. Girls going to the beach resorts? The indication that they let down their moral guard? The tourists, the boys working out their system and seeing it in operation? As seen in the story of Lorna, her explanation of her background, her love for Tinker, his exploiting her? The innocent abroad, in England?

6. The exuberance of the young men with their system, their push? How attractive were they? How repellent?

7. The change of atmosphere for them: Nidge and his girlfriend's being pregnant, the marriage? The fights? Explaining to newcomer David how the system worked and his learning? The fight with the intruding photographer and his thugs?

8. The central role of Tinker? Oliver Reed's style? Tinker's leadership of the group, masterminding it, his hold over the others?

9. The contrast of the satire on the holiday resort with the presentation of the romance between Tinker and Nicola? Did they love each other? Their attitudes towards freedom, being modern? visualizing of the lovemaking on the beach? The artiness of these scenes? Tinker's buying the drinks and small talk, the humiliation of the tennis? His encounters with Nicola's father?

10. The supporting roles of Susie and the various types in the resort?

11. The picture of the upper classes and their chatter, parties?

12. The importance of various sequences and their impact, the taking of the photos, Tinker at work arguing with his boss, he dances and the ejection of the photographer, the party, the sequence at the end?

13. The insight into a particular place and people? The values explored?

UN VERANO PARA MATAR (THE SUMMERTIME KILLER)

Spain, 1972, 110 minutes, Colour.
Christopher Mitchum, Karl Malden, Olivia Hussey, Claudine Auger, Raf Vallone.
Directed by Antonio Isasi- Isasmendi.

The Summertime Killer is a revenge film. The focus is on a young man who had witnessed the Mafia beating his father to death when he was six. He now goes in pursuit of those who killed his father. The Mafia boss wants to thwart him. So also does a police officer (Karl Malden) who feels guilty about what went on and wants to atone.

This is very much in the atmosphere of American-style stories being filmed in Europe, with a particular atmosphere, visual angle style, international cast.

1. The indication of the title and its meaning? The use of thriller conventions?

2. The contribution of colour, the spread of countries, the beauty of the scenery, musical accompaniment? The atmosphere of violence, the editing and pace?

3. The significance and mood of the prologue? Its style and the child's eye view? Sharing the child's horror? The shrill tones of the murder? The atmosphere of feeling and revenge? Understanding of horror and revenge? The influence of the prologue throughout the film?

4. The film as a revenge thriller? How well did it work in the level of feelings? On the level of morality? Insight into the nature of revenge and its administration?

5. Questions of law. justice. personal hatred. the administration of private justice? What rights have Individuals to administer justice?

6. The film's focus on Kiley? As representing crime and law? As representing justice? Employed by the Mafia? His understanding of the meaning of freedom? The symbolism and significance of his death in terms of law and justice?

7. The visualising of the initial murders? Their variety? Shock impact? Violence? Audience response to this? Colouring our understanding of Ray?

8. How well did the film present Ray? Did it help us to understand him? The details of his plan? His personality, background? The fact that he was redeemable? His use of the secretary? The spying on Tanya? His imprisoning her? his cruelty?

9. Ray as a feeling person: towards Tanya, the talking, the love? His response to her warning him not to go? His hesitating to kill? The significance of the dog?

10. How important was the bike in the film? As part of Ray's personality? The details of the stunts? Especially showing off to Michele? Did the film use well or exploit the bike sequences? The murders, the escapes from the horsemen, the ending? The impact of a hero on a bike?

11. The contrast of Kiley and Ray? Kiley doing a job, interest in the case, the relationship to Castor, his efficiency, the film's detailing step by step the investigation, his capture of Ray, his decision to let Ray and Tanya go? How well prepared for his death was he? The impact of his death?

12. The portrayal of Alfred as a criminal? The insight into his feelings with the flashback to Tanya? His cruelty to his secretary? To Ray?

13. How much warmth and humanity did Tanya add to the film? The details of her personality, affair with the lecturer? The details of her trying to escape? Her loneliness, relationship with Ray? A future with him?

14. The film's comment on Ray and Tanya as second generation Mafia and paying for the crimes? their parents?

15. How satisfying a thriller?

SUMMERFIELD

Australia, 1977, 95 minutes, Colour.
Nick Tate, John Waters, Elizabeth Alexander, Michelle Jarman, Charles Tingwell.
Directed by Ken Hannam.

Summerfield: avoid too close scrutinizing plot twists and red herrings, but the several ingredients of the ending do not have as enormous an impact as intended. Rather, this is a moderate, atmospheric mystery with beautiful Westernport Bay locations, suggesting the closed island society and closed family. It is easy to identify with Nick Tate as a pleasant hero and share his curiosity. Elizabeth Alexander as a mysterious mother is an attractive and persuasive actress. John Waters is there brooding. m ere are some nice touches, as Charles Tingwell's ornithologist doctor, but plot and clues seem unnecessarily contrived for their purpose.

1. How satisfying and enjoyable a drama, thriller?

2. The production values, especially the location photography, creation of atmosphere?

3. The reasons for audience interest in character, mystery, situations? With whom could the audience identify and become involved? How interesting was the puzzle?

4. The importance of the structure: the entry of Simon Robinson and the audience into Banning's Beach, the mystery of Peter Flynn, the atmosphere of the town, the puzzle and focus on Sally Abbott, on Summerfield and its mystery, on Jenny and David? Thd gradual drawing in of Simon? The basic framework of the disappearance of Peter Flynn? How satisfactory were the ambiguities of character and plot within this structure?

5. Simon Robinson as focus: the importance of his arrival and the dead end at Summerfield's locked entrance? The significance of Summerfield being on an island, at the end of a bridge, the gate? Sally Abbott and her mysterious presence? Were expectations from these ingredients fulfilled?

6. Simon and his being settled in the guest house? Betty and her sensual attitudes, sexual liaison with Simon? Her husband and his friends and the drinks? Peter Flynn's room and everything in order? His photos and his possessions? The rousing of Simon's curiosity and the audience's?

7. The atmosphere of the school, Simon at work, relationship with the children, successor to Peter Flynn? The encounter with Sally? His curiosity because of her friendship with Peter Flynn? Accepting her invitation and then ignoring it, hitting her with his car and the consequences of her broken leg?

8. The initial impact of Jenny Abbott? Her reputation, her relationship with her brother, with Sally? Her cold behaviour? The background of her story, unmarried mother?

9. The contrast with David: cold, withdrawn, sinister? His relationship with Sally? Suspicions of Simon?

10. The coming together of interests in Simon's mind: Summerfield, its personalities, Peter Flynn, the clues and the links of the photos? His suspicions about the disappearing car, the remainder of the wheel? His suspicions?

11. The significance of Dr Miller's presence in the film, helping Simon, helping Sally? The bird-watching sequences?

12. The gradual development of Simon's interest, involvement, on the cliff, personal involvement and interent in Jenny Abbott?

13. Did the characters change? Jenny and her growing friendliness? The invitation to dinner? The tensions? What did the audience suspect at this stage? As regards Sally's illness, the indications about salt water, Peter Flynn's relationship with Jenny? David's relationship?

14. Audience reaction to the Picturing of incest? With these characters? that the audience had got to know? Sharing Simon's reaction?

15. How credible was the consequent violence? The death of Sally? David and his going mad, protecting his secret? The violent death of Jenny contrasting with the sensuality of the relationship such a little time before? David's own death?

16. The arrival of Peter Flynn - a type of anti-climax?

17. How well sketched was this portrait of an insulated society? Individuals within it? ordinary way? of life, sinister aspects? Credible situations and behaviour?

SUNDAY TOO FAR AWAY

Australia, 1975, 94 minutes, Colour.
Jack Thompson, Max Cullen, Reg Lye, Robert Bruning, Peter Cummins, John Ewart, Sean Scully, Lisa Peers, Greg Apps.
Directed by Ken Hannam.

Sunday Too Far Away: the South Australian Film Corporation was pleased with and proud of its achievement in this film. It is entertaining in its vivid portrayal of the shearers as personalities, their hard work, competitiveness, rivalries, friendships, the pathos of their loneliness and drinking. There is a lot of flavour which gives a strong impression of authenticity and there is social comment at the end. Jack Thompson proves his worth as an actor in a more subtle performance as Foley and there is excellent support from Max Cullen as the organiser and Reg Lye as an ageing alcoholic shearer. A fine Australian film.

1. The reputation of the film? Its exploration of Australian themes, skilfully? Its appeal to Australian audiences, overseas audiences?

2. The portrayal of Australia and an aspect of its way of life? The memory about pioneers, working on the land, sheep? The ethos of the Australian worker? The Australian working character moulded by the experience of the outback, the myths about mateship and work? The spirit of the Australian worker, language? How well could a city audience identify with this experience of shearers?

3. The colour photography, South Australian locations, the atmosphere of the outback, the deserts, the towns? The homestead, the shearing sheds, the rooms for the workers? The atmosphere of the homesteads? The skill of the editing, especially in presenting the work in the sheds? Music, the title song?

4. The significance of the title, a working week, Sunday as a break day and how it was lived? The song and its lyrics indicating the meaning? Work, the individuals at work, a men's way of life and outlook? Drinking? Or looking at tomorrow's sheep?

5. The significance of the 1955 setting? The contrast with later decades? Work in that year, the pace of life and style? The significance of the shearers' strike that year, its effect on sheep, the industry, the men working, scab labour, the insult?

6. The structure of the film and the audience entering with Foley: his driving, introduction to his personality, the crash and its effect on him? His walking into the town? Indications of his reputation, memories, self-image, time passing? The situation of the wandering shearer? Living in the past and in the hopes of the present? The importance of the encounter with Tim King and the possibility of a new season? Audience interest in the characters, work, what was to happen?

7. Comment on the characterization of Foley: Jack Thompson's appearance, style, language? The champion young shearer with his memories of the past and being gun shearer and his moving to middle-age? The importance of reputation? The skill that this entailed, the importance of being at the top, the fear of losing technique, skill? Rivalry? Foley as confident and cheeky, joking? The bonds with the men in the bar, with Ivy and her support of him? As symbolized in the challenge by Frankie Davis and the bet? Foley as a leader?

8. The contrast with the characterization of Tim King: a shearer who had succeeded in the business side of things but not perfectly? His interest in the work, a worrier, his office? His deals, tricking the men? Driving them out and then telling them the truth? The mateship allowing the men to stay with him despite being tricked? The importance of the contractor in his hiring, managing? His role and status as a contractor and therefore being excluded from the meetings of the men? Their placing him in an authority role? The demands they make for example about the cook, eliminating the owner from the shed? How interesting a delineation of an ordinary type and character?

9. The presentation of the men as Australian workers: their divisions, union outlook, bosses, offhand elections of representatives, the role of the representative, the distancing of the manager? The importance of showing the owner as prying, stop-work? Eliminating him from the sheds? Discussions about the possibility of the daughter watching? The importance of money, rules in the shearing shed as regards timing, competition, results? The ways of recreation and their limitations in the outback? Limited in expectations? Drinking, talking, writing letters, looking at tomorrow's sheep?

10. The significance of Arthur Black as the rival to Foley? His appearance, type, serious? His skill? The importance of the rivalry as visualized? Its meaning for Arthur Black and his nickname? For Foley? (The humorous irony of the rivalry with Ugly - even to the ability to wash, the comic nature of the washing sequence in the bath house?)

11. The gallery of the men: Ugly and his humorous style, language, stories, support of Foley? Tom as a more serious type? Basher? Beresford and his marriage and the writing of letters? Jim the learner and his telling lies and cutting the sheep but being allowed to stay on? Michael Simpson and his eagerness in the town, the comedy of his opening and shutting the gate, his learning out in the sheds?

12. The portrayal of the owner and the attitude of the men towards him as wealthy, a possible oppressor? Contracts with him, eliminating him from the shed? The daughter and her loneliness, the suggestion of frustration and isolation, her catching Foley with the lemon essence, blackmailing him to watch the sheep? Her watching and it not meaning so much to her?

13. The humour and the reality about the cooks, the lemon essence, the personalities of the cooks, the story about the making of the rissoles? The horrible food, Foley provoking the fight after the lemon essence? The humorous fastidiousness of the new cook?

14. The character of Old Garth: in himself, an old shearer, his ability to work, the story of his life, the scenes with him and Foley in the room, continual drinking, insulted at being called an alcoholic, the clashes with Foley but the pathos of his death? The mercenary attitude of the undertaker? (A vision of Foley in the future?)

15. The build-up to the competitiveness between Foley and Arthur Black? The suddenness of the strike? The deflated atmosphere, the return to town, the big money, the drinking, the gambling and going through the money so quickly? Foley back to nothing? The arrival of the scabs and the confrontation at the railway station? What future for the men, for Foley?

16. Themes of work, quality of life, expectations, class differences, egalitarianism, principles? A critic suggested that it showed the grandeur in limited people and situations. Is this correct?

THE SUNDOWNERS

US/Australia, 1959, 132 minutes, Colour.
Robert Mitchum, Deborah Kerr, Peter Ustinov, Glynis Johns, Michael Anderson Jr, Dina Merrill, Chips Rafferty, John Meillon, Ronald Fraser.
Directed by Fred Zinneman.

The Sundowners is very entertaining - unless you are particularly sensitive to films about Australia. Although so many features of Australian life in the country round the turn of the century (as well as bushfires, flora and fauna) are crammed into the film, the overall reaction is one of recognition, warmth of interest in the Carmody family and regrets at their regrets that they cannot settle down. Robert Mitchum and Deborah Kerr (who appeared together in Heaven Knows Mr Allison and The Grass is Greener) do well in their adopted Australian roles. Glynis Johns has a hearty role which she can carry off well and Peter Ustinov is always enjoyable. Local talent, including Chips Rafferty and John Meillon, have supporting roles. Fred Zinneman who directed The Men, From Here to Eternity, The Nun's Story, A Man for All Seasons, The Day of the jackal, directed this film for all ages.

The Sundowners is very entertaining – unless you are particularly sensitive to films about Australia. Although so many features of Australian life in the country round the turn of the century (as well as bushfires, flora and fauna) are crammed into the film, the overall reaction is one of recognition, warmth of interest in the Carmody family and regrets at their regrets that they cannot settle down. Robert Mitchum and Deborah Kerr (who appear together in Heaven Knows Mr Allison and The Grass is Greener) do well in their adopted Australian roles. Glynis Johns has a hearty role which she can carry off well and Peter Ustinov is always enjoyable. Local talent, including Chips Rafferty and John Meillon, have supporting roles. Fred Zinneman who directed The Men, From Here to Eternity, The Nun's Story, A Man for All Seasons, The Day of the Jackal, directed this film for all ages.

1. Why were the principal characters in this film called "Sundowners"?

2. Was this an authentic picture of life in the N.S.W. countryside around 1912? How?

3. Did you like the Carmodys? How well did they relate to one another? Why were they so poor? Why couldn't Paddy settle down? What did Ida want? What did she want for her son? What did he want?

4. Why were the camp sequences contrasting with houses' sequences so important? Which sequences showed how hard it was for Ida – her watching of made-up ladies and so on?

5. Was the presentation of the droving interesting, entertaining, realistic – the difficulties, the nature of sheep, the dogs, the tracks, the fires? (Did we see too many Australian animals at once?) The dangers and risks? Dingoes, riding etc.?

6. The style of life at the fringes of the towns – tents, pubs, drinking, songs, fights?

7. Venneker as a character, as an Englishman? Did you enjoy him and his comments? Why did he go with the Carmodys? What was he doing in N.S.W.? How did he relate with the family? The boy?

8. Mrs Frith – an Australian type, garrulous, friendly, the pubs? likeable?

9. Ida's manoeuvres to keep Paddy in the town, the shearing job, Ida's being employed? How happy did this make her?

10. Shearing life – well presented, interesting, authentic? The rivalry (the car accident and the fight'), the hard work, speed, fatigue, meals, mateship, the son's helping. The competition, the betting, pubs, the old man winning – how effectively filmed was the competition, the spirit, the exhaustion, the pretending etc.?

11. Why couldn't Paddy settle? Why were Ida, Venneker and the boy so happy?

12. Jean, the station aristocracy, her boredom and problems, the sympathy of Ida?

13. The importance of Bluey and his wife?

14. Venneker and Mrs Frith? What quality of relationship?

15. Gambling, Australian-style – humour, luck, risk, Paddy and his wins and losses, the horse?

16 Did you hope that they would buy the house? Were the sequences of their going to the house effective? Why?

17. Was the race exciting, especially since so much depended on it? The disqualification?

18. What future did they all have? Would they survive well enough? Be happy?

19. What insight into Australia, origins, pioneering, style and spirit did the film offer? A man's land, not a woman's? Rules and laws – made for country people by city wowsers? The need to settle down?

20. Australia, beauty, harshness and so on as different and distinctive from other countries?

 

 

 

SUPERVIVIENTES DE LOS ANDES (SURVIVE)

Mexico, 1976, 85 minutes, Colour.
Directed by Rene Cardona.

Survive was considered rather exploitational at the time of its release, coming so soon after the experience of the Andes, when the Uruguyan football time and their plane crashed into the Andes and they survived only by being able to eat the flesh of their friends. The story created quite a sensation in its time – and the question of whether this kind of behaviour is appropriate for human beings – or for survival. However, in retrospect, the film is a straightforward presentation of what happened, how the team and other passengers reacted, their decisions, the realism of what happened in terms of the cannibalism.

Twenty years after the events, Frank Marshall directed Alive with a cast led by Ethan Hawk and with John Malkovich sitting on the mountains reflecting on the religious dimensions of what happened, especially the Eucharistic overtones and the Body of Christ.

1. The purpose of this film, entertainment, information, exploitation? In its original Mexican form? As edited and adapted for America and English-speaking audiences? What merit does the film have?

2. How much of the original Mexican film is evident? As Americanized? For better, for worse?

3. The presentation of the facts, the reconstruction of the accident, survival? In good taste or not? Sensationalizing or reporting?

4. The focus of the film and its advertising on cannibalism, the fact of what happened, of what happened versus how it happened? The build-up of hunger, the need for survival, the arguments pro and con, the religious emphasis, the decisions? The method, the close ups of the incisions and cutting away, the drying out of the flesh for eating? The eating? Is it necessary for us to see this kind of thing to know what is possible?

5. The film's build-up of the people on the flight, the characters, the group? Relatives, the crew?

6. The ordinariness of the flight, the impact of the crash and its violence, the reasons? The impact of sudden death? Injury?

7. The theme of survival and its visual presentation: the cold and the snow, isolation, the futility of the searching parties, people dying and giving up, charity and support, food and water and warmth? The pathos of people dying helpless? The pathos of those who survived for weeks?

8. The strength of the sportsmen, their going to the wreckage to save medicine, the radio and its ruin? The irony of their being so close to a chalet?

9. The eating of the flesh as fitting into the context of the accident and survival? The renewed hope?

10. The decision to go searching, the man who went back, the seeming hopelessness? What motivated the men to go on?

11. The picture of their endurance, the descent? The almost giving up? The man on the donkey almost not seeing them?

12. The transition to joy, the rescue?

13. The melodrama of the return with its joy for some and sorrow for others?

14. A good disaster film? Its values? Satisfying curiosity, instructing?

 

SUSAN LENNOX, HER RISE AND FALL

US, 1931, 76 minutes, Black and white.
Greta Garbo, Clark Gable, Jean Hersholt.
Directed by Robert Z. Leonard.

A very early Garbo, talking vehicle. Garbo had made her mark in Hollywood in the late twenties with glamorous dignified siren roles, for example, Flesh And The Devil, Woman Of Affairs. She made the transition to sound with Anna Christie.

This vehicle, directed by Robert Z. Leonard (later to distinguish himself with the Great Ziegfeld, Pride And Prejudice) is a very creaky vehicle indeed very close to a silent techniques, for example, the transition from Helga's birth to growing up. Garbo acts with the silent style - though she was to make a smooth transition to sound techniques in later films.

A very young Clark Gable is the dapper, rather self-righteous hero. He embodies the American hero - tough, aiming for success, taking in the stranded woman, competitive, offended by her waywardness, collapsing, eventually building to a happy ending.

In 75 minutes, the screen playgives a great number of episodes (enough for a contemporary mini-series). Garbo as Helga is shown as bearing the taint of her mother's unmarried state. Looked down on in the Swedish- American community in the outback of America, promised in marriage to a man who attempts to rape her, taking refuge with architect Rodney, being pursued and eventually taking up in a circus, becoming the mistress of the owner to save herself, rejected by Rodney, defying him and making her way in the world an a rich society woman, being under the protection of shady politicians, helping Rodney in his career, confronting him in a long verbal exchange, going to Latin America an he down in a state of collapse, their meeting Helga with the help of a captain in love with her coming to some kind of redemption and helping Rodney. Susan Lennox is Helga's circus and society name. There are all the ingredients of the American soap opera and they are given the treatment 1930s style. Interesting as a historical piece of film making in Garbo's and Gable's careers.