SADIE McKEE

US, 1934, 93 minutes, Black and white.
Joan Crawford, Gene Raymond, Franchot Tone, Edward Arnold.
Directed by Clarence Brown.

Is a very little-known Joan Crawford vehicle of the early 30s. It was directed with MGM flair and style by Clarence Brown, one of Greta Garbo's favourite directors and later to make such films as National Valvet and The Yearling. Joan Crawford dominates in the film and gives a performance not unlike many of the roles she was to take - a strong woman, who made mistakes, a rag to riches success but whose heart can be aprealed to. Her leading men certainly don't seem as strong beside her - Franchot Tone whom she married and Gene Raymond who was very popular at the time. There is a very good performance by Edward Arnold - considering that for practically all of the time he is on the screen he has to be drunk. There is a depression background, a social awareness. It is very much the story of the American Dream of poverty to success but the film ends with Sadie accepting human realities. It is very enjoyable soap opera of the 30's and stands up well today.

1. The impact of this film today - as a film of the 30's. style and content, depression background, American soap opera? Its quality for enjoyment?

2. The MGM production days of the 30's, black and white photography, musical score, attention given to sets and costume, atmosphere?

3. The perennial appeal of soap opera? Human nature, melodramatic situations, contrived situations, emotional crises? Their appeal in this film, style? Audiences accepting the contrived conventions of human beings in soap opera? Themes of right and wrong, good and bad, conscience? the film as a Joan Crawford vehicle? The title and the references to her name during the film? To her mother? A strong woman, poor, vivacious, emotional, making wrong judgments especially about men? Tempted to control men and to selfishness, resisting the temptation and becoming heroic - and poor? The idealized American woman? The American heroine? Joan Crawford's particular presence and style?

5. The treatment of the American theme of rags to riches, the temptation to control? The challenge and Sadie's response? The choices behind her motives for her choices?

6. The atmosphere of the 30's, the background of the Depression and poverty especially in New York? Wealthy families, the servants? The social comment on the disparity of wealth in American society during the Depression? The American Dream of getting out of poverty? How authentic did the film seem in presenting its setting and people within this setting? Its tendency to moralise and to preach through the soap opera and its situations?

7. The initial impact of Sadie, the rich men calling her a thoroughbred and the repercussions of this throughout the film? Her role in the family, as a maid, playing games with Michael and her hopes for marriage? Her love for Tommy? Her reaction to family and Michael's criticism and telling them off? The impulsive going with Tommy and blinding herself to his guilt? Getting on the train, the quality of her love and its impulsiveness? The film's portrait of Tommy? his background of poverty, his place in the town, his guilt and his capacity for lying? His charm? His love for Badic? going to New York and glad that she came on the train? Their initial meal in New York and counting their coins? Their friend and the room and their decision to stay? Propriety as regards their not being married? The plans for the marriage, Sadie's enthusiasm? Tommy and temptation and Dolly? Enjoying the singing, the prospects of the job? His poor job and being a atooge for Dolly and yet making money? The repercussion for his life in the theatre with Dolly? Seeing Sadie and the reaction, the telephone call? His going downhill, in New Orleans and ill health? Michael seeking him out and his illness in the hospital? The final visit of Sadie and his quiet dying in her presence? The meaning of his love? What kind of man? The contrast with Michael and his wealth, his arrival home, the memories of childhood with Sadie, his arrogance especially towards Tommy and yet his insight into the truth? His continual hostility towards Sadie especially at the night club with Jack, the wedding? His suspicions that she would murder him? His change of heart when he saw what she did, his seeking out Tommy and helping him? The prospect of a happy future with the birthday party and his blowing out the candles on the cake with the wish? The contrast with Tommy? An alternate hero?

10. The introduction of Jack to the film? Edward Arnold's performance, considering that he was drunk through most of It? The impact of his personality, his presence? The portrait of the playboy during the Depression, the millionaire splashing around the money, picking up Sadie, his paying the orchestra and their singing all night? The proprietor and his fawning over Jack? Champagne for all the guests? The inevitability of his proposing to Sadie? and his repitition of his remarks especially about her name and her mother? Sadie sitting with him holding her confronting, and glaring at Michael, her decision to marry him? The return and their beine, drunky the house are the servants? Jack and his continual drunkenness e.g. brought home by the police? (And their behaviour with the taxi driver with Sadie giving them the money?) The doctor and the hospitalisation of Jack? Her decision to sober him up and save his life and yet Finnigan giving him the bottle and his hiding it under the pillow? The physical clash with Sadie and his punching her? His impulsiveness in giving her gifts - the shopping before the wedding and her friend getting the bracelet etc.? His hostility and violence? The fall down the stairs? Sadie and her confronting Finnigan and firing him, the confrontation with the staff and persuading them to help her? His being restored to health? What kind of man was he in good health? The night club sequence - his forbearance and tolerance in listening to Sadie and her story about Tommy, letting her go? His gratitude for her for his life? What kind of man was he? How admirable was he meant to be at the end?

11. The importance of servants especially Finnigan and his waiting on Jack, his dispising of Sadie? His giving Jack the drink? His phone call to Michael, his insults to Sadie to the staff? His decision to help her?

12. Sadie's friend and the initial charity on the arrival in New York, getting her the job as the dancer? Being the bridesmaid? The sequence in the store with the jewellery and the clothes? The visit to the theatre to see Tommy? The continued help and presence at the end?

13. The contrast with Dolly and her taking Tommy, the performances, the finale and the confrontation with Sadle? The irony of her new assistant and the insinuation of homosexuality and Sadie's smile?

14. Sadie's wealth and her adaptation to it, to society? The comparison with the place where she was brought up? The contrast with New York, the streets, poverty, the apartment and the curious landlady and her taking of the money? Night clubs? The presentation of wealth and poverty?

15. Tommy dying in hospital and the doctors and the truth, Sadie and her sadness. Tommy's peaceful death? The soap operate effects? the contrast with the hero dying instead of the heroine?

16. The final portrait of Sadie? as a woman, strengths, weaknesses? Letting things happen, making mistakes, her passionate nature, her hardness? Her friends, her decision to help Jack and her achievement? Her giXing up her wealth for the truth lpnd love? The idealised American heroine?

17. The values in audiences presupposed by this kind of melodrama? moral stances, truth, right and wrong? Hollywood morals and the way they correspond to popular attitudes?

SADDLE TRAMP

US, 1950, 90 minutes, Colour.
Joel Mc Crea, Wanda Hendrix.
Directed by Hugo Fregonese.

A very agreeable western with the perennial hero Joel Mc Crea. It is a family western with a focus on four orphans and a runaway niece. There are the conventional happenings on the range with the stealing of cattle and family feuds and showdowns. However, there is an enjoyable screenplay with homespun wisdom and a general charm about the west even though it is an action drama. Direction by Hugo Fregonese who made the interesting family Civil War western, The Raid.

1. An entertaining and satisfying western? Basic appeal of westerns? The family interest?

2. The expected conventions and their use? The title and the saddle tramp, Chuck and his narrative at the beginning, his change of attitudes about responsibilities at the end? Shootouts, cattle rustling, family feuds? The children as orphans? Della and her Uncle? The shootouts and betrayals? An average western, above average?

3. Colour photography, the atmosphere of the west? Cattle? The theme music and the Song of the Wild Geese and the image at beginning and end, geese wandering?

4. A credible western? Chuck as saddle tramp, care for friends and the children, work, strength, loyalty? His caring for the children, care for Della and marrying her? The ranchers? The double-dealing with cattle rustlers? An atmosphere of realism?

5. Chuck as hero? Joel McCrea's easy style? The opening with his wandering and reflecting, the encounter with the old man and his talking, the chases? his friend and his death, blaming his horse? The care for the boys and taking them? Seeking work, taking the food? His work on the ranch, friendship with the old man and his nephew, the clashes with Rocky, the visit to the Martinez ranch and his suspicions? The boys helping him with the work? Dellals running away and his attraction towards her, antagonism towards her uncle? The framing of Chuck for the stealing of the cattle, his fight with Rocky, the discovery of the truth - and the happy ending? A pleasant
western hero?

6. The picture of the boys at home with their father, his death, their coping, travelling with Chuck, the meals, taking in Della, the shooting of the cougar? The happy ending with a mother and father and the irony of going to school? The homesteader's wife and her Irish background and the talk about the leprechauns?

7. Della and her running away from her uncle, his being a harsh man and the ironic humour of his greediness and being caught in the trap? Her care for the children, her helping Chuck, worry about Butch and his illness, leading everyone to the truth at the end? Marriage?

8. Rocky as villain, his partner at the Martinez ranch, their plans for rustling the cattle, blaming Chuck? Fights?

9. The feud between the two homesteaders? Antagonism, reconciliation? The wife and her Irish background and care for Chuck?

10. Shootouts, cattle rustling sequences, fights? The blend of humour especially with the old man?

11. The American heritage in the west? Families, moving to California, cattle, law and order?

SABOTEUR

US, 1942, 108 minutes, Black and white.
Priscilla Lane, Robert Cummings, Otto Kruger.
Directed by Alfred Hitchcock.

Saboteur is one of Alfred Hitchcock’s earliest American films, made after Rebecca, which won the Oscar for best film of 1940, and Foreign Correspondent. It was released just as the United States entered World War Two.

The story is topical with an aircraft worker played by Robert Cummings falsely accused of sabotage in the factory. He decides to clear his name – which involves him travelling across the whole United States, trying to expose a gang of saboteurs, involving a young woman, played by Priscilla Lane. The famous finale, where Robert Cummings confronts Norman Lloyd, is set on the Statue of Liberty.

This finale ensures that it is remembered – but it is an effective Hitchcock film of the period.

1. The quality of the film as a Hitchcock thriller, made during the war, early American period? Expectations from a Hitchcock title?

2. The film in the atmosphere of the forties, America's attitude towards the war? The atmosphere of war, of propaganda, of fascists and fifth columnists in America, the sense of nationalism and patriotism? Fow did this seem at the time? In retrospect?

3. The use of black and white photography, studio locations and their artificiality? The ranging over America from Los Angeles, to the desert, to New York locations? The use of the Statue of Liberty for the climax? The use of the musical score?

4. Audience involvement with the Hitchcock structure: the initial puzzling incident, danger, mistaken identity, imputed guilt, the flight of the innocent, the journey, the accompanying girl? The build-up to the climax? Why can audiences be involved in this kind of suspense?

5. The impact of the credits sequence with the shadow looming, the build-up to the sabotage?

6. Robert Cummings as Barry? initial opinion of him, his patriotic work durig the war, friendship with Mason? The interest in the clash with Frye? The involvement in the sabotage and the effect of the death of Mason? Audience emotional response to his being questioned, his visit to Mrs Mason? The risk to his safety? Mrs Mason and her dilemma and her saving him? The humour of the lady neighbour?

7. Audience involverment in the journey? Comedy and suspense blended? The details of the drive with the truckie and the comment on that way of life? hold up by the police, the humour of the truck driver later saving him? in the incident in the river after the fall from the bridge? The encounter with the blind man and the suspense of Barry trying to conceal his handcuffs and yet they had been observed? The consideration of the blind man? (Mow well delineated was this character with his affliction, music, hospitality and help?) The incident with the circus, the various freaks and their attitudes towards Barry and the girl? The humour in their presentation, the irony of their clashes, the dwarf, the bearded lady, the siamese twins? The benign helpers?

8. The importance of Pat and her disbelief? A suitable heroine, her patriotism and loyalty, Barry's forcing, her? Being held up on the road and his taking her away as if they were newly married? The change of heart? understanding the truth? For escape and the final confrontation? Her doubts? suspense at the dinner? Her final call for help with the card out the window? Her presence at the end? A strong American heroine?

9. The presentation of the villains? Credible fifth-columnists and saboteurs? Tobin and the relaxation at his home and with the child? The suspense with the letters? The criminals at the Boulder Dam location? The atmosphere of New York and Mrs Suttor and her aristocratic tone and not wanting to be involved in murders? Barry and his trying to outwit these people? Being forced to dance, the device of the auction? Political attitudes, idealogical beliefs, Tobin's motivation? How credible was this kind of fifth-columnist work in America in the forties?

10. Audience response to Frye, at the start, the effect of the sabotage and Mason? his death? his reappearance in America? The build-up towards the climax and Pat following him? The dramatics on the Statue of Liberty? holding on and his life by a thread which then broke? Audience response to his death?

11. Barry trying to get to the pier in time? The action at the pier and the saving of the ship? Frye signaling later when he saw the other ship on its side? How well was the climax sequence filmed? The ironic use of the Statue of Liberty? The irony of Frye holding on and falling? The thriller conventions and Hitchcock's use of thrills? His belief in involving the audience with suspense? The film as a morale booster during the war? Observation of human nature? Its links with so many others of Hitchcock's espionage and escape films? The anticipation of North By Northwest?

SABOTAGE

UK, 1936, 76 minutes, Black and white.
Oskar Homolka, Sylvia Sidney, John Loder.
Directed by Alfred Hitchcock.

Sabotage is an early Alfred Hitchcock sound film, from the mid-1930s. It was made after The Thirty-Nine? Steps and The Secret Agent.

The film was based on a novel by Joseph Conrad, The Secret Agent. Since Hitchcock had made a film with that title the year before, this one was called Sabotage.

It is the story of anarchists, based on the siege of Sydney Street in the early 20th century. Sylvia Sidney plays the wife of an anarchist, played by Oskar Homolka. She begins to suspect her husband of terrorist activity and has to make a decision as to what she will do, especially in his regard.

The film is brief, builds up its suspense, creates an atmosphere of how anarchists operated in the early 20th century.

It was remade in the 1990s by playwright Christopher Hampton with Bob Hoskins as the anarchists and Patricia Arquette as his wife. There is a strong international cast in support including Gerard Depardieu, Jim Broadbent, Christian Bale, Eddie Izzard as well as Robin Williams as the sinister professor.

1. The quality of this Hitchcock thriller? Early sound, the British industry in the thirties? An early espionage Hitchcock film? His use of suspense?

2. The title, the credits and the focus on the dictionary explanation? The irony of the American title 'A Woman Alone'? Sabotage and the overtones of espionage, destruction, spies, traitors, patriotism? How well were these themes explored?

3. The device of having the situation of the cinema, its ordinariness, a cover for Verloc, Mrs Verloc and her brother and their ordinary work? Problems of money, machines breaking down, repayments? The atmosphere of the neighbourhood in London? The use of the cinema, for example, with the Disney sequence, the build-up to the climax, the explosion? Why was Hitchcock using the cinema for these purposes? The London atmosphere and its authenticity, realism with which the audience could identify? Fear and suspense for the audience?

4. The focus on Mrs Verloc, an ordinary woman, her work, the dilemma of getting the money back to the patrons, her love for her husband, her not suspecting anything? Yet her suspicions? Her anxiety and fearfulness? The bond between her husband and herself? The bond? with her brother? The detective and the impact of his presence? Her puzzle? Helping him? Her fear that something would happen?

5. The contrast with Mr Verloc, a mysterious character, his appearance, foreign, sinister? How likable? The mysterious early sequences and the information that he was a saboteur? The context for his sabotage? The background to the anarchists and his loyalties? His arrival home, staying in his room, lies? His relationship with his wife - did he love her? The build-up to the bomb and its transport? Giving it to the boy?

6. The build-up for the carrying of the bomb and audience suspense, the elaborate scenes of the Mayor's procession, the boy's enthusiasm? The focus on the cans of film? His presence on the bus? The continual focus on the clocks for the time? The pathos of the explosion and its visual impact? Audience sympathies against Verloc, for his wife?

7. The build-up to Mrs Verloc's reception of the news? The famous scene in which she kills him? Comment on the techniques of communication amongst the two, the unspoken communication, Verloc's attitude, Mrs Verloc's attitude, the focus on the knife, her dilemma, the actual killing and its impact on her? Why is it so famous?

8. How important was the character of the detective, the audience knowing his role, his presence, the market? His suspicions of Verloc and trying to verify them? The attraction to Mrs Verloc?

9. The build-up after Verloe's death, the theatre? The build-?up of the contacts with the anarchists, the interrogation, the people involved, the bomb and the man arriving at the theatre, his discovery of Verloc, the delay of the time? The counterbalance of the theatre showing Disney, clearing it? The final impact of the explosion?

10. How much guilt did Mrs Verloc feel? How innocent was she, how guilty? What did she think? Her trying to cope? Her escaping and yet her being rescued by the detective? The irony that there was no evidence after the explosion? How well did Hitchcock explore themes of conscience within the suspense?

11. How satisfying a blend of human drama, espionage, thriller suspense? Its influence on Hitchcock's later films?

SILENT GRACE

Ireland, 2000, 87 minutes, Colour.
Orla Brady, Cathleen Bradley, Conor Mullan, Cara Seymour, Robert Newman, Dawn Bradfield.
Directed by Maeve Murphy.

Silent Grace is an Irish film, based on a play, Now and at the Hour of Our Death. Made in 2001, it is set twenty years earlier, focusing on the Troubles in Northern Ireland but especially focusing on women. The men were in the Maze prison, the women were in Armagh prison. This film focuses on a number of characters, prisoners, and those in charge of the prison.

1. A film from Ireland, based on a play, Now and the Hour of Our Death? The realities of Northern Ireland, the IRA? The screen history of the Troubles in Northern Ireland? This film and its memoir, contributing to the peace process? Stark realities - or softened for cinema viewers?

2. The film based on a play, fictionalised version of actual happenings? Audience knowledge of these events? 1979-80, the IRA, the men in the Maze prison, the women in Armagh prison, the hunger strikes, the men leading the protest, not allowing the women to join the hunger strike? This film focusing on the women, their hunger strike? The aftermath?

3. Eileen as the officer in charge in the prison, the small group, their parade in the yard, it being seen as political? Cunningham and his Protestant background, in charge of the prison, humanity? No information given about the actual actions of the women? The men in the Maze, their sending messages to the women via the priest? The priest and his role as chaplain, his stances? The regime? The day-by-day horarium of the prisoners, Margaret and Eileen in the cell, Geraldine and the communication? Twenty-three hours locked in the cells? The decision about the hunger strike? The excrement on the wall, not washing, the protest? Eileen and her leadership, her negotiating various issues with Cunningham? Her illness, taking to bed, the priest and his visit, her not wanting to break the hunger strike, going to hospital, her recovery? The application of the cat and mouse law?

4. Geraldine and Aine, the clash between the two, coming to an agreement, sharing the lipstick, Geraldine's grief and wiping the lipstick, her being in jail for another nine years? Their going out, the sport, Geraldine being hit? The change of cell partners, Margaret leaving Eileen's cell and Aine going in? The sport in the yard? Waiting for orders?

5. Cunningham, his administration of the prison, the sketch of the other guards, men and women? Humanity, lack of humanity? The visits? The negotiations? Cunningham and his attitudes towards the edicts coming from Britain, his siding with Eileen? The discussions with Father Mc Garry, the cat and mouse law? His prison, his decisions - and his being seen at the window, at the end as Aine left?

6. Father Mc Garry, his appearance, his role as chaplain, bringing messages from the Maze? Cunningham in the chapel, Father Mc Garry in vestments? His anointing Eileen? Aine's comment that he was either gay or repressed - her not understanding his role as a celibate priest and chaplain in the difficult circumstances? His wanting to be non-political, urging Eileen to life, his being pro-life? The cat and mouse legislation?

7. Aine's story, cheeky with the police, sniffing glue, with her boyfriend, his not stopping at the lights, her comments on his brother, the brother's being shot? The stolen car? Her sullen behaviour in the court, claiming she was part of the IRA? Her mother in court? Twelve months? Going to the prison, surliness, the cell, the initial clash with Geraldine, lending her the lipstick? The discussions? Her visits, especially with her mother? Getting the news? Being transferred to Eileen's cell, afraid of her, listening to her, the change of attitude? Reading, learning about Irish history? Talking about signing up? Her unwillingness to join the protest, her eating the food? Her being sick, the excrement, her finally joining the protest? Sports action in the yard? Eileen's growing illness, Aine wanting to help, running the corridor to get help? Her finally signing the document, her being a criminal, being released, her mother waiting for her?

8. The glimpses of the other prisoners, Margaret, her support of Eileen? Their political stances? Not criminals? Wanting justice?

9. The tone of the film, the dark photography, the confinement to the prison (except for Eileen's delirious flashback to walking the fields in the sunset)? The hardships in the cell, the ravages of illness.

STRIPTEASE

US, 1996, 112 minutes, Colour.
Demi Moore, Armand Assante, Ving Rhames, Robert Patrick, Burt Reynolds, Paul Guilfoyle.
Directed by Andrew Bergman.

A case of having your cake and eating it. While sometimes tut-tutting about the life of stripteasers (and their often gross audience) and trying to highlight family values, Striptease offers plenty of the real thing just in case we weren't sure what it was. It is a mixed compliment to say that Demi Moore is very good at it, far classier than expected.

But is the film serious about family pressures, care of children and corrupt politics? Is it an expose of American life? Is it a comedy? It seems to try for all three - which leaves one with very mixed responses (and especially to Burt Reynolds' over-the-top rendition of a dill of a Republican congressman). It is trash, but more watchable than most trash. It is based on a novel by top crime writer Carl Hiassen whose writing is infinitely more witty than this adaptation by writer-director, Andrew Bergman (Holiday in Vegas, The In-Laws). However, Bergman has really kept the spirit of Hiaasen’s novel (with all the mixed themes) and has retained a great deal of detail, more than many another adaptation. Most of the casting is just right – Burt Reynolds capturing the idiocy of the novels’ character. Ving Rhames is also good. Angela is played by Demi Moore’s daughter, Rumer.

It is a pity that he did not keep the ending where the congressman has to learn the realities of sugar production and its consequences.

1. The film based on a witty crime thriller by Carl Hiaasen? The adaptation by Andrew Bergman? The transition into a comedy while retaining the satire?

2. The Florida settings, the homes, the strip clubs? The hotels with the political background? The musical score, the songs, the music for the striptease dances?

3. The title, the focus, the striptease sequences? The club, the clientele? The women themselves, their image of themselves, the image from the public? From the police? Erin's choice of the job? Supporting her daughter, not wanting her daughter to see her?

4. The basic situation, Erin and her work for the FBI, sacked because of her husband? His role as an informant? Criminal? The judge and his decision to grant custody to the husband? The appeal?

5. Erin, her bringing up her daughter, her stripping, the encounter with the congressman? Jerry and his support? His being found dead? The investigation by Al Garcia, the friendship between the two? Shad and his presence at the club, protecting her? The development of the political pressures, the hypocrisy of the congressman, the plans, the murders, her greater involvement, leading the congressman on? Shad and his protection, the final set-up, her being vindicated, getting her daughter back? The bond between mother and daughter?

6. The congressman, Burt Reynolds' over-the-top performance, his wig? At the strip joints, his lack of control? Malcolm Maldovsky as his manager? Getting him out of situations? Resorting to violence? The thugs attending on him? His behaviour at the club, with Erin? His imagining her infatuated with him? His going to meetings, socially appropriate, religious? The double standards? His foolishness, risks, his assistant wanting to resign? His finally facing the facts, on the boat, the violence, his being humiliated? Arrested? Malcolm, sinister presence, controlling?

7. The police, Al Garcia, serious, the discussions with Erin, his visiting her, trying to protect her? The investigations, the confrontation with the congressman?

8. Darrell, criminal, informant, his losing his job, his drinking? Custody of his daughter, moving her from place to place, concealing her from her mother? His final comeuppance - the decision about the button for the sugar, covering Malcolm with the sugar? An inept personality?

9. Shad, his presence at the club, his dreams and ambitions, tough, toughing it out against the thugs? His support of Erin?

10. How well did the mixture of comedy, police investigation, politics, gangsters, striptease and clubs work together for an entertainment?

SOUTH PACIFIC

US, 2001, 125 minutes, Colour.
Glenn Close, Harry Connick Jnr, Rade Serbedgia, Jack Thompson, Simon Burke, Steve Bastoni, Henri Szeps.
Directed by Richard Pearce.

This version of South Pacific was filmed in Queensland. It has quite a number of Australians in the supporting cast including Jack Thompson (doing his American accent from films such as Broken Arrow, The Last Dance, Original Sin), Simon Burke and Steve Bastoni.

The film is a star vehicle for Glenn Close who acted as executive producer. She is very good as Nellie Forbush, the head nurse on an island in the South Pacific during World War Two. It gives audiences the opportunity to hear her sing, not often available except in the television version of Barnum. She created the role of Norma Desmond in Andrew Lloyd Weber's Sunset Boulevard. Harry Connick Jnr is a genial Joe Cable. The big surprise in the casting is Rade Serbedgia. Normally he appears as a gangster or a tough as in The Saint and Mighty Joe Young. However, when one looks at the character of Emile Lebecq, one sees that he is not the refined aristocrat like Rossano Brazzi in the 1958 version. Rather, he grew up in a tough area outside Marseilles, killed a man in a card game with a knife, worked in the Pacific as a planter and lived a rough life. He also joins with Lieutenant Cable in a mission against the Japanese. This is visualised and Serbedgia gives a different dimension to Emile Lebecq. His singing voice is not operatic and therefore seems more normal in the circumstances.

The film was directed by Richard Pearce, director of such films about the American countryside and the past as Northern Lights, Country, The Long Walk Home. However, he also directed an action film with Richard Gere in No Mercy.

The decision of the producers and the writer, Lawrence D. Cohen, is to make the film as realistic, naturalistic as possible. In fact, it could stand as a television movie about World War Two without the songs. This gives the film a more solid background of credible drama, credible characters. While they do move into song, they do not burst into song as in past musicals. And, with the exception of I'm Gonna Wash That Man Right Out of My Hair, none of the songs goes to fadeout. Rather, they are presented as part of the drama. This works particularly well and makes this version of South Pacific very enjoyable. One criticism would be that some of the songs are presented very briefly, especially the dramatic songs of You've Got to be Taught, sung by Cable, This Nearly was Mine sung by Lebecq. (There was a television version of a recording by Kiri Te Kanawa as Nellie Forbush, Jose Carreras as Lebecq and Mandy Patinkin as Cable - his version of You've Got to be Taught was extremely powerful, and dramatic.)

Criticism of the 1958 version, directed with Broadway panache by Joshua Logan, was that it sidestepped the race issue. This film does not. There is a fuller background given to the Chinese culture of Bloody Mary and her daughter, the Lieutenant Cable romance with her daughter is strong and he makes a decision not to return to the US where he had previously feared taking such a bridge because "they" would criticise. The racism inherent in Nellie Forbush is also brought to the fore, her being unable to give any solid reason but just feeling a prejudice against coloured people. While this is resolved, it makes for a stronger drama (and reminds audiences that Rodgers and Hammerstein treated the same issues in The King and I).

The 1958 film disturbed audiences with its succession of changing colours. The realism of this film makes it much more accessible and enjoyable.

1. The popularity of Rodgers and Hammerstein? South Pacific? The Pulitzer Prize novel by James A. Michener? The adaptation by Rodgers and Hammerstein, for the Broadway stage in the 50s, for the screen in the 50s? An adaptation and modernisation for the 21st century?

2. The quality of Richard Rodgers' music, the impact of Oscar Hammerstein's lyrics? For comedy, for drama, for sentiment, for issues of racism?

3. World War Two, the presence of the Americans, away from home? The film capturing this atmosphere, the rookies and their first Thanksgiving away from America, the nurses on duty, the military command? The base on the island? The invasion of the Japanese, the bombers coming and the preparation of the tarmac? The special mission to scout what the Japanese were doing, its dangers? The waging of World War Two against the Japanese in the Pacific and the role of the Americans?

4. The realism of the locations, the film made on so many outside locations including beaches? The base itself, the officers' rooms, the mess, the concert, the shower block? On the Island of Bali Ha'i? Authentic atmosphere, naturalistically photographed? The war action sequences, the flying, the shooting, the undercover work on the island, the escape?

5. The focus on the three central characters? Nellie Forbush, Glenn Close's age, older than Mitzi Gaynor in the original? This giving her more experience, and a more natural relationship with Emile? Little Rock, her saying she was a hick, her bursting out like a southerner? Getting on with the nurses, with the officers, showing the recruits around? Her support of Cable? Her meeting Lebecq, attracted? Her going to his house, the dinner? The return, her being asked to spy on him by Brackett? The discovery of his children, her racial prejudice, her fleeing? At the concert, Honeybun? His flowers, her turning him down? With her friend, talking, her being ashamed of herself? The coming to her senses, going to the children, staying at Emile's home? The return and her future? The range of songs illustrating her character, Cockeyed Optimist, I'm Gonna Wash That Man Right Out of My Hair, I'm in Love, Some Enchanted Evening, Dites Moi?

6. Emile Lebecq, the casting of Rade Serbedgia? A more rugged individual and a credible past? His story of his life, growing up, the killing, his coming to the islands, his relationships with women, his love for the children's mother, his love for the children? Waiting for a person like Nellie? Attracted when he met her, the meal, Some Enchanted Evening? Singing Dites Moi with the children? His invitations to Nellie, her turning him down? The dinner, the friends, showing her the children? His being hurt by her prejudice? Discussions with Cable, going to the concert, offering the bouquet? Her refusal? His decision to go on the mission with Cable? Their radio messages, getting off the island, his return home? The importance of Some Enchanted Evening, This Nearly Was Mine?

7. Cable, youth, background, action on Guadalcanal? Coming in as adviser? His relationship with the men, ticking them off about their racism, their bashing him? His friendship with Luther Billis? Going to the island, the talking with Bloody Mary, his letter home, learning about the islands, her background? Going to the island, her giving her daughter, the sexual encounter, its effect on him, the return? His inability to marry her and take her back to America? The discussions with Nellie? Singing Younger Than Springtime, You Have to be Carefully Taught? Going on the mission, with Emile, the escape, standing on the mine? His being representative of the young Americans of the period?

8. Bloody Mary, her Chinese background, the deals and the bargains, Happy Talk? Her singing Bali Ha'i and intriguing Cable? On the island with her daughter? Her reaction to his refusal to marry her daughter?

9. Luther Billis, the conman of the island, his deals? Being Honeybun at the concert? Going on the mission, his throwing the smoke to the Japanese enabling the escape? The hero unexpectedly?

10. Brackett, in command, decisions, plans, the building of the tarmac? His assistant? The discussion with Emile and his refusal to go on the mission? Changing the tactic? Eventual success?

11. The portrait of the men, Marines and soldiers away from home, attitudes, behaviour - There is Nothing Like a Dame? The nurses, their work, I'm Gonna Wash That Man Right Out of My Hair? Honeybun? The new nurses arriving?

12. Memories of World War Two, a touch of nostalgia via the musical, a glimpse of the action via the drama, the interpersonal relationships at the time?

SIRENS

Australia, 1994, 90 minutes, Colour.
Hugh Grant, Tara Fitzgerald, Sam Neill, Elle Mac Pherson, Portia de Rossi, Kate Fischer, Pamela Rabe, Ben Mendelsson, John Poulson.
Directed by John Duigan.

Sirens is very beautiful to look at, appropriate for a film about a painter. The focus is on Norman Lindsay, his home in the Blue Mountains of New South Wales, his painting, his painting of models, especially nude models, which shocked some of the establishment and the churches in the early part of the 20th century. This theme of expressions of art and prudishness are taken up in scenes with the Bishop of Sydney, with the character of the British clergyman who comes to Australia and wants to stop exhibitions Lindsay's work. It comes to a head when the clergyman's wife is caught up in the atmosphere of the Lindsay household, of the atmosphere of sensuality and sexuality, and changes her attitude.

The film was done with the lightest of touches, a witty script, pleasing performances, and some humour at the expense of the English and their perspective on Australia - with comically exaggerated scenes of all the flora and fauna scurrying across the screen, potentially terrifying the English visitors.

Hugh Grant is the minister, the film being made at the same time as Four Weddings and a Funeral. Tara Fitzgerald is his wife. Sam Neill embodies the controversial Norman Lindsay and Pamela Rabe is effective as his wife.

John Duigan himself appears as a clergyman giving a sermon. Duigan has always been interested in social and religious questions and presents them here, Australian questions but done in a light and comic context.

1. A piece of Australiana? History, society, sexuality, religion in the early part of the 20th century?

2. The Blue Mountains settings, the Lindsay home, the countryside, the mountains and the valleys, the small town? The musical score, the melodies?

3. The blend of realism, magic realism, surrealism, especially with the animals, the pranks, the headlines of the newspapers, the telling of tall stories?

4. The film was described as droll and piquant, its tone, the serious subjects, the light touch?

5. The English perceiving Australia, the countryside, the landscapes and the animals, the people? And vice-versa?

6. The re-creation of the period, Australia in the 1930s, the English tradition, the décor, clothes?

7. The character of Normal Lindsay, the historical background, the facts about his life, art, attitudes, influence? His focus on sex and sexuality, feminine beauty? The religious critique? His critique of Christianity? A kind of neo-paganism? Eros and the erotic? His household with his wife, the children, the models who lived there? Lindsay as a character, as a catalyst for people's ideas? The observation of Lindsay and his critique of Australian attitudes?

8. Mr and Mrs Campion, the British stars performing these roles? Their manner, their particularly British tone, nicknames like Piglet, their acting in a very proper manner? Campion as a clergyman? The encounter with the Bishop of Sydney, the art exhibition, the discussion of Lindsay's paintings? The decision to make a protest? His mission to visit Lindsay? The experience of Lindsay himself, the household, the challenge of his attitudes, the challenge to primness and prudery? His denial and statement that he was open-minded? His relationship with Estella, the marriage, love? The models, his concerns, the table discussions with Lindsay, for example the discussion about Russia? His speaking for his wife? His attitude towards the models, Giddy and her concerns? Devlin and his suspicions? The secrets of the mountains? The artwork and the issue of suing? The transformation, his bewilderment about Estella's behaviour? Leaving, his having learnt something from the Lindsays, the behaviour in the train and the people observing him and Estella?

9. Estella and her attitudes, feminine, British, curious but repressed? The discussions with the women, her listening and responding? The tall stories? The models in the room? Their frankness? Her watching Devlin, seeing him naked, the attraction? Watching, his throwing the knife? The meals and the discussion, her participation, her silence? Giddy and her concern, the substitution with Devlin? Estella's fantasies and dreams? Naked in the church, in the pool with the women? Her posing for the painting? Her husband's shock? Her being transformed in attitude? The train ride indicating the change?

10. Rose Lindsay, as a wife to Norman, her place in the household, the children? Her posing for her husband? Commonsense? Sensual, her relationship with the Campions? Her final presence with the models naked on the mountaintop?

11. The models and their work, real and imaginary, the paintings and the statues - and coming to life? Their discussions, hopes? Their relationships? Going out with the lads, the pub and not being served? The games with the children? The ending and their being on the mountaintop as sirens?

12. The town, the Campions' arrival and the information, the lads in the pub, the old man saying "Fuck you" all the time? Not being served? The picture of the parents, the children playing games? The suspicions of the Lindsay household?

13. Devlin, his blindness, the stories about him, his being seen naked, the sensuality, his relationship with Estella? With Giddy?

14. The issues of religion, its role in society, its past influence? The place of women, Eve as temptress, the suspicion of the body, priests, Elle MacPherson? wondering about women being pope? The critique of the church? Their going to church, the minister and his sermon?

15. A film like this and its contribution to the discussion of issues?

16. The significance of the name, the models as sirens, seductive and transforming?

SAVAGE MESSIAH

UK, 1972, 98 minutes, Colour.
Dorothy Tutin, Scott Antony, Helen Mirren, Lindsay Kemp, John Justin, Peter Vaughan.
Directed by Ken Russell.

Savage Messiah is rather low-key Ken Russell after - The Music Lovers, and The Devils. It is more like his famous T.V. programmes on the composers. Here he takes French sculptor, Henri Gaudier, a young man, full of artistic verve and emotion, and presents him in his work and in his platonic relationship with older Polish writer Sophie Brzeska. France and .England before World War I are well re-created and provide an authentic setting for this eccentric couple.

Dorothy Tutin is excellent as the earthy, vital Sophie and invests her role with a great deal of energy. So does Scott Antony as the young sculptor. In fact, there is a lot of energetic moving, shouting and posturing expected from Russell's style. The film is eccentric but curiously interesting.

1. Henri Gaudier was called savage and a would-be messiah by Gosh Boyle towards the end of the film. What did the title mean?

2. How were the characters of Henri and Sophie quickly established?

3. How typical a young artistic adolescent was Henri Gaudier at the start of the film? How were his youth, verve and
eccentricity communicated?

4. What kind of woman was Sophie? Was she well portrayed by Dorothy Tutin?

5. Why did the two come together? Was it love? Why was there no sexual consummation of their love, but rather a brother-sister relationship? What encouragement did Sophie give? How did Henri depend on her?

6. What did the visit to Henri's family contribute to the film?

7. Comment on the effectiveness of the re-creation of that period in France and England - libraries, markets, transport, poverty etc.

8. How did Henri's talent develop in England?

9. What was the point of the meal at Mr. Porky's house with the Vortex people?

10. Why did Sophie leave Henri alone for a time?

11. Why did Henri not become involved in the war effort but continue to sculpt? Did he believe art was positive and contributed to mankind? Why didn't Sophie take him seriously?

12. Were you shocked at his death after Porky had read his letter? How effective was the sequence of the exhibition in communicating the emotional impact of his death?

13. What did the film have to say on art, communication, audience, creativity, sex etc? Especially the sequence in the park, the Louvre, with Porky and his guests, while Henri sculpted the torso?

14. Was this a typical Ken Russell film?

15. Did you think the film was interesting and well made? Visual details: the library, park, market at the start; Sophie's long speech as she did the vegetables; Henri's sketching of the prostitute; Mr. Porky; the meal and Henri and Sophie wrestling; taking the marble from the cemetery; swashing the shop window; Portland - the rocks, catalogue, dancing; Gosh Boyle's demonstration; dance at the Vortex Club, posing for Henri, rudeness to Sophie, ridiculing her father's bust; Sophie's grief at the exhibition. Ken Russell's exuberance: shouting and running of Henri, earthy forcefulness of Sophie, weirdness of the Vortex people, rapid editing of the park and Louvre sequences.

SANDRA (VAGHE STELLE DELL'ORSA)

Italy, 1965, 98 minutes, Black and white.
Claudia Cardinale, Michael Craig, Jean Sorel, Marie Bell.
Directed by Luchino Visconti.

Sandra is one of Visoonti's less immediately accessible films. It is very much an Italian film in style, acting and theme, Amongst Visconti's films it comes between The Leopard and The Stranger.

The scene is Volterra, an ancient Etruscan city, physically and morally decaying. The theme is that of family relationships within this city - the ingredients are madness, betrayal, anti-Semitism, intense love between a brother and sister, loyalty to a dead father and hatred of a living insane mother. These themes are presented in terms of light and darkness, sanity and insanity, truth and illusion, subtlety and force. There are allusions to Leopardi's poetry and to Orestes-Electra? myths which give tragic overtones to this modern story. Much of the acting seems over-melodramatic to non-Italian audiences who would find the setting and treatment already rather (or too) foreign. The film needs a specialist audience.

For those interested in Italian cinema, Visconti's films, the following articles on Sandra are illuminating: Geoffrey Nowell-Smith's chapter in "Visconti", (Cinema One Series), and Walter Korte's article in "Man and the Movies"(Penguin, edited by W. R. Robinson).

1. On first viewing, does this film seem too local, or too Italian, to make wide impact or do its universal themes emerge?

2. The Italian title alludes to the poetry of the young, isolated, romantic poet Leopardi - the wandering stars of the constellation of the Bear. Gianni recites these lines in the film. Does this begin to throw light on the film? (The English title was - Of a Thousand Delights. In Australia it was Sandra.)

3. Besides references to Leopardi, there are allusions to Jacobean John Ford's play - 'Tis Pity She's a Whore, with its theme of incest (and a ring-giving scene) and to the Electra tragedies. While the film is not a direct modern dramatising of Greek tragedy, do these references throw light on the theme?

4. The setting (and the way it is photographed) plays an important role in the film. How do the locations contribute to mood and theme?

5. Who is Sandra? What crisis of identity does she go through? Her attitudes to her mother and Gilardini, to her father and his memory? Why had she left Volterra? How is she affected on her return? How important is her Jewishness to her? why?

6. How is Sandra affected by her meeting with Gianni? How is she changed by her confrontation with her mother and Gilardini, by Gianni's revelation of himself and his death, by Pietro, by Andrew's reaction to these events?

7. When did Gianni finally discover his love for Sandra and what did he want
them both to do? How did he try to persuade her? What was the basis of attachment between them?

8. Gianni - his relationship to his mother and Gilardini?Did he intend to die?

9. What had driven the mother mad - guilt of betrayal? Why did she hate her daughter and how anti-Semitic was she? What was her specific role in the film?

10. Did the audience sympathise with Gilardini? Had his relationship with the mother changed?

11. Andrew - did he understand the Volterra situation and understand Sandra?

12. Pietro - was he a foil for Sandra and Gianni, a chorus reflecting the actions?

13. Was the final exorcism, acceptance and hope for Sandra a satisfactory ending for the film? Did the music, classical and modern, contribute to the film?

14. Was this a deeply moving film or melodramatic and pretentious?