THE SLAMS

US, 1973, 91 minutes, Colour.
Jim Brown, Judy Pace, Bob Harris, Ted Cassidy, Dick Miller.
Directed by Jonathan Kaplan.

The Slams was directed by Jonathan Kaplan, who began with exploitation films and moved to some blacksploitation films including The Slams and Truck Turner. He became more and more respectable as the 1970s went on with White Line Fever, Mr Billion and Over the Edge. By the late 1980s he made some very respectable films including The Accused and Immediate Family and into the 90s with Unlawful Entry and Love Field. He then spent much of his career directing television.

The film is also a star vehicle for former footballer Jim Brown who had appeared in a number of films including The Dirty Dozen and the Slaugher series. Here he portrays a criminal in prison, on a smaller charge, but actually involved in a robbery. The difficulty is that the place where he stashed the money is due for demolition and he needs to get out.

This is blunt and straightforward film action storytelling.

1. Significance and tone of the title, prison references? Audience expectations of a crime thriller, prison thriller? The quality of the crime aspects of the film, prison?

2. The importance of Jim Brown as a star, hero of this kind of film? His being a hero?villain? The black hero, the confrontation with the whites, fellowship with blacks?

3. How successful a crime thriller? The importance of the opening sequences, the robbery, the killings? Broyn as gaining absolute control, the hiding of the money?

4. The transition to the prison genre? The hospital sequence? The look of the prison. the modern type prison, the old style brutality? The bosses, the gangs within the prison, homosexuality? Corruption, the guards, the warden? The mouthing of reform? Audience response to the presentation of prison atmosphere, the prisoners themselves?

5. The violence of the film - in the opening crime, the shooting, the hero being wounded, hiding, the accident? The prison violence? The contrast with the emotion of his mother visiting him in hospital? His girl friend?

6. The hero's attitude to prison, money, his contacts, the visits, plans? His coping with prison until he could recover the money?

7. The racist themes: Grover and the examples of his violence, the challenge to the hero? The violence sequences in the laundry? Macey and the black selves and the hero's presence? The outwitting of each other? Official approbation to this gang warfare? The prison with its race conflicts as a microcosm?

8. The relationship between violence and corruption? Violent imprisonment and the outlet of corruption?

9. The plot and its details as regards the recovery of the money, for example the television sequence and the destruction of the place where the money was hidden? The build?up of the escape?

10. The irony of the getaway, the transition to the European location? The irony of sailing into the sunset?

11. How was the film a representative look at America during the seventies? The picture of Nixon and the overtones of corruption. Watergate? Audience response to the violence and corruption in the plot and its reference to officialdom and politics of the seventies?

SKYWAY TO DEATH

US, 1974, 75 minutes, Colour.
Ross Martin, Stephanie Powers, Bobby Sherman, Severn Darden, Nancy Malone, John Astin, Joseph Campanella.
Directed by Gordon Hessler.

A routine telemovie in the atmosphere of the disaster films. It takes a cable car going up a mountain to be trapped and four people to be rescued. There are the expected variety of passengers who are terrified and of course reveal themselves to me another. The film is beautifully photographed and is quite enjoyable of its kind.

1. Tone of the title? The quality of the film as a telemovie, style, content, reaching the home audience in terms of content, excitement, insight into human nature?

2. The expectations from the title? The disaster trends of the 70s,? The perrennial interest in accidents and people's lax response to the accident and saving people? How well did the film fall within this category?

3. The plausibility of the overall situation? The nature of the accident? the people represented and involved? An American group? How universal?

4. Audience interest in reactions to accidents and potential disaster? Reaction to the mechanical and technological problems? To the fears? Panic and the variations to human reaction from cowardice to heroism? Well illustrated here?

5. The presentation of the skyway especially during the credits, the emphasis on the natural beauty? The nature of the risk? The problems and the fact that there can be a technological solution? The vagaries of nature and human error?

6. The credibility of Walter Benson as a character, his plea with Sam, his madness and revenge? His being the cause and blame for this? Did he redeem himself sufficiently by his help?

7. Sam and Bill as ordinary technicians and managers trying to cope? Their wisdom, common sense, the measures that they took, means of communication, handling the situation with Barney? Could they have done any better?

8. Barney as a young man, his skill with people, his control of the situation, responsibility of what happened because of his presence there, his heroism, his almost falling, his helping at the end?

9. The man with acrophobia and his trying to control himself, his fainting, his impulsive heroism and the reassurance, yet the fear when he had time to think? Could audiences identify with this feeling?

10. Bob and Nancy as hero and heroine? Their discussion about marriage? Their taking Louise for the outing? Bob and his skill in helping? Nancy and her panic but support of Bob? Louise with the humour and wisdom of old age?

11. The presentation of the Leonards, the loudmouth man his wife confronting him with the truth? The film emphasised their marriage problem and gave much of the dialogue to solve their problems? How convincing? How real the problem and their lines for absolution? The importance of the pickpocket and his presence there, with the wallet? His consistency with picking a pocket at the end?

12. How well did the film blend the dangers and the human elements? Sentiment?

13. Involvement with crises, the human element? The optimism that a solution can be found, the happy ending?

THEY FLEW ALONE

UK, 1941, 107 minutes, Black and white.
Anna Neagle, Robert Newton, Edward Chapman.
Directed by Herbert Wilcox.

They Flew Alone (American title, Wings and the Woman) is a biography of English aviator, Amy Johnson. It starts with her loss at sea in 1941 during war service. The film is contemporary, being released at the end of 1941 and so the events are not so much as history but contemporary happenings.

The film sketches in the early life of Amy Johnson, especially her rebellious attitude at school and her qualities of leadership and individuality. After her studies, working at several jobs, she realises that she feels herself only when flying planes. She gets some kind of support from public groups in the early 30s and breaks the record of a flight to Australia. There she meets Jim Mollison (Robert Newton) and they keep in touch. She continues to break records, finally meeting Mollison in England. He proposes and they marry. They also do flights together after he has broken individual records as well. However, he drinks, he has the touch of the philanderer and the marriage falls apart. Amy Johnson continues her work for aviation and the breaking of flight records. When war breaks out, she volunteers for service - at first being rejected and being surprised by this because of the pioneering work she had done for women and aviation. Both Jim Mollison and Amy Johnson flew for the war effort, until her death in 1941.

The film was directed by Herbert Wilcox, Anna Neagle's husband, director of over a dozen films with her as a star. Robert Newton might seem an odd choice for Jim Mollison - except, perhaps, for the drinking problem. The screenplay was written by actor Miles Malleson who appears momentarily in a comic situation trying to sell Amy Johnson a vacuum cleaner at an inappropriate moment.

Because the film was produced during the war, there are several patriotic speeches encouraging people to support the war effort and there is a tribute to the women in the services.

1. A biography of Amy Johnson? As an early 20th century British woman? As a pioneer in aviation? Breaking through in fields of activity for women?

2. Black and white photography, life in England at the time, the international settings for the flights? The radio commentators from the different countries? The musical score by William Alwyn?

3. The film produced in the year of Amy Johnson's death? The events being portrayed as contemporary events? Audience knowledge of Amy Johnson and admiration for her at the time? In retrospect?

4. The audience knowing that Amy Johnson had been killed in action? The flashback structure of the film? Coming back to the war, her volunteering, her work? Her appeal to the people of England during World War II?

5. Amy as a schoolgirl, her not wanting to wear the boater, changing the style of the hat, the confrontation with the headmistress? The headmistress and her urging her to be conventional? Her wanting to break through? Her loving relationship with her parents? Her studies, graduation, the various jobs and her lack of success? Discussing flying with her parents and her decision?

6. Her trying to get financial support from the papers, her being dismissed and insulted? The later change of heart of the editors to support her in her flights? Going to the politicians? Their admiration for her? Taking flying lessons, her skills, working with the engines? Her being able to get the plane, the flight to Australia, breaking the records, the dangers, the fatigue? Her reception in Australia? Her further flights, to Tokyo, to Capetown, to the United States? The importance of aviation in the 30s and its commercial development as well as the development of record-breaking flights?

7. Jim Mollison, his being a pilot, flying with Amy, meeting her at the social in Australia? His missing out on the dances? His continued communication with her? Going to South Africa, his drinking? His girlfriends? Their finally meeting, working together, his proposal? The wedding? The early years of marriage, the decision to fly together, the flight to America, their helping each other, the crash in Connecticut, the hospital? His being too busy, socialising, with the girls? The phone call from a girl? The separation and the divorce? Their meeting each other at the beginning of the war and parting as friends going to do their job?

8. The personality of Amy, presented as heroine? Forthright, good friends with politicians? The support of the press, the headlines? Her radio broadcasts? Her ambitions yet her modesty? The effect of Jim's infidelity, the divorce? Her being dismayed at the beginning of the war in the rejection? Her seeing herself as a pioneer breaking through conventions of male-dominated areas of work?

9. The sketch of her parents, their continued support, grief at her death? Her friends? The people in the air force and the services and their support of her?

10. The newspapers, their support? The politicians? The acclamation from various leaders, including President Roosevelt?

11. The reconstruction of the flights, the types of planes, lack of radio communication, dead-reckoning? The skills in this kind of flying, the endurance? Pioneers for aviation, for the war, for commercial use?

12. An agreeable tribute to a significant Englishwoman?

TOWN AND COUNTRY

US, 2001, 100 minutes, Colour.
Warren Beatty, Diane Keaton, Andie McDowall?, Goldie Hawn, Gary Shandling, Jenna Elfman, Nastassja Kinsky, Joshua Hartnett, Charlton Heston, Marian Seldes, Buck Henry, Ian McNiece?, Holland Taylor.
Directed by Peter Chelsom.

American commentators have been holding this film up to ridicule, accusing it of being controlled by its star, Warren Beatty, and of being a vanity piece that went way over budget. And they did not enjoy it.

It's a pity that the project became so mammoth. In itself, it should have been a short and light farce, a comedy of
relationships and failed marriages. The screenplay is by Beatty's friend, Buck Henry, who worked with Beatty on Heaven Can Wait. (Henry also appears as the harassed lawyer.) The cast is stellar - almost too stellar for the size and scope of the film. There is Diane Keaton as Beatty's wife, Nastassia Kinski as his girlfriend, Goldie Hawn as a long-time friend and Gary Shandling as her husband. Add Andie MacDowall? and Jena Elfman, Josh Hartnett and Charlton Heston parodying himself as a gun-toting conservative. There are some good moments, of course, but it looks like huge ingredients for something which is fairly inconsequential.

1. The reputation of the film? As an extravagant piece of film-making? The poor reception? Audience response without knowledge of this background? How entertaining and interesting a film?

2. In itself, comedy and drama, comedy of affluent people, fidelity and infidelity? Reconciliation?

3. The New York settings, the affluent city? Long Island, the country? Homes? The town and country as characters and atmosphere?

4. The prologue and Porter's voice-over, Porter and the cellist, sexual relationship, listening, giving it up? The transition to Paris, the 25th anniversary party, Elly, Mona and Griffin, the celebration? The plane ride home?

5. Porter and Elly, their work, architects and designers, the discussions about their work? At home, the meal table, the relationship to their children? Omar and his not speaking English? Aleyandro, his relationship to the cook, no shirt, carrying the cases? The visiting Japanese? Porter and his falling from the roof?

6. Griffin and Mona, the discovery of Griffin's affair, Mona following him? The reality of the man disguised as a woman? Mona going to the golf course, trying to get Porter to help? The party and the confrontation, Mona and Griffin driving in the car, his guilt, her determination?

7. The film showing men talking together, the night and Porter going to the kitchen, Omar, Aleyandro, Tommy? Griffin and Porter talking throughout the film, men and their confiding in one another, help?

8. The comparisons and contrasts with women talking together, Elly and Mona, relationships, fidelity, intuitions? Elly and her intuition about the affair? Her never guessing that Porter had a relationship with Mona, even though she thought they were attracted? The scene in the bathroom where the four women met each other before the award function?

9. Porter and Elly, his being seen as a rock, yet the audience knowing that he was a liar, his continued relationship with Alex, Elly urging him to go to Mississippi to help Mona, his helping her, meeting Eugenie on the plane, Elly's trust, Mona and the outing, the young man and her dancing, the sexual relationship, Mona leaving early? His being caught out by Elly, his lying? Alex and her pregnancy, his assuming that the child was his, his reactions? His later seeing her - and the discovery that another man was the father? Griff and their going to Sun Valley, skiing, being away from the family? Going to the Halloween party, Tommy and his sister arriving and their reaction to their father and the girl?

10. Mona and Griffin going to the lawyer, the lawyer and his advice, Mona going to Mississippi, the dance, being young again, Porter and the sexual relationship? At her home, Elly arriving and their discussions, Elly worried about Porter, Griffin arriving, the farcical situation with Mona trying to deceive him?

11. Eugenie, on the plane, meeting them at the skating, on the chair lift? The skating and her telling stories? Taking Porter home, the encounter with her parents, her devotion to them, her coming into Porter's room, the dolls, the cuddling? Her father coming in? Her going to the function and her father arriving with the gun?

12. Alex, playing the cello, the relationship, the pregnancy, her joy, meeting Porter, talking about the father, meeting the women in the ladies' room, waving to him while playing the cello?

13. Griffin and Porter, their talking, Porter lying, confessing, going to Sun Valley together? The young woman at the shop, the party? Griffin and his trying to tell Porter that he was gay, awkward, the taxi, the proclamation in the function?

14. The young woman in the shop, dressed as Marilyn Monroe, Porter as the bear, Griffin as Elvis? The aftermath of the party? Her going to New York to tell Tom the truth, her telling Elly the truth?

15. Eugenie's parents, the house, the father being a champion in skiing and shooting? The mother and her swearing and vulgar language, sexual innuendo? The father, his protectiveness of his daughter, going to the bedroom, threatening Porter, howling like a wolf, calling himself the dragon? Shooting the bear, burning the house down? Arriving at the function with the gun, demanding an apology? The parody of Charlton Heston's stances in real life?

16. The five women in the bathroom, the function, Griffin's proclamation, Griffin and Porter being ousted, Porter getting back in, taking Elly's award, discussions? All the women on the staircase? Eugenie's father and the gun?

17. The finale, Porter and Elly with the lawyer, the dividing of things? Mona going to Griffin's shop and reconciling? Porter's strong speech about love, his voice-over about his situation? The happy ending and reconciliation?

TRAINING DAY

US, 2001, 115 minutes, Colour.
Denzel Washington, Ethan Hawk, Scott Glenn, Tom Berenger, Harris Yulin, Raymond J. Barry, Cliff Curtis.
Directed by Antoine Fuqua.

A very well made, but very disturbing film.

In the late 90s a number of investigations of American police departments, including top-ranking squads in Los Angeles, have found a large number of police guilty of corruption and fraud. Great demands are put on the police at the best of times. The burdens when considering only their confronting with drug dealers in major cities are heavy and dangerous. For those going undercover, it is much more perilous. There have been quite a number of films on this theme. One thinks back to Al Pacino in Serpico and Cruising and other thrillers which have titles like Deep Cover and In Too Deep.

The screenplay for Training Day was begun before the late 90s investigations. It now looks prophetic rather than far-fetched. It takes us into a world of moral ambiguities where the upholders of the law have to mix with the criminals, blending in so that they go undetected, participating in criminal operations that have to be timed exactly so thatarrests can be made. The psychological wear and tear on the individual is severe. There are many stories of police crossing the line. This is one of those stories.

Training Day is a tough thriller about Californian police. It is about law enforcement, a type of vigilanteism, corruption amongst the police force. It gives a very vivid picture of police in action, especially on the drug scene, and the possibility of standover tactics, the use of violence and brutality, the stealing of drugs, the stealing of part of money stashes - without being caught. The film is an interesting dramatisation as well as critique of this kind of action. (An interesting comparison is the Ray Liotta vehicle, Narc.)

What makes it more compelling is that the action takes place during one day. A young rookie, Jake Hoyt (Ethan Hawke), with high hopes of becoming a detective has to spend a 'training day' with the experienced head of a special squad and prove himself. He is recently married with a young child. He goes into his training day as an innocent who has studied conscientiously in the academy and acts by the book.

At first he thinks that his superior, Alonzo Harris (Denzel Washington), is eccentric, trying to test him by putting him off guard. He determines to try even harder. It soon emerges that there is something far more than eccentricity motivating Harris. While committed to eradicating crime, he has crossed the line. He is a rogue cop manipulating his young rookie. The situation goes from bad to evil to worse, ending in a moral and physical confrontation between the two.

But what makes it special are the performances of the stars. Ethan Hawke conveys the personality of the sometimes naively ambitious rookie who accepts too willingly the odd demands of his superior so that he finds himself ultimately framed and morally trapped. Denzel Washington is superb as Harris. Washington usually plays heroes like Steve Biko or Malcolm X, the Civil War sergeant in Glory or the anti-racist coach in Remember the Titans. We have come to expect him to play morally good characters. Harris exudes charm so that we, like Hoyt, can scarcely believe what is happening when he manifests his ruthless manipulation.

Training Day is also the film which won Denzel Washington his second Oscar. It is a surprising choice of roles.

The film is generally seen from the point of view of the rookie who wants to prove himself in the eyes of his superior officer and go on to the narcotics squad. Instead, he is offered all kinds of temptation, is set up very drastically at the end to take the fall for the corrupt officer's plans to get money to pay back debts.

A strong supporting cast in cameo roles, including Scott Glenn and Tom Berenger, round out a very strong cast.

The film is swift paced, well directed, a rather intense experience. It was directed by Antoine Fuqua whose previous films were more routine action like the Chow Yun Fat thriller Replacement Killers.

Training Day is a very strong film on ethics and integrity. It shows the power of corruption, the ever-present temptations in ordinary situations and people being trapped. It shows freedom of will, the range of choices, the difficulties in crossing the line. The end of the film highlights the theme that whoever lives by the sword dies by the sword.

The Press Information refers to the film as presenting an 'ethical mire' where moral choices must be made. This makes it both disturbing and challenging.

1. The impact of the film? Its ugly portrait of corrupt cops? Its portrait of a young man faced with moral situations and making choices?

2. Denzel Washington and his Oscar-winning performance? Ethan Hawk? The strong casting for the criminals and police? The musical score?

3. Los Angeles as a setting, homes and apartments, neighbourhoods, rich and poor, drug areas? The highways? The police stations? An authentic atmosphere? The style of photography, the angles, the angled close-ups for Alonzo's face and his moral pressure? The psychedelic scenes with Jake and his experience of the drugs? The contribution to the visual impact of the moral issues?

4. The structure of the film: Jake getting up in the morning, the beginning of a testing day, the initial encounters with Alonzo, the tests, the action, the violence, the build-up to the climax and what seems to be Jake's passion and death, his overcoming this, the confrontation with Alonzo, Alonzo and his death?

5. The film seen from the point of view of Jake, a moral perspective? His waking up, his relationship with his wife, with his daughter, his not wanting them brought into the conversation by Alonzo? The phone call, Alonzo checking on him, meeting him, not having anything to eat, talking while Alonzo read the paper, Alonzo forcing him to tell the story, his constant ridicule of him? In the car, the instructions for the day? The trapping of the high school students and their drug dealing? His forcing Jake to try the drugs, the refusal, the pressure, the psychedelic effect? The crossing of the line? The visit to Roger, the discussions, the seeming friendliness? Jake and his getting out of the car when seeing the young woman being attacked, his fight with the two men, Alonzo watching, finally coming to his help? The young girl, her going home, Jake finding her identity card - and its being its salvation later? The decision to raid Roger, getting the squad, Jake and his relationship with the squad? Attacking Roger's house, in the house, Alonzo's change of attitude, getting the tools, digging up the money, shooting Roger? The set-up, letting Jake take the blame, his shooting the other policeman and wounding him so that the set-up looked true? The arrival of the police? The pressure on Jake to go along with the set-up? The threat to his family? The afternoon going on, going to Smiley's house, Jake caught up with the cards, the suspicions of the men, taking him to the bath, his almost being killed? Smiley and the phone call about his cousin, their letting him go? His going to Alonzo's home, the little boy, the woman? The confrontation, the shooting? His escape and the people letting him through, going home? The contrast with Alonzo, the people not supporting him? His going to the rendezvous with the money, his death? Jake going home? The achievement of the day, his future with the police, narcotics, the possibility of becoming a detective? The impact of the experience of this training day?

6. Alonzo, the phone call, in the diner, reading the paper, his contradicting Jake, making him tell the story, ridiculing him? The flash car, driving around, his philosophy of policing, his memories of himself at the beginning of his career? Watching the drug dealers, busting the young people, taking their drugs, letting them go? His forcing Jake to take the drugs? His rationale for this, that the police should know what they were dealing with? His friendship with Roger, the easy talk? His later return, setting up his squad, their acting as a gang, Alonzo getting the money, taking part of it, wanting Jake to take some of the money and his refusing? The others and their eagerness? The set-up and blaming Jake? His having planned this previously? His going to the three officers, their easy talk, getting permission to make the raid? His visit to his son and the woman? The end of the day, his having to get the money and pay up? Leaving Jake with Smiley? Thinking that he would be killed or not? The shoot-out in the house, the people not supporting him, his declaration that he was the police? The Russian Mafia, his being shot?

7. The other police, the hierarchy, their sitting and telling stories in the restaurant, their giving permissions - how corrupt? The squad, their being on the take, their agreeing to the set-up and the lies? The need for internal affairs investigation?

8. Roger, his friendship with Alonzo, meeting Jake, the discussions, his wanting to retire? Dream of the Philippines? Alonzo's return, the confrontation, his money buried, his being shot?

9. Smiley, the drug neighbourhood, friendship with Alonzo? Playing cards with Jake? The group, suspicions, wanting to be violent? Smiley and his listening to Jake about his cousin, ringing her, her initial lies, her telling the truth about Jake? His being saved?

10. The woman, her relationship with Alonzo, the little boy? Her having to make a choice, the choice against Alonzo?

11. Corruption, integrity, ethics?

TRIGGER MEN

US/UK, 2001, 95 minutes, Colour.
Neil Morrissey, Donnie Wahlberg, Adrian Dunbar, Pete Postlethwaite, Amanda Plummer, Claire Forlani, Michael Rappaport, Saul Rubinek.
Directed by John Bradshaw.

Trigger Men is a mixture of serious Mafia drama with comedy, in the vein of Lock, Stock and Two Smoking Barrels. It has an American setting, two English petty criminals are mistaken for American assassins and given a job to liquidate the retiring crime boss of the city. In the meantime, the two criminals have been preoccupied with looking at a young woman so that they missed their hit money being stolen. The irony is that the woman they were watching is the daughter of the man to be eliminated. There are other petty criminals as well as the would-be successor and his ruthless henchman.

Neil Morrissey (Men Behaving Badly) and Adrian Dunbar (Hear My Song) are the two Englishmen abroad. The Americans, with some wisecracks against the Limeys permeating their dialogue, are Donnie Wahlberg and Michael Rappaport. Amanda Plummer has a brief role as Adrian Dunbar's wife. Claire Forlani is the daughter of the Mafia chief played by Pete Postlethwaite.

Gradually the threads all come together, the ironies appear, but the result is a mild version of comic crime capers.

1. A combination of the serious and the comic? Which prevailed? Giving the tone to the situations, characters?

2. The American city setting, the inner city, hotels, apartments? The musical score?

3. The title, the reference to the American killers? To the British?

4. The complications of the plot: the focus on the British, the stealing of the money, the Americans missing out on the contact? Emma and her being a distraction, as well as Benny C's daughter? The romantic complications? The mix-up with the assignment? D'Amico and his henchman, the pressure to assassinate Benny C? The meeting up of the various parties - and Benny C prevailing?

5. The English: Pete, his being the leader, taking the money, leading Andy on? The possibility of becoming an assassin? Examining his own attitudes? The final confrontation, shooting the henchman? His decision to work as a hit man for Benny C? The contrast with Andy, managing pubs, in the United States, his relationship with Penny, her arrival, the pregnancy, his not wanting to be an assassin? Happy to live the good life, but opting out and going back to England? Penny, her arrival, pregnancy - and pragmatic attitude towards the situation, trying to Engineer the escape? The happy ending? The wedding, the birth - and their calling the baby after Pete?

6. The American assassins, Terry (and his name from Marlon Brando's character in On the Waterfront?) and Tommy? Watching Emma, missing the money drop? Waiting for the contact? Their discussions, Tommy and his attitude towards the British? Terry and the meeting with Emma, the various lines, the approach, her acceptance, the meals together, the outings? His wanting to do the assassination? The encounter with the Brits? The sorting things out, the shoot-out? His giving up his job? Tommy and his continuing to work for Benny C?

7. D'Amico, the torture of Jazzer, and his death? The mix-up about the assassins? The pressure on the British, the henchman and his coming to their room, his demands? Their trying to get out of killing Benny C immediately? The finale, the death of the henchman? D'Amico and his taking over from Benny C - only to be shot by him?

8. Jazzer, the drugs, the contact, his confrontation of D'Amico, the henchman throwing him over the railing?

9. Benny C, the kingpin of crime, the initial sequence and his avoiding assassination? His relationship with Emma? Her being his daughter, people presuming that she was a prostitute? The truth, his wanting her to get out? Her relationship with Terry, a happy future? Benny C and his still ruling - with his new henchman?

10. The traditions of the crime thriller along with the comedy of mix-ups?

THE TRAIL OF THE PINK PANTHER

US, 1982, 92 minutes, Colour.
Peter Sellers, David Niven, Herbert Lom, Richard Mulligan, Joanna Lumley, Capucine, Robert Loggia, Burt Kwouk, Harvey Korman, Graham Stark.
Directed by Blake Edwards.

The Trail of the Pink Panther is an odd postscript to the very successful series. After Peter Sellers' death, the popularity of the series continued and it was decided to reuse some of the old material as well as out-takes not previously incorporated into the films. This film and its sequel, The Curse of the Pink Panther, were made back-to-back during 1982. The present film has some excerpts from the whole range of Pink Panther films which bring back happy memories of Peter Sellers' talent over almost twenty years. There is a long sequence from The Revenge of the Pink Panther at the opening and a very humorous toilet sequence in a plane? This material is by way of tribute to Sellers' skill in the role of Inspector Clouseau.

The framework of the new film is Clouseau's disappearance in a plane crash, or because of the Mafia. Marie Jouvet (played by Joanna Lumley) investigates Clouseau's disappearance and builds up a picture of him, thus giving occasion for flashbacks. Members of the cast of previous films are to the fore, especially Herbert Lom, who has a great deal of footage as the put-upon Inspector Dreyfus. Grahame Stark appears as Clouseau's retired assistant Hercule, Bert Kwouk as Cato? with a martial arts encounter with Joanna Lumley. A very aged David Niven and Capuccine are interviewed. New material includes Inspector Dreyfus' dealings with his psychiatrist, played by Ronald Fraser, culminating with a humorous pratfall by Lom. Gangsters are introduced to account for the disappearance of Clouseau.

Joanna Lumley carries the bulk of the film as an attractive French interrogator. She has occasion to visit Clouseau's ancient father? a mugging, exaggerated performance in the Clouseau vein by Richard Mulligan from Soap and from Blake Edwards' S.O.B.

The film was only moderately entertaining - many people would probably enjoy seeing again one of the previous films. Many have asked "To what purpose?". The film seems in many ways absurd and also in terms of manufactured art, absurdist. Carl Reiner's Dead Mean Don't Wear Plaid shows that interpolation of sequences from old films with stars long dead can be done with humour and taste. Some people have considered this film opportunistic, and have labelled it a form of bodysnatching and an inappropriate "Snuff Movie". With all the good intentions, or mixed motives, of the producers, it is a pity that the film itself is not better.

TRAGEDY OF A RIDICULOUS MAN

Italy, 1981, 116 minutes, Colour.
Ugo Tognazzi, Anouk Aimee, Laura Morante.
Directed by Bernardo Bertolucci.

Tragedy of a Ridiculous Man was Bernardo Bertolucci's film immediately after La Luna. Bertolucci had made an impact in the '60s with his Before the Revolution and The Spider's Stratagem, political allegories with a leaning towards the Left. His The Conformist was an international success in the early 170s. He became a famous name with Last Tango in Paris and 1900. Bertolucci still probes the Italian political and social situation, with a leaning towards the Left. His style is Italian in the grand manner, almost operatic. He is famous for having symbolic dance sequences in his film: the dance sequence takes place at the end of this film as the hero rediscovers his son.

Ugo Tognazzi, the Italian actor and comedian, is very good in the role of the self-made industrialist. Anouk Aimee is in quite some contrast as his French wife. The film can be seen as a straightforward story about terrorism, industrialists, the need for social change in Italy. It can also be seen as an allegory (taking up soon after 1900) the political and economic situation of Italians. The hero then stands for the ageing Italian. The ending is deliberately enigmatic - and open. The film had mixed response on its first release.

1. Bernardo Bertolucci's work and his reputation? Interest in political situations in Italy, the history of the 19th. century and 20th. century, Right and Left, economy, terrorism? Conscience-stirring? Italy and the need for social revolution? The personal story as a political allegory? The point of view and Bertolucci in middle age?

2. The title and its references throughout the film? Primo seeing himself as ridiculous, as a child, growing up? His looking in the mirror and considering himself and his face ridiculous? The title and its reference to tragedy for the Everyman? The ridiculous hero standing for the Italians, middle aged men, fathers? The rags to riches self made man? The man who can see that he is ridiculous and therefore has some insight? The ridiculous man with his drives, fears, insecurity? By whose standards is he ridiculous? his own, the other characters, the audience's judgment? The meaning of the title? that all are ridiculous? Could the audience identify with a ridiculous hero?

3. The focus on tragedy and its tradition, operatic nature, the fall of a great man etc.? Tragedy in the Italian operatic tradition? In the contemporary American tradition where the ordinary salesman can be a tragic hero? Fatal flaw. sin, disaster? The end of this film with the redemption of tragedy and the enigma?

4. The Italian settings: the picture of Northern Italy, the country around Palma? The factory and the detail of production, milk, cheese, the pigs? The mediaeval castle and the contemporary house modelled on it? Wealthy homes and poor hovels? The contemporary world of the police, cars, helicopters? The contrast with the woods and the chestnut-drying cabins? The local atmosphere of the film? Its universality? Musical score and the references to opera and Primo's singing?

5. The impact of the editing? The highlighting of the external events? Primo's voiceover and comments on his interior reactions? The visuals moving to the next event while still delaying on the audio of Primo's reflection? The forward movement of the film? The pacing and the atmosphere of realism and the serious, the insertion of the comic? The clownish aspects of the characters and their behaviour? The puzzling atmosphere? Life and death? The final dance and the ending? The pace for a tragedy or not?

6. The film working on the level of realism: Italian industrialists, terrorism, family grief, media interference, the police and their work, the social and economic significance of the factory? The references to contemporary Italian troubles e.g. Giovanni's file and its contents?

7. The initial emphasis on the ridiculous: Giovanni's gift to Primo for his birthday ? the cap, the binoculars, the flare gun? The irony of Primo's use of it to see and respond to Giovanni's kidnapping? Barbara and her slipping on the side of the road? The marshall and his pomposity and falling over? The cook and her learning rock and roll and Primo's joining in? The sexual encounter with Laura and her baring her breasts? Adolfo's final frenetic dance? Barbara and the gun on Primo? Ridiculous comments on the serious issues?

8. Primo and the significance of his name? First? His birthday, the cap, his relationship with Giovanni, his reaction to his kidnapping? The importance of the narrative and the voice-over? The linking with internal and external worlds? His attitudes as factory owner, self-made, husband, father, wealthy man? The changes in twenty years? His being forced to decisions? The irony of how he was forced? The repercussions and the ending?

9. Primo's story, his memories, the courtship of Barbara and the marriage, the birth of Giovanni, the establishment of the factory and Giovanni's growth as a symbol - reflection of the factory's growth? Primo’s attachment to both? His house? His being despised by Giovanni? The reaction to the kidnapping? His grief, search with the car, the letters? His insertion about Giovanni's hugging him? Relationship with Barbara? Response to the police? His worrying and wondering? The response to Barbara's assessment of their property, the visit of the usurers and his being bewildered? The encounters with Laura, his memories and speaking with her? Waiting at Adolfo's and his lust for her? His response to her baring her breasts while forging Giovanni's letter? The puzzle about Adolfo and the news of Giovanni's death? His comments about not telling Barbara and his avoiding opportunities? His consoling Barbara, the sexual relationship - The breakfast in bed? His devising the plan, the discussions with Laura and Adolfo? The forging of the letter? The visit to the numerologist? The cases, the gun, the walk in the woods, Barbara's confrontation with the gun? The final meeting and the fulfilment of his hopes for the saving of the factory? His following Adolfo and watching him dance? The puzzle about Giovanni's reappearance? Following, dancing? His refusal to probe the reality of his son's being alive? The biblical references to lost sons and dead sons coming to life again?

10. Who kidnapped Giovanni? Who planned it? What really happened to him? The role of Giovanni himself and his plans to kidnap his father? Laura's contribution? Her own plan? The use of Adolfo and his communicating information? Barbara's participation?

11. The character of Barbara: her mother's grief, searching for her son, waiting, the response to the letters, her taking an inventory of the house, her hosting the usurers, her loving relationship with Primo? The police, the fainting? The case and the gun in the walk through the woods? Her binocular-watching for Giovanni’s return? The ambiguity of her relationship with Laura - hostility, friendship? Her happiness at the end? The enigmatic foreigner? The loving mother and wife? Her passivity and aggressivity?

12. Laura and her grief, her presence at the search, memories and her being at school with Giovanni, his girlfriend? Barbara's taunt at Laura? Her waiting? The kissing of Primo? Communication of information? Her work, presence at the factory, her studies? Adolfo and the search for him at the pigsties? The plan? Her forging the letter? Baring her breasts? The ending and her participation in the plan? Her telling part of the truth only? The younger generation and the involvement of women in terrorism in Italy?

13. Adolfo and the enigma of the worker priest? The photo of John XXIII? Confessions and his breaking the seal of confession? His status as priest, home that he lived in, poverty? His Bible and quoting Scripture? Giving information to Primo? His work, the pigs? Being part of the plan? His anxiety? Relationship with Giovanni? His final dance? The significance of religion in Italy of the '80s? The change of style from clericalism to worker priest? Bertolucci's inserting this character and the quotations from the New Testament?

14. Giovanni and his presence, the initial chase, the enigma of the kidnap, the file and the Milan police examining it? His reappearance as the lost son? Dancing with his mother?

15. The maid and her jolly chubbiness, cheerfulness, service of the household, the parties, staying up late? The rock and roll dancing? The contrast with the marshall and his pomposity? The satire on the police and their self-seriousness? The special squad from Milan searching the house?

16. The media, the helicopters, the newspaper reports?

17. The usurers and the bizarre party, the negotiations by whispers? Their eating, singing, dancing? Prim 's visit to the Baron to get the money for the ransom and his riding around the city on bike with the money?

18. The numerologist and her influence on Barbara? Her phoniness, her knowledge of the truth?

19. The social situation of '80s Italy? The fable and the truth told about the situation? Realism versus operatic style? Insight through a personal story? Italy in the '80s?

TRACK OF THE CAT

US, 1954, 102 minutes, Colour.
Robert Mitchum, Diana Lynn, Beulah Bond!, Teresa Wright, Tab Hunter, Philip Tonge, William Hopper, Carl Switzer.
Directed by William A. Wellman.

Track of the Cat is an offbeat western by William Wellman. Wellman, an action director with Wings and other films about flying, was also a specialist in westerns. This is a psychological western ? more Freud than action. Set in isolated community in Northern California at the end of last century, it shows a family and its tensions very vividly. The situation is an animal attacking stock and Curt, the active son, going out to stalk it. However, there are clashes amongst the brothers and the sister, the prospective bride of the younger brother and the dominating mother and the alcoholic father.

The performances are very interesting, especially that of Beulah Bondi as the dominating mother. Teresa Wright also has an interesting role as the spinster sister. Robert Mitchum is the dominating brother. (He was to act in a similar style in the following year's The Night of the Hunter, directed by Charles Laughton). The film was made in Cinemascope and by special processes of bleached colour devised by Wellman and photographer William Clothier. There is a strong use of blacks and whites especially in the snow situations. The original novel was by Walter Van Tilburg Clark who wrote The Oxbow Incident, also filmed by Wellman. The Track of the Cat is not a satisfying western for action fans but for those who like drama.

1. An interesting western? Entertaining? Experimental techniques? The work of its director and his interest in westerns over many decades? The author of the original novel and the background of The Oxbow Incident and other westerns?

2. The significance of the techniques for colour photography? The muted colours? The restriction almost to blacks and whites? The dramatic and emotional effect? The use of the Cinemascope screen? The special effects? Musical score?

3. Audience expectations of the western? The psychological western from the '40s? Experimental western? The use of conventions? Going against audience expectations for dramatic effect?

4. The basic plot and its familiarity? The dramatising of the ranch? The family? Californian pioneers? Interfamily relationships? The stranger entering into the established way of life, this time a woman? The eruption within the household? The repercussions for life on the ranch? The focus on northern Californian pioneering? The American western heritage?

5. The focus on the three sons? Robert Mitchum and his surly reticence as Curt? Tab Hunter's youthfulness as Harold? William Hopper as the young frightened Arthur? The relationship between the three sons? The dominance of their mother? The drunken father? Their sister? the faded spinster? Gwen Williams arriving and the repercussions for the three? The resentment of the mother? The symbol and realism of the mountain lion? The brothers going out to track the beast? Arthur's death? Curt continuing the hunt? His growing fear and death? Harold as the ordinary brother? His setting out to avenge his brothers? The confrontation with the mountain lion? His confident killing of the beast? The return to Gwen and the ranch? An interesting study of three American men?

6. The symbolism of the men? Curt and his discontent, sadism, cowardice, his insolence and propositioning Gwen? His ultimate terror and death? Arthur and his being the cowed and defeated brother? Harold breaking through from the family pressures and background and asserting himself?

7. Their father and his drunkenness? The film's comment on the influence of father on sons? Counterbalanced by the dominant mother? Her appearance, presence? Her rigid background? Her resentment towards Gwen? Dominance of Grace? The tension within the house? The burial service for Arthur? Her having to accept the change in Harold?

8. The comparisons between Grace and Gwen? Grace and her presence in the home, subservience to her mother, relationship to her brothers? Teresa Wright's ability to suggest the faded spinster? The contrast with Gwen ? her ordinariness? Her love for Harold? Her reaction to Curt's advances? Influenced by the tensions within the house? The mountain lion and its threat? The reuniting with Harold?

9. The supporting characters e.g. Joe Sam and his age, presence on the ranch?

10. The symbolism of the mountain lion? The menacing and threatening evil? Its effect on the household? The threatening of the brothers? Killing two and being killed by the third? The background of tales of heroism confronting gigantic evil?

11. A successful western in its time? Its place among experimental westerns and interpretation of the genre and its conventions?

THE TOY

US, 1982, 97 minutes, Colour.
Richard Pryor, Jackie Gleason, Ned Beatty.
Directed by Richard Donner.

The Toy is a moderate comedy, adapted by Carol Sobiewski (Annie, The Women's Room) from a screenplay by Francois Veber (A Pain in the A adapted American version, Buddy Buddy). The film was originally a vehicle for French comedian Pierre Richard.

This version is a star vehicle for Richard Pryor who hams and mugs in an entertaining enough way (as in Superman III). Jackie Gleason is an abrasive and bigoted millionaire. His spoilt son wants Pryor as a toy ? and with some sentiment, coyness (especially with an emphasis on sexuality), and some charm the family is transformed. The setting is Louisiana.

It is a strange mixture of humour, vulgarity and sentimental Americana. It was popular on release in the United States, though unfavourably received by critics.

1. An entertaining comedy? For what audience? A blend of humour, social comment?

2. The film as a vehicle for Richard Pryor and his verbal and visual comedy, Jackie Gleason and his style? Audience expectations from the stars? Richard Pryor and the black background, his verbal and patter comedy, his sentimental style? Jackie Gleason as bigoted Americana, American exasperation with not suffering fools gladly, sentiment?

3. The film and its setting, the south, Batten Rouge and the atmosphere of Louisiana, affluence, the role of whites in Louisiana society, blacks? Prejudice, arrogance? Social confrontation e.g. the Ku Klux Klan?

4. Colour photography, business buildings, the city, mansions? The poorer sections? Unemployment offices etc.? An urban comedy? The special effects - especially with the toys? The chases?

5. The title, the basic idea as valuable for a comedy? Laughter and seriousness? Adaptation from a French setting?

6. Richard Pryor and his style, the initial humour, his being out of work, the humiliations at the office, his work as an author, girlfriend and relationships? The glimpses of his life at home? His interviews for jobs ? especially with Ned Beatty? The legal threats especially through his girlfriend? The situation of joblessness of the '80s? Humorous social comment?

7. His being a maid - the disasters, the meals, the embarrassment and the laughs? His scoring a different job? The tog shop and his playing with the toys and enjoying them? The situation for his arrival and taking over?

8. U.S.Bates and Jackie Gleason - big man, used to his own way, owning things and people, his behaviour at the meal and reaction to Jack as a maid, his reaction to his subordinates - Ned Beatty's cringing style? His glamorous wife? His relationship to Eric and having him once a year? His promises to him? Audience expectations of U.S. Bates' arrogance? The symbol of his setting up the dominoes and Jack making them all fall? His ways of employment, giving the sack, money, deals, dinners and guests? The sex scenes with his wife? The reaction to Eric with Jack? Being pleased? The newspaper and his being attacked, the reprimand? The party and the representatives of the Ku Klux Klan? The mayhem and farce at the party? The final clash with Jack and Eric? Eric's running away? Jack and the reconciliation? How authentic the reconciliation ? humour and sentiment?

9. Eric and his background, military school, his being spoilt, wilful, coming to the toys, seeing Jack. wanting him wrapped, bringing him home, using him for his own entertainment, humiliating him ? the mess over the door (and Jack getting his revenge)? The games? The embarrassment - locking Jack out with the alarms going? His wanting to win at the video games and losing interest when not winning? The intermittent changes? Response to Jack as a person? Going fishing? The lessons and the sex talk? The humane sequences? e.g. the bath? His pleas for Jack to stay? Jack returning after being persuaded? The humiliation with the breakfast trolley? Jack taking Eric in hand? The interviews for the paper? the wife, the butler? The printing, the distributing and the stopping of the paper? The party? Jack's leaving? Eric going back to school, running away? His being persuaded to face reality? An adequate picture of a spoilt and precocious young boy? The effect on Jack?

10. Jack and his having to cope? the importance of the money, the discussions about contracts? Jack's being able to be bought and reacting against it? Wanting to leave? Returning to his girlfriend? Ned Beatty coming to persuade him to go back? His taking Eric in hand? Getting revenge for the humiliations? The paper. the danger of the printing? Distributing the copies? The reprimand by Bates? The party and his humiliation of the Klan leaders? The falling into the pool? and the rescues? His being affected by the experience? Returning home? The reconciliation? ? and the irony of the woman arriving at the end for him to be a toy for her child?

11. The glimpse of Bates' wife? the sexy glamour girl, the sex scenes. her portrait in the office and Eric's playing with it, hew shrewdness?

12. Jack's girlfriend and her involvement in legal issues, protests?

13. The German woman and her role in the household. her repression and the easy joke about her sex mania?

14. Ned Beatty as the stooge for Bates, his being humiliated, his abject attitudes, pleading with Jack etc.? A shrewd portrait of this kind of man?

15. The presentation of Louisiana society, the wealthy. bigotry, the Klan? Senators and politics? Journalists, protests?

16. The humorous sequences - a blend of sentiment and farce? Verbal humour? The human and social issues?