TOP GUN

US, 1986, 105 minutes, Colour.
Tom Cruise, Val Kilmer, Anthony Edwards, Kelly McGillis?, Meg Ryan, Tom Skerritt, Tim Robbins, John Stockwell, Barry Tubb, Rick Rossovich, Michael Ironside.
Directed by Tony Scott.

Top Gun was a very popular film of 1986. It focuses on the top fighter pilots trained by the American Navy. It harks back to the days of World War One and the small planes involved in aerial tactics and dogfights. After the experience of World War Two, Korea and Vietnam, the United States Navy wants a crack corps who will have the same personal skill, individual heroism and tactical manoeuvrability. There are many sequences, very well photographed, of aerial training and combat.

Tom Cruise (The Outsiders, All the Right Noises, Risky Business, Legend) is the genial hero, driven by his own abilities as well as comparisons with his father. Kelly McGillis? (Reuben Reuben, Witness) is the attractive instructor. There is very good support from Anthony Edwards (Heart Like a Wheel, Gotcha) and the supporting cast includes Val Kilmer (Top Secret, Real Genius). Direction is by Anthony Scott (The Hunger). (Tom Cruise worked for his brother Ridley Scott in Legend.)

Some commentators see the film as reflecting American jingoism of the '80s (as in many Chuck Norris actioners of the time, Delta Force, Invasion USA and such aggressive films as Iron Eagle as well as the Rambo films).

1. The impact of the film? its appeal? Americana? The United States of President Reagan? The '80s? Defence, attack? Technological development? American heroism?

2. Panavision photography, the quality of the aerial photography? The vividness, motion, combat, choreography of the planes? Life on the ship? Comparisons with the ordinary sequences of training, socialising? Musical score and mood?

3. The title and its reference to the Navy, Navy training? The skills of the top combatants? Experience, training and achievement?

4. The reliance on the planes, the 30 million dollar price on each plane? Skills, manoeuvrability, dangers, speed? The opening and the landings on the ship? The clash with the MIG and Maverick taking a photo of it? The training sequences, the skilled moves? The final combat, danger and reality?

5. The tradition of the aerial dogfight, World War One. planes, pilot heroes? Individual style? The reintroduction of this style in the '70s and '80s? With the new skills and technology? The pilots and their intuitions, responsibility, protection? The importance of code names like Maverick, Goose, Iceman, Cougar? The ethos and spirit of the pilots?

6. The focus on Maverick and Goose, their combat skill, Maverick and his risks, taking the photo of the MIG pilot? Helping Cougar down onto the boat? Attitudes towards authority? Their being able to go to Top Gun? Hopes and ambitions?

7. Pete Mitchell and his name Maverick? His love for his mother, the photo, memory of the song and the story for Charlie? His father, the mystery of his death? The officer finally explaining what happened to his father? Measuring himself by his father? Coming second? His own innate skills, intuition, daring, care for others? Danger? Showing off? His claim to be the best? The bond with Goose, friendship, the discussions about safety? The encounter with Charlie, the song and dance routine, her jokes at his expense, her being a lecturer, her fascination with his taking the photo of the MIG? Their verbal sparring, dinner, anger about her interpretation of his manoeuvres, her explanation after chasing him, the brief affair? Social life, the bar, Goose and his extrovert wife? The relationship with Iceman and his team, their coolness, rivalry? Attitudes towards danger? The bypass and the authorities criticising him? The training, the skills he showed, ingenuity in manoeuvres? The rules? The volleyball game? The accident, ejecting, Goose's death? Responsibility, his going to his wife? His encounter with Charlie, going to the officer, discussing his father's death? His not winning the top post? Going to service on the ship, action, protecting Iceman, his skills and techniques in outmanoeuvring the Russians? His fame? The acknowledgement on board the ship, reconciliation with Iceman? A young hero, skills, the American hero?

8. Goose as pleasant character, efficient, trusting Maverick, careful, the discussions about safety, enjoying the risks? His wife and child? Enjoying their company? The pathos of his death? The sketch of his wife, her liveliness, her grief, accepting her husband's death?

9. Charlie and her ability, the jokes on Maverick, her lecturing. analysis of manoeuvres and planes, her fascination with the MIG incident, the complicated affair, sparring with Maverick, the affair, his going without saying goodbye, her challenging him, her return?

10. Iceman and his crew, skills, keeping their cool, rivalry, winning? In combat?

11. Cougar and his fear, resigning? The range of Pilots? Their interactions? Ethos?

12. The instructors, their experience, training, support? Their estimate of their pupils?

13. The social background, the human characters ? more than in an ordinary action story?

14. Conflict with the Russians, the American attitudes towards the Russians in the '80s, the incident in the Indian Ocean, the seeming preparation for a war mentality? American heroism in this context?

TOOTSIE

US, 1982, 111 minutes, Colour.
Dustin Hoffman, Jessica Lange, Teri Garr, Geena Davis, Bill Murray, Sidney Pollack, Dabney Coleman, Charles Durning.
Directed by Sidney Pollack.

There have been several films where significant male actors impersonated women: Tony Curtis and Jack Lemmon in the all-girl band in Some Like it Hot and Robin Williams as Mrs Doubtfire. However, probably the best is Dustin Hoffman's impersonation of Dorothy, a soap opera star in American television in Tootsie.

Hoffman was already a very versatile actor with such films as Midnight Cowboy, his Oscars for Kramer versus Kramer and then Rain Man. He gives depth to his performance as the arrogant actor who is out of work who carefully prepares his female persona. The film offers insights into male and female characteristics and responses to them.

There is a very strong cast with Jessica Lange in an Oscar-winning role. However, it is the director Sydney Pollack who has an excellent role as the agent. The scene where Dorothy finally reveals who she is to the agent and his disbelief is well worth seeing. Pollack was a strong director with such films as They Shoot Horses, Don't They in the 60s through Robert Redford vehicles such as The Way We Were and Jeremiah Johnson in the 70s, winning an Oscar for Out of Africa in the 80s and with such films as The Firm in the 90s.

The film is very entertaining in its look at American television, studio fights, the nature of soap operas and their audiences,

1. The popularity of the film? Its critical acclaim? Outstanding success? A satisfying blend of the entertaining and the serious?

2. The New York background: apartments, cafes, theatre, TV studios, weekend homes? Authentic '80s atmosphere? Use of Panavision, colour? Editing - the credits collage of Michael and his auditions and his training actors? The collage of Tootsie's glamorous photos and magazine covers? Musical score? Songs, lyrics, use throughout the film?

3. The background of theatre and television for film? The background of the soap opera characters. conventions, ingredients? The serious undertones of off-Broadway theatre? Fantasy and reality? Reality and illusions? The use of conventions and theatrical types? Caricatures? Audience insight into reality via conventions and caricatures?

4. The feminist themes of the film: the background of the women's movement, liberationist movements? The themes of equality? Rights of women and their treatment? The highlighting of male chauvinism, Male dominant attitudes being taken for granted? The nature of true equality, in persons, opportunities, respect? The film's use of stereotypes and roles to highlight points? Characteristics of everyday behaviour, attitudes? Experience and learning by experience? The theme of a man experiencing what it is to be a woman? A woman learning independence and equality via the man disguised as woman? The woman being at home with the man disguised as woman? Michael's comment that he was a better man when he was a woman, etc.? How persuasive the feminist themes? Via character and incident rather than preaching?

5. Michael and the credits sequence: his skill in coaching and the details of his classes, the Method acting style? His own auditions and his strengths and weaknesses? Anger, frustration, possibilities? His work as an artist? His lack of employment? The credits as an introduction to him as a person, character? The skilfulness of Dustin Hoffman's performance - credible as Michael, the depth of the abrasive perfectionist actor? The credibility of his transformation into Dorothy? Keeping the balance between Michael and Dorothy ? portraying the Michael in Dorothy and the Dorothy in Michael?

6. Michael and his temper? The Death of Tolstoy sequence and his abrasive reaction to the director? His skill with coaching but his inability to co-operate with directors? The discussions with his agent and his anger with him? The importance of the long sequence where George tells Michael off, and the echoes of the clashes between Sidney Pollack and Dustin Hoffman? His friendship with Jeff and encouragement of his writing? The long friendship with Sandy and his helping her with the audition? Making her angry and expressing her rage? His discussions with George? The quick sketching in of Michael and his relationships? His motivation for becoming Dorothy?

7. The transition to Dorothy and the sequence of him walking the streets unrecognised? The clothes used, make up, wig etc.? The physical characteristics and audiences sharing those ? shaving, make up? The walk, the voice? The humorous incidents where his masculinity took over? The arrival at the television studio? His aggressive behaviour as Dorothy, the abuse of Ron, discussions with the producer? The test and his being accepted? The contract? The details with the soap opera? acting, the improvisation? Audiences enjoying the soap opera conventions and the parody? Dorothy making more of them than the script? Ron and his reaction, accepting Dorothy? The producer and the contracts? John and his lecherous attitudes? The glamour girl in the dressing room and her warnings? The friendship with Julie and her help? Dorothy's developing the character in the soap opera and asserting feminist attitudes? The gradual popularity - via autographs for Julie and then for Dorothy? The glamorous collage of Dorothy photographed and on magazine covers? Michael becoming Dorothy? in terms of buying dresses, deciding what to wear, make up etc? The perception from the woman's point of view of what went on in the TV studio? Ron and the clashes, Ron and his kissing all the girls? Michael's disgust with Ron as regards Julie? Falling in love with her? Dorothy as Julie's friend, support, discussions?

8. Michael experiencing what it was to be a woman - the put downs by Ron, the titles e.g. Honey and Tootsie? Jeff as the observer? His puzzle, warnings? Sandy and her mods and Michael trying to cope, his being late for appointments? His realisation of his deceiving Sandy but not wanting to hurt her, and Ron's echoing these words? Problems of coping with the two characters? Questions of timing, e.g. John arriving, singing in the street, his being brought up, his attack on Dorothy? The irony of Jeff’s coming in and John's apologising to him rather than to Dorothy and saying nothing happened? The repercussions with Julie - especially with the weekend, sharing the room etc.? The friendship with Les and enjoying his company, at home, outings, dancing? The proposal? The continued dilemma and Michael wanting George to get him out of the contract? The legal repercussions? George's patience - especially in view of the cafe sequence where Michael tested out George as Dorothy with its consequent comedy?

9. Julie: in herself, ordinary young girl, drinking problem, Amy, unmarried, relationship with Ron? Her anxiety with Ron? Love for her daughter? Devotion to her father? The discussions with Dorothy, the rehearsals and her growing to rely on her, the weekend and the shared experiences on the farm, meals, the room and Julie's explanation of her childhood? The growing friendship and her fear of lesbian tendencies, her fear about Dorothy? Her withdrawing from Dorothy and breaking off? Her hope that Dorothy would have married Les? Her reaction to the truth? Her cutting off from Michael? The final reconciliation?

10. The contrast between Julie and Sandy? Julie as the actress in the soap opera and popular yet unhappy? Sandy and her moods, her locking herself in rooms , acting, self-analysis, love and pain? The cliches of the moody actress? The night with Michael and its unexpectedness? The dinner and his non-arrival? Her following him. suspicion about the box of chocolates. her pain, anger, professionalism and breaking off? Her criticisms of Dorothy as actress? The truth and her watching the television? An accurate sketch of a moody, would-be actress?

11. Jeff as the off-Broadway author, his talk, writing, his being the motive for Michael's getting the money, the birthday party for Michael and his friends? Pseudo-intellectual discussions? His puzzle, warning Michael, supporting him? Encounter with John? The final crisis with Sandy?

12. Sidney Pollack's presentation of the harassed agent, fighting with Michael, being tested by him in the restaurant, discussing his contracts?

13. Ron as the chauvinist? Work as a director, his treatment of the cast, carrying on with the girls? Julie wanting to break off with him and the hurting repercussions? His theory about seduction and his repeating Michael's words? His reaction to the truth?

14. The soap opera and its details and the parallels with what was happening for the characters in their own lives? John as the has-been lecherous old man? The glamour girl? The producer and her efficiency?

15. Charles Durning's style as Les? Support of his daughter? Growing friendship with Dorothy, the quiet sharing. the outing, the proposal? The meeting afterwards and the bond of friendship?

16. The situation, law. fraud? The build-up to the live-action show? Michael's skill in using the exaggerations of soap opera to make the revelation of his real character? Everybody's reaction?

17. The subsequent happenings: the encounter with Les, the meeting with Julie and the final reconciliation?

18. A satisfying blend of visual humour, verbal humour, humorous situations and characters? Charm and delight along with the serious?

TOO MUCH TOO SOON

US, 1958, 121 minutes, Black and white.
Dorothy Malone, Errol Flynn, Efrem Zimbalist Jnr., Neva Patterson, Martin Milner, Ray Danton, Murray Hamilton.
Directed by Art Napoleon.

Too Much Too Soon refers to fame, wealth, glamour and alcohol. It is the biography of classic actor John Barrymore's daughter Diana. It was adapted from a biography by Diana Barrymore and Gerold Frank (who appears as a character in the film). As with many Hollywood biographies, excerpts from the life of the subject are taken and dramatised (and somewhat fictionalised). Diana Barrymore appeared in a few films, not to any great success. She seems to have been very much in the shadow of her famous father.

Dorothy Malone, soon after her Oscar-winning performance in Written on the Wind, tackles the heroine and gives some strength to her character. Errol Flynn (art echoing nature?) is John Barrymore. Efrem Zimbalist at the beginning of his career is the hero. The film is interesting in its picture of Hollywood, glamour and the 'great'. However, it is also the Hollywood-style glamour and harrowing downfall of a human being.

1. Audience interest in biographies? Hollywood stories? The lives and downfalls of the stars?

2. Black and white photography? Musical score? re-creation of the '30s and '40s? Hollywood? The film as a piece of Americana?

3. The conventions of the Hollywood biography? The focus on the subject? Melodrama? Problems? Happiness? Success and failure? Personal lives? Privacy? The background of affluence? How well did this film compare with other such biographies?

4. The plausibility of this story: the background of the Barrymore family and their acting? John Barrymore and his success? His sinking, failures, hamming his acting? Interest in his family, neglect of it? The reputation of the Barrymores? Diana within this context? Her desire to love her father? Reconciliation with his wife? The career, the failure? The men, exploitation? The poor films? The dancing and burlesque? Alcoholism?

5. Dorothy Malone's portrait of Diana Barrymore - early years, family relationships, concern about her father and his drinking, her mother, reconciliation? His death? The effect of his death on her life, loneliness blaming herself? Her attitude towards her acting ability? Failure in films? Her turning to drink? Her capacity for relationships, the collapse of her marriage, affairs? A life of squalor? The attempts to get jobs, the burlesque? Her hospitalisation? The work on her autobiography? The new encounter? The relationship with the friend ? and the mutual revelation of their secrets ? his baldness? The possibility of a life?

6. Errol Flynn's portrait of John Barrymore? Flamboyance, style, acting ability, drinking, failure of a great actor? The stage? Money, alcohol? His wife? The pathos of his death?

7. The Barrymore family? Diana and her relationship with her mother? The effect on her life ? wealth, reputation, expectations?

8. The men: her husband and the collapse of the marriage, her relationships and affairs, her childhood friend, a possible bond for the future? The burlesque manager? Exploited by men?

9. Problems of fame, despair, loneliness, alcoholism, rehabilitation? Entertainment? Interest? Americana?

TOO MANY HUSBANDS

US, 1940, 84 minutes, Black and white.
Jean Arthur, Melvyn Douglas, Fred MacMurray?, Harry Davenport, Dorothy Peterson, Melville Cooper, Edgar Buchanan.
Directed by Wesley Ruggles.

Too Many Husbands is one of many screwball romantic comedies of this type from the '30s and '40s. The cast was quite adept at this kind of entertainment. Columbia seemed to specialise in such films. Jean Arthur is the plucky heroine. Fred MacMurray? is pleasantly ingenuous, Melvyn Douglas something of a hero/sap. Harry Davenport is Jean Arthur's father. The film was directed by Wesley Ruggles who was also adept at this kind of romantic humour. The film has its tongue in cheek ?.and though dated, is still an enjoyable example from its period.

1. The popularity of the '30s and '40s screwball comedy? Impact in their time? Later?

2. Columbia production values: black and white photography, affluent society? The stars?

3. The title and its irony? Vicky's dilemma? The problem of her marriages? The tongue-in-cheek and wink ending?

4. The plausibility and implausibility of the plot? Vicky and her marriage, her wealth, remarriage? Her doting father? Gertrude and her comments? Marriage, romance, divorce? Ethics and morals? Propriety?

5. Jean Arthur as Vicky - vigorous style, in herself, her relationship with Henry, the new marriage? Questions of the firm? Her father? Bill's turning up again? The ambiguity of farcical aspects of her problem? Relating to each? Trying to resolve whose wife she was? The humour of the ending?

6. Henry as Bill's best friend? Marrying Vicky? Changing the firm? His being somewhat inept? A pleasant sap? As compared with Bill and his vigour? The firm? The ambiguities of the situation and each handling it? Fencing? Verbal thrusts? Attentions to Vicky? Legal relationships? Friendships?

7. Vicky's father and his advice? Gertrude and her being in love with Bill?

8. Verbal wit? Humorous situations? Entertaining farce?

TOO LATE THE HERO

UK/US, 1970, 134 minutes, Colour.
Michael Caine, Cliff Robertson, Denholm Elliot, Harry Andrews, Ian Bannen, Ronald Fraser, Lance Percival, Henry Fonda.
Directed by Robert Aldrich.

Too Late the Hero is another World War II story, set in the New Hebrides and filmed in the Philippines. Director Robert Aldrich (who also made The Dirty Dozen) produced and partly wrote the screenplay. It was designed as a big Roadshow release, overture music and intermission. However, it is very little different from any other war film and is as good or as bad as any other, depending on one's fancy for action, suspense, heroics and hundreds of the enemy killed off. In tune with the mood of the late 60's, the film is rather pessimistic in tone, showing us that war is fairly ugly and so many men are unheroic - until they are dead, when it is too late.

Apart from the end, there is a sense of realism and hardship about the film and it could well be used as a basis for discussing war.

1. How different was this film from any other similar war film? Was it any better than the usual war film? Why?

2. The choosing and sending of Lawson takes place before the credits finish. What kind of character is Lawson shown to be? How selfish? How heroic? His commander hopes he will die. What tone does this give to the rest of the film?

3. How typical were the English group in the New Hebrides? Was the commander a good commander? Did he choose the right men to lead the mission? Was his judgment wrong?

4. How different were Hearne and the English and Scottish soldiers in their selfishness and lack of heroism from Lawson?

5. Were we meant to identify with Michael Caine's character, Hearne? was he heroic in any way?

6. Comment on the bickering, pettiness, fear and inefficiency of the group ? especially shooting their own men, rifling dead Japanese (and chopping off a finger for a ring). How typical do you think such behaviour is of soldiers in war, especially isolated soldiers?

7. Should the mission leader have attempted the heroics he did? Once he had done the sabotage work, should Lawson have followed him to relay the message? Was Lawson a coward or did he do the right thing?

8. Should the corporal and the soldier have followed Campbell in giving themselves up to the Japanese?

9. Was the ending too far-fetched, the number of Japanese killed and the final run to safety?

10. What effect did Lawson's death have on Hearne? Did Lawson die a hero?

TOMMY

UK, 1975, 108 minutes, Colour.
Ann Margret, Oliver Reed, Roger Daltrey, Elton John, Eric Clapton, Robert Powell, Jack Nicholson, Paul Nicholas, Keith Moon, Tina Turner.
Directed by Ken Russell.

Tommy was a 60s rock opera by Pete Townshend and The Who. Rock operas are fairly specifically geared to younger sensibilities. Tommy is loud in volume and style. Perhaps Ken Russell (Music Lovers, Devils) was just the writer-director to visualise creatively and subjectively the elements of the songs, music, plot and themes. It is excellent Russell: Marilyn Monroe worship, Tommy's mother wallowing in TV products, Tommy's fantasies amongst many sequences. Good performances by Ann Margret and Roger Daltrey enhance The Who's music and lyrics. There is also plenty of theme: war, death, family, fear, cruelty, psychological freedom, religion, Christ-figures, search for God. It is linked by actors, themes and style to Russell's next film - Lisztomania.

1. An enjoyable experience? Overall impact as entertainment. rock opera, fable? The advertising's "assault on the senses"?

2. The reputation of the music? The music by The Who, the significance of the lyrics, indication of themes? Reflecting the musical styles and social preoccupations of the 60s? Heroes, heroism, messianism, the re-emergence of religion? In the English context? Universal appeal?

3. The cinema work and television work of Ken Russell? His reputation for energy and exuberance. exaggeration and flamboyance? His visual style and his screenplay meeting the music and lyrics of the rock opera? The combination of visuals and sound?

4. The choice of the stars - Ann Margret for a rock opera, the choice of Oliver Reed and established actors? The singers and the musicians?

5. Comment on the quality and impact of the visuals: colour photography, the decor and costumes - the blend of realism and fantasy? Ken Russell's visual imagination, the use of special effects, editing?

6. The structure of the screenplay: the use of the music, the placement of the songs? Their basic plot line, the episodes, the interconnection of the episodes? The counterbalancing of music and lyrics? The build-up to various climaxes in terms of Tommy's condition, need for healing, cure, messianism, rejection? The culmination in the climbing of the mountain and the return to the sun?

7. The significance of the prologue and its visual presentation? The title plainly given and the focus on the sun, the silhouette and Tommy's father coming down to Earth? Tommy's father and mother and their relationship, love, swimming in the waterfall, lovemaking and Tommy's conception? The incarnation of the Walkers as symbolising England? the atmosphere of the 40s, World War Two? The significance of the World War Two background for the fable? Tommy as conceived in love and entering into the world in the atmosphere of death, pain, world victory and a new world beginning?

8. The influence of Tommy's father on his son? The importance of his going to war. his farewells and the final dance, his flying the plane and his death and the repetition of this visual throughout the film? The contrast with his mother and her work in the factory - and the ball bearings and the use of this visual throughout the film especially culminating in the pinballs and the hill of giant balls? His mother's collapse? The hospital sequence and his birth and the irony of the victory of World War Two? The grief and the joy in his birth? The song, 'It's A Boy'?

9. The funeral sequence and the memorial, the flowers and the crosses and their later use during Tommy's acid trip? His growing up as an ordinary young boy? His father's continued presence and the effect of his death? His father living in Tommy's imagination?

10. The transition of tone to the camp? The satiric song, the satiric presentation of the holidaymakers and their exercises? Uncle Frank and the conman's song inviting everybody in? Frank and his flirting with Nora, teaching her how to swim, Tommy's joy? The competition and Nora winning with beautiful legs? The visual styles of this kind of 40s British holiday comedy? The leaving of the camp, the return home? Frank and his presence in the household and Tommy's acceptance of this? The bond between Frank and Nora and their mutual needs, love, sensuality? Tommy in bed and the vision of his father - how much of his imagined self in this vision? His father's disapproval and Nora and Frank destroying him violently? The confrontation with Tommy and their song telling him that he did not see or hear and his consequent isolation, deafness, blindness and his being dumb?

11. Tommy's condition being illustrated by the Christmas party sequence: his isolation, the attitude of Frank and his mother, the cruelty of the guests, his feeling, smashing the Nativity scene? His inner plea for being heard and being healed and touched? The vigorous lyrics of the song and their indication of what Tommy was missing especially in the religious context of not knowing Jesus and the Christmas background? Frank and the indications of his callous attitudes e.g. with the Santa Claus mask?

12. The transition to Tommy being grown up, still isolated, his mother into middle age? Their presence at the healing service? The irony of the Marilyn Monroe statue and the echoes of the film The Seven Year Itch? Eric Clapton and his singing from the pulpit? The atmosphere of revivalism, healing services blended with tradition Catholic ritual? The incense, the mock-Marilyn Monroes looking like mock-angels and department store decorations? The ritual procession? The crowds of people in the church and their need for healing, their reaching out to the modern goddess (and the irony of Marilyn Monroe's being a sex symbol and her suicide), the seeming blasphemous Communion with pills and alcohol? The effect of this parody - the critique of aspects of superstition, religion, Christianity? The use of traditional religious themes?

13. The contrast with Frank and his sleazy job at the strip joint? The neglect of Tommy? The hiring of the Acid Queen to change him? The songs of neglect and his being left alone ? especially with Cousin Kevin and the visual and feeling effects of his cruelty and games, Uncle Ernie and his drinking and what he was doing in the dark? The return home and the seeming innocence of the two members of the family? The effect on Tommy as victim, his creating an inner self whom he sees? The double coloured image of himself blending to the white image?

14. The importance of the experience of the Acid Queen? The quality of Tina Turner's performance, the presentation of the drug culture and the critique of it? The visuals and imagination of the machine into which Tommy was put? The opening of the machine and his appearing as the Christ on the cross, the crown of flowers, his father appearing in his place? Tommy being one with the father? The effect on him and the use of the camera in presenting the witch and demonic aspects of the Acid Queen? The finale with Tommy left on the floor and the Acid Queen tapping the syringe? The film's attitude towards drugs?

15. Tommy and his mother's trying to reach him? The interior vision of three coloured images of himself blending into the one, his coming alive and responding to his inner self, his being led to the used car lot and being abandoned there, the discovery of the pinball and the feel of it? The police and the buying of the pinball machine?

16. The transition to his success, the visuals of Elton John as the Pinball King, the fans and the fanaticism? The King conceding his crown to Tommy? The visualising of Tommy and his success, the close-ups of the pinball machines and their workings?

17. The repercussions of wealth on his family, Frank and his arrogance, his mother and her wealthy home, her drinking? The significance of the television episode? Her trying to move Tommy from the screen and his singing of 'Hear Me and Heal W? The satire in the presentation of the baked beans ads, the chocolate ads, the detergents? The deluge and Mrs. Walker wallowing in it? The later realism of the sequence and this happening in her psyche? The critique of the world of commercials and their effect on the viewer? The critique of the standards of modern living?

18. The visit to the specialist? His inability to do anything except take the cheque? The tests on Tommy and his subjection to them? Mrs. Walker's desperation, her provocative dance at the mirrors, her taunting of Tommy, smashing him through the mirror and his falling into the saving water, his cure, exhilarating swimming, the song 'I Am Free'?

19. His mother's search for him and discovery of him on the rocks, her appreciation of his being healed? The shock of his throwing away her jewellery? The symbolic baptism in the water?

20. The transferring to his messianic mission? What led him to this mission? Its being a mixture of sincerity and hypocrisy? Frank and his utilising it? The uniforms that Frank and his mother wore? The television sessions? The growing number of followers? The holiday camp and the hopes for success? Tommy and his disciples? The purpose of the holiday camp?

21. The insertion of the Sally story - its tone, lyrics, jaunty music? The background of her father as the minister, her mother letting her go, her experience at the concert and the parody of the success of pop stars? Her being injured, her memories of Tommy? The Frankenstein pop monster and the marriage, her presence at the concert with the baby, her perpetual scar on her face? The significance of the story and its comment on cult personalities and their following?

22. The followers, Tommy's song and its messianic tones -especially the calling of fishermen on the beach? The rituals at the camp and the blocking out of the senses? To what purpose - to live an interior life as Tommy did? The decision to rebel, the cruelty to Frank and Nora, to Tommy? The overtones of Christ in the followers and their rejection?

23. The character of Tommy - as an attractive little boy, the disadvantage of his father's death, his mother's love? The memories of his father, his being shocked by his mother's behaviour? His isolation and withdrawal? The inner cry for healing? The victim of cruelty? The growth of the inner self and his being healed? His becoming a champion, hero, Messiah? The impact of his cure? His disciples? His joy? The importance after his rejection of his return to his father's place ? he then in the image of his father? (And the burning down of the holiday camp?)

24. The character of Mrs. Walker and Ann Margret's interpretation? The earth mother, the overtones of Virgin Mary, of Mary Magdalene? Rejection, love, discipleship? Her needs with Frank? Her decline as especially with the drinking and the TV deluge? The specialist and the flirtation? The desperation and the taunting of him? Her conversion, her death?

25. The ambiguity of Uncle Frank - the benign stepfather, his exploiting the situation, his cruelty to Tommy at the Christmas party, sending the Acid Queen, abandoning him to Uncle Ernie and Cousin Kevin and everything would be alright? His hustling during Tommy's success, his death and being a martyr with Nora for Tommy?

26. The Devil-figures of the Acid Queen and the relations - and Keith Moon and Paul Nicholas in their interpretations, and Keith moon's later presence on the beach at Tommy's camp?

27. The choice of Jack Nicholson to play the specialist and his venal attitude towards his job, towards Mrs. Walker?

28. Themes of success? Inner life, healing, salvation? The initial song at the Christmas party when Tommy needed salvation? The fact that he would be a Saviour-figure?

29. The significance of the lyrics of the final song, his going back to where he was conceived, climbing the mountain and returning to the place of his father? The overtones of resurrection and ascension?

30. How Christian and religious was the film? How anti-Christian or anti-Christianity and its trappings? The values of true religion? The trappings of superstition, cult, the corruption of religion? The specific references to the Christ story - conception, God the Father, the hidden life, the emergence into a public life, discipleship, healing, heroism, rejection, resurrection and return to the Father? A satisfying religious fable for a secular audience?

TOM HORN

US, 1980, 93 minutes, Colour.
Steve McQueen?, Linda Evans, Richard Farnsworth, Billy Green Bush, Slim Pickens.
Directed by William Wiard.

Tom Horn is in the classic western mould: a blend of fact and legend, an ambiguous hero (gunman and man true to himself) who saw the passing of the old West and was crushed by the 20th. century world and the men whose interests he protected. Beautifully photographed, with fine sense of screen composition and incorporating sequences of the cattle ranges, the muddy towns, gunfights, romance, prisons and hangings, the film is also a fine vehicle for Steve McQueen's return to the screen, older, unglamorous and with a sense of conviction in his portrayal of Horn. A serious western, violent, uncomfortable, well acted throughout and echoing the American heritage disillusionment of the '70s.

1. A satisfying western? The few westerns of the late '70s - why their subject, treatment? The heroes of the West, the passing of the west, disillusionment with heroes?

2. The film's presentation of the transition from old West to the 20th. century: the opening lines. the description of Tom Horn's career, his various activities and serving in action? The memories of the old West and Horn's achievements, his loneliness? The action, the range of employment? The man ageing and becoming an anachronism? Past heroism with its violence, its paving the way for people who would forget their debt? The prospect of the 20th. century and its way of dealing with heroes? The indication of themes of the American heritage, 19th. century hopes, the ignoring of the individual. betrayal?

3. The colour photography, the beauty of the West, the seasons? The screen composition, the various tableaux? The set pieces expected from a western, their being placed in location photography? The styles of action, more intimate sequences? The editing? The place of flashbacks about Glendolene from prison? The chapter endings with the strong fade-outs? The score and its atmosphere? A satisfying presentation of the West?

4. The introduction to Tom Horn? Steve McQueen? and his presence, style, manner? Riding in at the beginning of the film, the audience knowing his background? A seedy character, his shuffling gait, an anachronism in the early 20th. century? His love for his horse and caring for it, stabling it? Drinking, the encounter with Gentleman Jim and the fight ? with its ironic result? Insight into Horn at this stage of his life?

5. John Coble and his response to Horn's reputation., his deal and hiring of Horn, the Cattlemen's Association and their needs? The picture of rustlers? The meetings, the hiring of Horn, the conditions, the rules? The violence implicit in his hiring? Horn's bond to these men? The character of Coble ? an honourable man of the West, his liking of Horn.. supporting him., his regrets at the trial? His final signed statement at the end of the film?

6. The build-up to the clashes? Horn as a man of fight? The initial encounter with Gentleman Jim, Horn and his cheekiness, Jim Corbett and his anger, the fight? The travelling with Coble and the encounter with rustlers, the banjo players, the violence and the later killings? Horn and his ability with horse riding, cattle handling? The confrontation with the rustlers? around the campfire, the man in the house who had shot his horse, Horn's violent emptying his gun into him? The build-up to the shoot-out in the town street? The man approaching on horseback who was shot. with his horse turning over? Images of physical violence and death? Tom Horn and his gun practice, work with the horses and cattle? His norms for killing? How cold-blooded? The repercussions in a society where the administration of law was becoming more organised?

7. Tom Horn seeing himself as a man of integrity, doing his job? His success and his becoming a target for betrayal?

8. Glendolene and the presence of the woman in the West? Her style, husky voice, her pleasant manner? The outdoor party and its atmosphere, the humour of Horn and the eating of the lobster? Their talk and getting to know one another, her teaching and the intimacy of the sequence in the classroom with the kiddies looking through the window? Her origins in Hawaii, her search for adventure? The significance of the flashbacks and their being placed in the context of the prison? Her riding the range with Tom, the talk about the old West, their lovemaking? The choices she had to make and her considering him a bad man? Her renouncing him or else she would be caught up in his world? A portrait of a woman in the West?

9. The Cattlemen's Association and their reaction to Horn's violence, the role of the sheriff, their wanting to dissociate themselves from Horn? The ugliness the plan, John Coble and his presence but his loyalty to Tom? The visuals of the shooting of the boy? The way that the frame-up was established, the arrest of Horn, discussion about his gun? People accepting the fact that he had killed the boy? His own integrity, innocence and his not pushing it?

10. The character of Joe Belle? rivalling Horn in his work in the West, his settling down and becoming a deputy? The rivalry in comparisons with Tom? The possibility of his being an ally? Jealousy? His handling the situation for the cattlemen? His place in the framing of Tom? His using him? Visiting him in prison. the court sequence, Tom's hanging?

11. Tom and the arrest, the experience of prison, the close-ups of the cell, the taking away of his freedom and his feeling this? The flashbacks indicating his experience of prison? His behaviour at the trial. his not comprehending legal method? His faith in himself? His meekness and lack of self defence? The attitudes of the prosecutor and the tyring to trick him? The interrogations and the reaction on Tom?

12. Sam and his guarding of Tom, Earl and his being knocked out, Tom's attempt to escape. his simply running away and his being caught? The National Guardsmen and their vindictiveness taking him back?

13. The lyrical aspects of the flashbacks, especially in the visuals and yet their serious consequences and the inevitability of Tom's death?

14. The hangman and his explanation of his machinery, the use of water, the ugliness of hanging and the audience appreciating this? Sam and Earl and their reaction? Tom's final night and his being led out?

15. Tom on the gallows, the people standing round, John Coble and his visit to the cell, his inability to help? The chaplain and the discussions with him? Tom's final statement on the gallows. the suspense of waiting for the water to work, his death?

16. The classic western mould, the type of hero, the transition world, the stock items from the western tradition, the 1970s perception of the West, the atmosphere of disillusionment?

TOM, DICK AND HARRY

US, 1940, 86 minutes, Black and white.
Ginger Rogers, Burgess Meredith, Alan Marshall, George Murphy, Phil Silvers, Joe Cunningham, Jane Seymour, Lenore Lonergan.
Directed by Garson Kanin.

Tom, Dick and Harry is a pleasant comedy of the early '40s. It is clearly in the screwball comedy tradition - though this is a bit broader and has enjoyable satire. The film was directed by playwright and author Garson Kanin, who also made Bachelor Mother and The Great Man Votes at this time. His career has been in theatre and in writing, especially with his wife Ruth Gordon. His attempts at direction with Some Kind of a Nut and Where It's At in the late 1960s were unsuccessful. Ginger Rogers, who won an Oscar for Kitty Foyle in 1940, is a lively heroine. A young Burgess Meredith is an engaging hero. There are some enjoyable fantasy dream sequences.

1. Pleasant American romantic comedy? Humour? Characterisations and stereotypes? The importance of dream and fantasies? The comment on American romance and dreams?

2. The vivacity of Ginger Rogers and the stars? The particular styles of the men? Garson Kanin as writer, playwright, film director - his eye for satire and performance? The bright score?

3. Janie and the typical American girl: seeing her at home with her family, the contrast with her sister Butch, her work for the telephone company? Her dreams of romance and wealth? Tom and his dates, his business, the intrusion of the ice cream seller? The preoccupation about making money and success? The contrast with Harry and her thinking he was a millionaire, the outing and the dancing, bells ringing but her wanting to marry a millionaire, her dealing with Harry's tricking Tom into driving them? The irony of her being given a lift by the millionaire? The humour of the dancing and the bowling? The contrast with Dick and the lift, interrupting his phone calls to his fiancee, the flight to Chicago, her trying to act as a woman of the world in terms of flying, dancing, theatre, drinking? The final dilemma?

4. The importance of the dreams for showing Janie's response to each of the men? Her fears for the future? Her choices? Tom being so busy as to keep her working with the children (Tom as child)? His becoming President? The contrast with Harry and the happy home life, happy-go-lucky. even ignoring prizes on the radio quiz programmes? The fashionable and wealthy lifestyle with Dick? The humour of her dream of marrying the three and having to cope with them all as husbands?

5. Her decision and the insight into the unreality of her dreams? Bells ringing for true love? The gentle puncturing of the unreal dreams?

6. George Murphy's genial style: Tom as the car salesman, putting success above everything, his putting off his date with Janie etc.?

7. Harry as the nice man, his philosophy of life, enjoying the ordinary things, setting Tom up?

8. Richard and his suave manner, the phone calls to his fiancee and his response to Janie? The credibility of his wanting to marry her after the evening in Chicago?

9. The contribution of the supporting characters: the family, Butch, Richard's snobbish girlfriend, Phil Silvers as the ice cream seller?

10. The coming down on the side of true love and the ordinary way of life?

TOMBS OF THE BLIND DEAD

Spain/Portugal, 1972, 86 minutes, Colour.
Ceasar Burner, Lone Fleming, Joseph Thelman, Helen Harp, Rufino Ingles.
Directed by Amando de Ossorio.

Horror films have to be original and/or very well done to make an impact. The various veins have been overworked. This Spanish-Portuguese? film is not always well-made (nor well-dubbed) and has several loose ends. However, for connoisseurs of the genre, it has some arresting features? especially a gruesome medieval prologue concerning Satanic rites of the Knights Templars. These imaginatively reappear as living, but blind, dead, riding their ghostly horses with moulding cloaks and habits pursuing 20th century victims. An unnecessary lesbian sub-plot hinders what could have been simply a gory story. The ghastly ending might put tourists off travelling on Portuguese trains.

1. Why do people enjoy horror films? What insight into the unknown do horror films give? Where does the skill of horror films lie? In plot, in conventions, in variations on conventions, in cinema styles? Where was the main value of this horror film? Its main strengths? Its weaknesses?

2. The film was made by Spaniards and Portuguese. was this evident? What insight into these nations did the film give? Their approach to horror films in the modern world?

3. How well did the film link the Middle Ages and the modern world? This background of superstition and the influence of the past, in such countries as Spain and Portugal? As living in the imaginations and memories of the people?

4. What was the impact of the pre-credits sequence? The satanic rites of the Knights Templar? The horror, the cruelty, the evil? The film's presupposition that such evil could not rest? How good a basis for a horror film was this sequence?

5. Comment on the effective appearance of the 'blind dead' during the film? The make-up and decor, the music and the slow-motion, the aura of mystery around the 'blind dead', their blindness. their evil, the atmosphere of mould and decay? What overtones of evil did this communicate? How successful as a horror convention?

6. How frightening and ugly was the ending with the 'blind dead' on the train? Realistically? As an ending to a horror film?

7. Were the humans in the film of any importance? How trite were their personalities and their story? Was there any value of character in the presentation of the husband, wife, the lesbian flashbacks with her friend, the role of the friend with the husband, the professor and his explanations, Pedro and his smuggling, his vicious cruelty and lust, the fact that several of these people were killed?

8. The vampire overtones of the film - how effective, Virginia's rising again, the murder in the office, etc.?

9. What particular effects were the best? Besides the 'blind dead', the night in the monastery, the vampire overtones etc.? What effect do such horror films have on audiences? Do such films have any human values?

TO KILL A CLOWN

US, 1971, 104 minutes, Colour.
Alan Alda, Blythe Danner, Heath Lamberts.
Directed by George Bloomfield.

To Kill A Clown is a British production with American cast and American setting. It shows a soldier affected by his experiences in Vietnam, terrorising a couple who have come to his island to try to rectify their marriage. The film's plot is familiar material from horror stories - especially the Hounds of Zaroff. The hounds are in evidence in this film. The updating works generally well. There are implications in the theme about American society at the beginning of the '70s and the effect of the Vietnamese war. There are some stylish tricks in the photography and presentation. The film, perhaps, should have been more powerful. As it is, it serves as a horror fable. Alan Alda shows his dramatic abilities. Screenplay and direction by George Bloomfield, director of Jenny, also starring Alda.

1. The impact of the film as drama, melodramatic thriller, contemporary horror story? Its derivation from horror antecedents, from familiar material about marriage, landlords menacing tenants? A satisfying contemporary adaptation?

2. The significance of the title, its references and explanations especially with regard to Timothy and his behaviour at the party, his memories at his death? The emphasis on killing? The clown and its symbolism? The ironies of the title?

3. A British production yet picturing the United States in 1971? The ordinary American couple with their careers, personalities, breakdown in marriage and attempts at reconciliation? Their hopes, fostering their relationship, marriage, sexuality? The juxtaposition with the Vietnam experience, the veteran and his prison experiences. injuries, madness and cruelty? Acting out his vengeance on this couple? An allegory for American society?

4. The opening and the ordinary couple, their attempts at friendship, reconciliation,, lovemaking? Art and photography and the freeze-frame style of the editing? Their behaviour on the island, encounters with Major Ritchie, the party and the drunken behaviour, the mimicking of the clown? The Major and his influence on his tenants?

5. The suggestions of horror to come, the role of the hounds, Major Ritchie and his limp? The isolated island? The conventions for a modern horror story?

6. The playing of games with irony? The drinking, the discussions about prisons, the make-up and directing? The challenge and the game coming true? Major Ritchie and the early morning, Timothy and his laughter, the drill, obeying orders, using correct titles, carrying the stones, the effect of the sun? The prison experience and its possibility for breaking him? Timothy and his being forced to go along with the game? Lily and her joking reaction., her revulsion when she realised that it was genuine?

7. Alan Alda as Major Ritchie - seeming gentleman at the beginning, the Vietnam experience, his being a cripple? Owning the island? The hounds? His control of the hounds., his control of Timothy and Lily with the gaffes? Exercising his control and testing Timothy? Moments of sanity or not? Cruelty? His revulsion at Lily's attempts at seduction? His laughing with Stanley? His use of the dogs and capacity for violence? The Vietnam experience and his need for vindictiveness on others?

8. His trapping the couple in the house, his control over the hounds, tormenting them? Their escape attempt, the boat and its being tied to the mooring? Their being confined in the house? Terror?

9. Their resourcefulness and luring the dogs into the house? The attempt at escape? The fight with Ritchie? The destruction of the dog? Timothy and his winning the victory over Ritchie yet remembering the past and dying?

10. Lily and Major Ritchie being left alive what consequences?

11. The contrived nature of the screenplay the distancing of the audience from the behaviour, involving them in the menace? Contriving variations on the human situation and testing human reaction? The importance of the Vietnamese war background? America at the beginning of the '70s?