TOBRUK

US, 1967, 110 minutes, Colour.
Rock Hudson, George Peppard, Nigel Green, Guy Stockwell, Jack Watson, Liam Redmond.
Directed by Arthur Hiller.

Tobruk is a routine war adventure although somewhat better of its kind. It has an exciting beginning but then moves into the familiar territory of a group crossing the African Desert on a mission. This was to be grimly satirised by Play Dirty, directed by Andre de Toth two years later. Tobruk focuses on Rommel's African campaign and the need for the British to destroy his fuel supplies at Tobruk. Rock Hudson leads the British group and there is an interesting subplot with German Jews working with the British. George Peppard has a chance of characterisation as their leader. Guy Stockwell is also in the group, although the traitor. Nigel Green has an opportunity to give a portrait of a very very British officer, loyal but in many ways obtuse. There is some comedy from Percy Herbert and Norman Rossington. The special effects are quite spectacular. The film was directed early in the career of Arthur Hiller who had made the anti-war The Americanization of Emily and was soon to make Love Story. Footage from the film was used in Henry Hathaway's Raid on Rommel with Richard Burton in 1971.

1. An interesting and entertaining World War Two film? Its similarity to the films of the '40s, '50s? Why a film like this in the late '60s? Impact later?

2. The use of Techniscope, colour, Californian locations for the African Desert? The special effects especially for the siege of Tobruk? The rousing musical score?

3. The impact of the film as a war story, adventure, character study, social comment? The subplot of the German Jews working with the British? The anticipation of Israel?

4. The impact of the dramatic opening. the frogmen's attack on the ship. the rescue of Major Craig? The ambiguity of Germans rescuing Craig?

5. The presentation of the allies and their relationships especially with these German Jews? Disdain, working relationship? The presentation of the Germans and their Italian allies?

6. Rock Hudson as hero? Canadian background and its explanation? His skills? The reason for his rescue and the others being left? His advice to Harker? His plan. his observing of the expedition, his leadership e.g. with the mines, his judgments and advice, final heroism in destroying the fuel? A credible war hero?

7. The character of Berman? his control, leadership, bravery? His place within the group? A spokesman for the German Jewish point of view? Iris various antagonisms? The clashes with Harker? His support of Craig? The sequence with the mines, the German Jewish spies and the liaison with the father and daughter? His final heroism and death? A war hero? The picture of the others in the group?

8. The spy and the air of mystery, his warning to the father and daughter, their being caught, his killing the girl, his murdering his colleague? His final revealing himself and Harker's killing him?

9. The portrait of the very British officer in Harker? The discussion about hindsight? His working by the book, the various personality clashes, his baiting of Craig? His decisions, taking of advice? The success of his mission? His final comment about dying and killing the spy?

10. How well did the film present its strategy? The various difficulties and the way these were coped with? The encounter with the spies and their plan of an Islamic rising? Their deaths?

11. The conventional difficulties throughout the expedition - time, the heat, the desert. the disguise as prisoners, the minefield, the attack of the British plane, the Tuareg chief, the spies, the entry into Tobruk?

12. The humour from the British and Irish soldiers? Their comments about prison, their banter with one another, their deaths when trying to get the money?

13. The spectacular effects of the blowing up of the fuel, the allied invasion?

14. The ending with the rescue and with Harker's death and with Bergman's heroics?

15. A war story, presentation of war action, observation of Hen in war, pro and antiwar, character study, the Jewish issues?

TO BE OR NOT TO BE

US, 1983, 102 minutes, Colour.
Mel Brooks, Anne Bancroft, Charles Durning, Tim Matheson, Jose Ferrer, Christopher Lloyd.
Directed by Alan Johnson.

To Be Or Not To Be is a delightfully funny remake of Ernst Lubitsch's 1942 classic with Jack Benny and Carole Lombard. Mel Brooks is excellent in the Benny role, much more restrained than in some of his other films Blazing Saddles, Young Frankenstein, History of the World Part I. He is joined by his wife Anne Bancroft (who appeared as a guest in Silent Movie) and they make an enjoyable comedy, song and dance pair. Tim Matheson is very good in the role of the earnest young lieutenant. Charles Durning received an Oscar nomination for his performance as Colonel Erhart. Jose Ferrer enjoys himself as the spy.

There are song and dance routines (especially a skit on the Nazis which is reminiscent of the Springtime for Hitler routine in Brooks' The Producers). The film is an entertaining backstage story, is very funny in its send-up of desperately serious situations, and makes pleas for the Jews and for homosexuals (in the vein of La Cage Aux Folles).

1. An entertaining remake? The impact of the original in the '40s? Spoofing World War II and Hitler? Laughter as a way of coping with the deadly serious events of the war? The point of a remake in the '80s? Universal themes?

2. The quality of the comedy? Hollywood production style? Mel Brooks and his comic style? The teaming with Anne Bancroft? Visual humour, verbal humour? The blending of farcical and serious? Sentiment, comedy, message?

3. The artificial style of the theatre, the city? Contrived sets, decor? Appropriate for this kind of comedy? Action sequences? especially the ending? The reliance on past film styles of comedy, musical?

4. The film as a backstage story: the traditions of musical comedy, vaudeville, the show must go on? The Polish rendition of Sweet Georgie Brown, the Hitler spoof? The glamour musical routine for Ladies? (And Sasha's disguise in this musical number.) The comedy of Hitler wanting peace, a piece of each European country? The songs contributing to the plot? The background score?

5. Reality and unreality? The film as a fable working at both levels?

6. The world of the theatre: theatrical presence, artists, skill, vanity, temperament? The work of the troupe? Clashes, unity? The show going on? The irony of a show for Hitler? The title, the use of the Hamlet Soliloquy ? for comic touches? The final curtain with the credits to each of the cast? A tribute to the stage? A spoof of theatre?

7. Bronsky and his abilities on stage? The importance of acting and his performance in real life? The interrelationship of stage and life and qualities of acting, performance, illusion?

8. Mel Brooks as Bronsky? The posters during the credits? The opening song, the Polish background, his putting his wife's name in parenthesis? Their bickering? Applause, vanity? His relationship with Anna? Her bordering on being ridiculous? especially with Sasha, the lieutenant? The impact of the closing of the theatre? The visits to the War office, censorship? Their losing their house? Going to live with Sasha? and a comedown in the world? Bronsky and his ability to ignore the war, except for spoofs? Self-centred, self-preoccupied, and the war changing this?

9. Bronsky as serious and funny? The soliloquy, the lieutenant leaving during it? The return of the lieutenant and finding him in bed? The build-up to his impersonation of Erhart? and the comic reprise of the conversation with the real Erhart? His impersonating the professor? The discovery of the professor's corpse and the shaving routine? His considering he gave a great performance? Its quality, restraint? The blend of the nervous and the confident? The impersonation of Hitler? The timing of the escape? The encounter with the German soldiers? The comic touch with his arriving, looking like Hitler, in the London pub? His final acclaim?

10. The troupe: Sasha and the satire on the homosexual camp mannerisms? The importance of Sasha in helping Anna? The pink triangle ? clashing with his clothes? The arrest, the torture? The troupe helping him to escape by the performance of Ladies? The point being made about discrimination against homosexuals? The parallels with the Jews and the yellow triangle? The various actors, and their styles, performances e.g. the King and Polonius in Hamlet? Their variety of roles? Their impersonating Nazi officers in real life? Their taking initiatives? The relatives hidden in the theatre and their being disguised as clowns, the escape during the song and dance routine? The terrified mother and their mimicking the mocking of the Jews to the soldiers' laughter, effecting their escape?

11. The lieutenant and his hero-worship, love for Anna, the exit during the soliloquy? His devotion to Anna? Going to London, the comradeship and songs with the professor, his going to the Foreign Office? Parachuting into Poland, his mission? Asleep in Bronsky's bed? The ambiguities of his relationship with Anna - and the professor telling Bronsky (as Erhart) about the lieutenant? The chase in the theatre and the death of the professor? The escape and his piloting the plane?

12. Jose Ferrer as the professor, enjoying his performance, fellowship with the Polish airman in London, getting the information? His attempt to seduce Anna? and her continually singing her songs? His response to the false Erhart? The discovery of the impersonation? The chase and his death? The melodramatics of his onstage death? His being a corpse and the routine with shaving?

13. The satire on the Nazi officer with concentration camp 'Erhart'? His assistant with no thought of his own, yet being blamed for everything? Erhart as pompous, brutal, his continuous mistakes? His jokes about Hitler? The send-up of the Nazi?

14. The reality of the Nazis, the invasion of Poland, the background explanation of their taking over Europe? The atmosphere of the war? The bombardment of Warsaw? The appropriateness of joking about the Nazis?

15. The persecution of the Jews, the homosexuals and the pathos?

16. The action sequences, especially the final escape, the dog jumping onto the plane (to audience applause), the lifting of the plane over the electric wires etc.?

17. The delight of the comedy? The sense of humanity pervading the film?

TO BEGIN AGAIN

Spain, 1982, 93 minutes, Colour.
Antonio Ferrandis, Encarna Paso.
Directed by Jose Luis Garci.

To Begin Again won the Oscar for Best Foreign Language Film of 1982. In retrospect, this may seem rather surprising given the strength of serious films made by the world's cinema. This film apparently appealed to the American judges because of its romantic tone, its American link and its strong and warm performances. With a very brief running time, the film is a nostalgic look by ageing Spaniards at the past and their lost lives during Franco's fascist regime. The film pays tribute to this generation.

As an entertainment, the film has a stereotyped plot which is transformed by the superb performances ? even to the manager of the hotel who gives an excellently comic touch to the proceedings. There is an over-strong reliance on Cole Porter's Begin the Beguine.

1. An entertaining film? Warm humanity? For Spanish audiences? The tribute to the generation of the '30s? To universal audiences? A film of the 20th. century? Its winning an Oscar in 1982?

2. The impact of the film because of its brevity? Spanish setting and locations? The climax in San Francisco and Berkeley? Visual impact? The contrasting environments of the new world and the old? As symbolised by the contrasting score?

3. The importance of the music and the moods? The continuous use of the music? Integrated into the text of the film? As commentary? The importance of the Fred Astaire-Ginger? Rogers record at the end?

4. The film as a film of age and dying? Its appeal to older audiences? A memoir? A review of life? An interpretation of life and its meaning? The importance of the title ? in the ironic contrast of Antonio's impending death?

5. The strength of the performances? Antonio and Elena holding the film? The importance of Mr. Losada and the humorous and ironic touches? The strong qualities of humanity pervading the film?

6. The structure: Antonio's arrival, his being unknown, the search for his past life, his discovery as a celebrity, his encounter with his friends and the telling of the truth, the re-living of the past with Elena and regretting lack of fulfilment, strength to return to the United States, strength to die? The return to America?

7. The portrait of Antonio: the dignity of his appearance, his age? The arrival in Spain? Losada's receiving him? The boy at the door and the giving of tips with Spanish and American money? The importance of his walk through the city? His rediscovering the town, the theatre, the sea, the gallery? Elena not recognising him? The renewing of the bonds? The shared experiences and their joy? The discussion with Roxiu and the discovery that he was to die? His memories? His devices for avoiding celebrity status? The long trip with Elena? The photos as souvenirs? The love and the sexual encounter? The visit to the football match with its memories? His leaving and signing of the books? The airport sequence and Elena's farewell? The return? His lecturing, walking around Berkeley? opening the parcel and the importance of the record? Audiences experiencing the character, his life? Getting to know and understand him, his feelings? The story of his expulsion from Spain, concentration camp. escape work, the United States. Frances and his children? His career and his prize? Portrait of a 20th. century Spaniard?

8. Elena and the gallery? Talking on the phone, the discovery of Antonio? The regrets of her life? Her memories? Her continued love for him? The importance of the drive, the joy of visiting old places, the beauty of the scenery? Her re-living a lifetime in his presence? The airport farewell, her knowledge of his death, the gift of the record and its significance?

9. The sketch of Roxiu: the contemporary. the memories of the past, his sympathetic listening to Antonio’s story and reading the doctor's account, his grief? The joy of watching the football match together and remembering? His telling Elena the truth? His farewell?

10. The expert comic performance of Mr. Losada: fussiness, obsequiousness, his mannerisms, smoking, the television people and the phone calls, his condemnation of the foreigners, the food, his pleasure in the autographs in the book and his reading them aloud, his smoking? The portrait of a bureaucrat? cruel and kind at the same time? The sketch of the porter?

11. The insight of the film into Spain and the '30s generation? The reassessment of the fascist period? The dedication of people ousted by the regime? Their interrupted lives? The changed directions of their lives? The hurt? The return in old age to recapture the past? Spanish politics, religion, freedom, creativity?

12. A humane film of universal values?

TO AN UNKNOWN GOD

Spain, 1977, 100 minutes, Colour.
Hector Alterio, Angela Molina.
Directed by Jaime Chavarri.

To An Unknown God is an interesting and well-made Spanish drama. It opens with the pre-Civil War period and touches on the atmosphere of Spain prior to Franco's takeoever. The film, however, focuses on themes and Spain after Franco. it seems to imply some comment on what had happened to Spain and society, government, moral issues during Franco's reign. The film focuses on human beings and their personal dilemmas. This is particularly so in the case of Jose, the central character, who is homosexual. The film offers a portrait of a homosexual, not in any sensationalist way or even judgmental manner. Rather, it focuses on a man, his growing up and background, the happiness in his life, the torment and his having to cope with it. He also tries to delve into his past. The film also has fine characterisations of the people in Jose's life. The film highlights the loneliness of the homosexual in contemporary society. The film is interesting, compassionate and certainly raises many social issues in a way that is fruitful for reflection and discussion.

1. The title of the film - the reference to God, the Spanish background, the mystery of the meaning of life, the mystery of relationships and homosexuality? A valuable exploration of human nature, the life of a homosexual?

2. The film's analysis of human beings, human nature, society? Relationships, isolation, aloneness and loneliness?
3. The film as an example of the work of the Spanish film industry of the '70s, style, colour photography, score? Themes and their treatment?

4. The mood of the prologue: The pre-Franco Spain, Granada and its atmosphere of wealth, enjoyment, indolence? The colour photography suggesting memories and far-off days? The violence intruding with Jose's father's death? The implications about the Civil War, Franco's regime, the forty years of Franco's power and the aftermath? Soledad as a vivacious young girl, her liveliness, relationship with Pedro, Jose, Federico? Lyrical enjoyment, the bike-rides, the games of the young people? Soledad surviving all the years and being seen in the contemporary setting? Soledad being the link between past and present? Pedro and his illness, homosexuality, friendship with Jose, fascination with Federico? Relationship with Soledad? The fact that he was about to die? Jose as a young boy, of different social status, the bike rides, friendship with Pedro, the sexual intimacy? Federico as an ethereal figure, playing the piano? The sudden intrusion of the violent death into this world?

5. The sudden transition to the contemporary world? The jolt for the audience? The need to go back, to understand what had happened in the meantime? Soledad and her surviving in Granada, her place in society, her memory of the intervening years, her point of view on the past? The importance of Jose meting her and discussing the past with her? Her stories of Pedro, his relationships, his death? Federico and his place in the past? The importance of the old homosexual whom Jose encounters, the loneliness and the need for a sexual encounter, the memories of Federico and Pedro? Jose and his decision to visit Granada, his going into the house, his looking from the windows, his trying to understand the past, Pedro, himself? The effect of this journey on him?

6. The portrait of Jose, an ordinary man, as an entertainer, the details of his cabaret act, the hypnosis, the magical tricks, the cards? How well were these presented - especially with Miguel and his girlfriend? Jose and his relationship with his sister, his free discussion of himself and relationships with her, his friendship with her children? The importance of his friendship with Jorge, seeing him in the lift, on the stairs, Jorge's visit to him and curiosity? Jorge's mother and seeing her in the church at Benediction, the discussions about Jorge, their lives, loneliness, her proposal? Jose and his visit to the film club, the meting with Miguel, taking him home? The nature of the relationship, how much friendship, love, need? The night together? How well did this illustrate their being with one another? Miguel and his girlfriend and Jose's curiosity, jealousy?

7. Jose and his returning home alone, his listening to Federico's poetry with its homosexual themes, relationships to Walt Whitman? The repetition of this at the end in Miguel's presence and the pointed ignoring of him? A framework for the transience of relationships, Jose's loneliness? Indications for his future?

8. Jose and the peace gained by the visit to the past? His ordinary manner of living., relating, understanding people, his own needs? The encounter with Miguel's girlfriend and his feeling of betrayal?

9. Society as seen by an outsider? The emphasis on differences? The importance of Jose's managing of his life. his pride, his personal integrity?

10. The value of the film as a study of people? The insight into the homosexual in society, empathy, rights?

TITANIC

US, 1953, 97 minutes, Black and White.
Clifton Webb, Barbara Stanwyck, Robert Wagner, Audrey Dalton, Thelma Ritter, Brian Aherne, Richard Basehart,, Alan Joslyn, Edmund Purdom.
Directed by Jean Negulesco.

Titanic is a fictional account of the ill-fated maiden voyage of the ship in 1912. Technical conversations and details, however, are authentic. A more accurate account of the disaster was given in the British film, A Night to Remember with Kenneth More.

Titanic, while it spends a good deal of its time on the sinking, is a smaller version of The Ship of Fools' story and relies on the human interest of a number of characters. Central are the Sturgis family, expatriate Americans, rich, ambitious and arrogant. Robert Wagner represents Midwestern youth, Thelma Ritter is the tough, moneyed type of matron and Richard Basehart is an unfrocked priest. Although the film is not long and the characters are fairly conventional, the scenes of their interaction are acted well and do hold the interest. Thus, Titanic merits discussion about its characters and its disaster.

1. Are the Sturgis family a sympathetic group? Do you agree with the ambitions of the father for his children? Is the mother right in seeing her daughter as an arrogant prig and not wanting her spoilt?

2. Why did the Sturgis marriage fail? How did the impending disaster make the couple examine their consciences and make them realise that so much love was lost and opportunity wasted?

3. Julia's 'transgression', she says, was not so much of a mortal sin but an unpardonable breach of etiquette for her husband. What did she mean?

4. Do you agree with Richard Sturgis' behaviour towards Norman when he discovered the truth of his paternity? What should he have done? Why did he change his attitude before the ship sank?

5. Why did the screenplay writers introduce Robert Wagner's character? Did he play any dramatic role in the film besides cut the rope and fall into the water to be rescued?

6. What did you think of the episode of the unfrocked priest? Was he convincing? Did his explanation of relying on drink to sustain him in the difficulties of his slum parish seem plausible? Did he redeem himself? What was the point of the camera's showing the captain writing on the back of his cablegram to his family?

7. What impressions of life in 1912 did you get from the first class area, the Basques on the lower decks, the workers in the engine room?

8. Were the collision and sinking scenes well done? The rise of the iceberg before the credits meant audience awareness of continual menace and there were constant reminders of this.

9. Norman quietly gave up his place in the lifeboat. What would you have done?

10. Who was to blame for the disaster? For the fact that only 719 people got away in 35 lifeboats when there were about 2200 persons aboard?

'TIS A PITY SHE'S A WHORE

Italy, 1971, 109 minutes, Colour.
Charlotte Rampling, Oliver Tobias, Fabio Testi.
Directed by Giuseppe Patroni Griffi.

After Shakespeare, the Jacobean dramatists wrote highly melodramatic revenge tragedies of dark passions and obsessions, of extreme violence and bloodletting. In strong imaginative verse, operatic gestures and set speeches, they presented a wintry world of the borders between happiness and madness. Giuseppe Patroni Griffi visualises John Ford's melodrama in stylised beauty difficult to surpass, and in a welter of visual violence that terrifies and disgusts. Most of the film could be strongly recommended for its exquisite colour design and photography, its attempt to explore the courtly, religious, emotional Jacobean world, but the final 20 minutes' violence puts it well beyond the capacities of the average audience.

1. The bishop spoke the words used for the title. What were the implications?

2. The film was a stylised version of an English 17th Century play. Did it establish its "conventions" well and work well within these conventions and their style? dialogue, melodramatic and poetic conversations, stylised acting, posturing and facial close-ups, colours, music.

3. The film, beautiful in its photography and colour, was wintry. Did this add to the mood and theme of the film?

4. What were the standards of this Italian society? How did they govern that action of the play? Giovanni - student, brother and "natural" love, his torment, religious counsel. penance, desperation, happiness and unhappiness, forced by society to conceal the truth, jealous, obsessed, mad, murdering, Annabella, enclosed life at home, artificial life arranged marriages. love for her brother, consummation, decision about marriage, concealment, Soranzo and consummation of marriage, death, willingly, Soranzo, arrogant nobility, friendship, arranged marriage with forced love contrasting with Giovanni's natural love, wooing and wedding, wedding night, consummation, hurt pride, hatred, destruction, vengeance, Bonaventuro, humble, friar, caught in his religious world with the harsh dilemma of life, counselling desperately, seeking hierarchical advice, disillusion with himself and the situation, refusing to communicate with Giovanni, the Father typical noble, arranged marriages, double standards, lack of understanding, death.

5. What moral and emotional crises did each character have to go through? Were they really resolved?

6. What kind of brutal world was this, especially for the finale? What was the meaning of such bloodshed? (Was it portrayed appropriately in the film?)

7. What were the meanings of 'love' and 'hate'?

8. Comment on the visual beauty and what it contributed to the film. The musical score? the panelled palace, candles, corridors, snow, frost, fog, the sand and white flags, horses, water, Venice, the wedding, the banquet, the poverty and rain with the friars, the final execution of vengeance.

9. What was implied about: State order, religious order, religious penance (aggravating what it should cure), religious compromise, friendship, love, what is "natural"? hatred, forgiveness, fate, death.

THE TIN STAR

US, 1957, 93 Minutes, Black and White.
Henry Fonda, Anthony Perkins, Betsy Palmer, Michel Ray, Neville Brand.
Directed by Anthony Mann.

The Tin Star is a noted Western by Anthony Mann, who has become renowned for his vision of men of action in the west from Winchester 73 through a series of films in the 50s with James Stewart to Man of the West with Gary Cooper. This film is more explicitly didactic than some of the other action films. It treats of the generations with the focus on Henry Fonda instructing Anthony Perkins on how to be a sheriff in the West. The film is fairly straightforward in its screenplay which was written by Dudley Nichols, the author of Stage Coach and other films e.g. Sister Kenny. In stark black and white photography, the film shows the portrait of a town and ordinary people turned into a prejudiced and violent mob. There are underlying themes of racism. There is an ultra-rousing musical score by Elmer Bernstein the composer of the scores for The Magnificent Seven, The Great Escape etc. The Tin Star is a brief and thoughtful Western.

1. The reputation of the film and its director, insights into the West and its heritage? The impact of the film and its presentation of the basic themes of the West?

2. The black and white photography, the portrait of the town, the ultra intrusive score and its appropriateness?

3. The importance of the stars and the difference of generations? The small boy ? with the background of Indian and white? A portrait of the American heritage of the West in the 19th century? Its influence on contemporary America?

4. The title and symbol of the Sheriff's authority? Themes of law and the meaning and application and administration of law in the West? The importance of law and order and how it was to be obtained? The bounty hunter working beside the law? What justifies law? Themes of justice and its administration? Authority in a town, responsibility, the maturity required? A serious side of the West?

5. The portrait of the town's situation: the young Sheriff learning how to draw in the mirror, the challenge of the bounty hunter, the robbers, the challenge of power hungry men in the town with their lack of scruple? The patriarchal doctor and his influence, the town's celebration for him and the irony of his death? The bankers, the respectable citizens and their attitudes? The sullen and arrogant saloon men like Beaudine ? his reaction to Mort in sending him away and of the boy searching for eggs? Would-be robbers and killers? Families and the underlying themes of racism? The potential of a mob for violence? Fear? The righteousness of the town's establishing law and order? How detailed and rounded a portrait? Portraying it in a short time, and the variation of moods within this brevity of time, the truth about the West and the town?

6. Anthony Perkins as Ben ? young, his relationship with his girlfriend and the doctor's influence, his trying to cope with being Sheriff, persuasion against it and his idealistic hanging on to authority? The confrontation with Beaudine in the street and Mort's helping him? The bond between the two men, Mort's training him for shooting etc.? His learning authority, especially by his mistakes in the siege for the two robbers? What had he learnt from his experience and from Mort? What authority role would he take in the town and influence the West?

7. What did Ben mainly learn, that the Doc could be wrong in his estimations, the truth about Mort when he told his story of his wife and child and their deaths? His learning of trust and the possibilities of a less violent administration of law and order?

8. The focus on Mort and Henry Fonda's style and authority? The immediate impact of the bounty hunter and people disliking him and being suspicious? No room at the saloon? Beaudine's hostility? His encounter with Kip and his being welcomed into the family and his lack of prejudice? The pony for Kip? Getting a new family and going off with them at the end? His decision to help Ben but also to avoid responsibility for the town? His decisions? Searching for Kip and yet being led to the men and showing Ben how non-violent methods were possible? His decision to move away with the mother and her boy? A portrait of an older man of an older West?

9. The importance of the mother and her son? Their being ostracised from the town, racist themes, her gratitude for Mort's interest, her working for the ladies of the town, the danger to Kip as he went off on the horse, leading Mort to the robbers?

10. The portrait of Doc, his medical skills and helping so many people, a genial man, suspicious of the bounty hunter and the irony of his being wrong? The humour of his birthday, delivering the twelfth child, a boy after eleven daughters? His going to the brothers and the inevitability of his death? The impact of the town's singing for Mc and his being dead in the sulky? The town's reaction and violence?

11. The two brothers and their robbing the stage coach, violence? Amateurs? The doctor's visit, the escape and the siege?

12. The presentation of the ordinary people, Beaudine as leader and taking over from Ben, turning the group into a mob and setting fire to the house etc.?

13. The presentation of the ordinary life in the West, the Western pioneers, settlers, heritage, heroism and the truth?

TIN PAN ALLEY

US, 1940, 95 minutes, Black and white.
Alice Faye, Betty Grable, John Payne, Jack Oakie, Allen Jenkins, Esther Ralston, The Nicholas Brothers, John Loder, Elisha Cook Jnr.
Directed by Walter Lang.

Tin Pan Alley was one of many musicals made by 20th. Century Fox in the late '30s and early '40s highlighting a nostalgia for the period of song compositions, vaudeville and the American popular song tradition.

This film capitalises on the popularity of Alice Faye and Betty Grable. They are two sisters with a vaudeville act ? and the opportunity to sing a number of songs. John Payne and Jack Oakie are would-be songwriters and publishers who eventually have success but enlist to serve their country in World War One.

The film was made in black and white, directed by Walter Lang who directed a number of these films. It has a number of old favourites from the pre-credits collage to insertions throughout the film's action. There are the usual show business upheavals, misunderstandings, falling in love and reconciliations.

There is nothing new in the plot, and it is similar to many films of its time and later. However, it joins a group of 20th. Century Fox musicals (generally directed by Walter Lang, Irving Cummings or Bruce Humberstone). They very much relied on the charm of the stars and American sentiment.

They generally get by for their nostalgia value and are typical of American popular entertainment of the 1940s.

THE TIN DRUM

West Germany, 1979, 139 minutes, Colour.
Mario Adorf, Angela Winkler, David Bennent, Daniel Olbrychski. Katharina Thalbach.
Directed by Volker Schloendorff.

Oscar and Cannes co-winner, this major German film industry production is a version of Gunther Grass's novel which serves as an allegory for Germany this century. Using voice-over commentary, devices of black comedy mixed with period melodrama, the film focuses on Oskar who decides not to grow up from the age of three, but who beats his tin drum and screams, shattering glass. He becomes a symbol of Hitler and of Germany itself ? as do the characters associated with Oskar. The changes of tone and the farcical and ironic touches require attention and appreciation. Director Volker Schloendorff, a major German director, and his artists offer an interesting attempt at visualising literature.

1. The literary work of Gunther Grass, his reputation, awards? His insight into Germany? The work of Volker Sch16ndorff, his skills, awards? The film's Oscar, Cannes Film Festival Award?

2. The role of the German film industry in the '70s, its qualities, characteristics, production values? The magnitude of this production?

3. How successful an adaptation of a major novel for the screen? The epic style coverage of the decades of German history,, the episodic nature of the film,, the variety of styles and tones, satire, symbolism, allegory? How well did they blend? Draw the audience into responding appropriately to the variety of styles?

4. The cumulative effect of the film and its episodes? As an insight into the history of Germany from 1900 to the end of the war? The delineation of the characters - as real, as symbols? The interweaving of the thews and the author's comment on these?

5. Audience involvement with the characters, plot? Distancing techniques? Audiences reflecting on the themes while watching because of such techniques? The quality of the voice-over technique, Oskar speaking even before he was born? His description of his grandmother, her plight, grandfather? His own birth, his view of the world? The subjectivity of his view? His decision not to grow up, his strategies?

6. The devices of black comedy and their insertion into the film? The history of the development of cinema and its being reflected in the techniques representing the various decades of this century? The satire on Oskar's grandmother and her shielding her lover, his escape and the speculation of his becoming an American gangster? The farcical aspects of Oskar as a character,, his mother and her suitors? The situation in Danzig? The black comedy and audience laughter? The presentation of Hitler as such and the mockery of him? Farcical situations,, exaggeration? Presented in a realistic style or not?

7. The span of German history presented and the developing allegory? Danzig taken as a symbolic city ? a free town. the meeting of Germans and Poles? Oskar's Polish origins? German origins? His grandmother representing Germany of the 19th. century? Her work in the fields, the pursuit of her husband, the soldiers? Her taking a Pole under her skirts? The marriage of Germany and Poland? The double heritage for the 20th. century? The oppression of the Polish side and the supremacy of the Germans? The confusion at the beginning of the century. being plunged into World War One and its repercussions? The dominance of Germans in the '20s and '30s? Oskar as representing the Polish and German origins? Germany in the '30s and '40s? His love for an Italian dwarf? The tin drum, his screaming and shattering glass? His downfall and his decision to continue growing?

8. The portrait of Oskar's grandmother, the meeting with the Pole and its effect? The marriage. his escape? The reflection of 1900 and the subsequent years?

9. Agnes as the product of this union? Her flirting with the two men? The same flirtation with Germans and Poles? The grandmother and her growing older and watching. selling during World War One and surviving? Her representing the solid peasants of the earth forced to go into the cities? Her presence during Agnes' growing up, liaisons, the birth of Oskar? Her survival right throughout the two world wars? Her judgments on what had happened to her children and grandchildren?

10. The presentation of World War One - causes, impact? Jan and his wanting to go into the army? Agnes' German husband, his involvement? The double love for Agnes and the birth of Oskar? Real fathers, putative fathers? The German becoming the husband and the Pole the lover? The presentation of home life, Agnes' ambiguity, the arrogant relationship with the German, the sensual liaison in hiding with the Pole? The religious background ? 19th. century heritage, Lutheran, Catholic? Friendship with Jews? The preparation for Oskar being born?

11. Oskar's comments on his conception, the subjective camera work for his coming to birth? His comments on not wanting to be born? The irony of his subsequent career and his reluctance to be born? His focus on the tin drum, its significance and symbolism? His getting it on his third birthday? His attitude towards the parent generation, his disgust with their clashing, his decision to contrive his own fall? The significance of his decision to stop growing? The effect on him? The appearances of a child and the stunting of his growth? The adult within? The midget? His meeting the other dwarfs and liaison with them? The circus? The later encounter with Maria? His liaison with an Italian midget and the comment on Mussolini? His various comments on the adults, his moods? His reaction to the Jewish bookseller, his being at school, the hostility towards the teacher? The sequences of his playing the drum, the examples of his shattering the glass? The German and Nazi rallies? The implications of sexuality? the stunted growth, the sensuality, the prostitute? Maria and her service during the war and the sensual liaison ? and its ludicrous aspects? Her influence on him? The birth of her child and Oskar's vengeance and capitulation finally towards Kurt? The reasons for his decision to grow again?

12. The portrait of Agnes - as a woman, her ambiguous relationships with the two men? Her attitude towards Oskar? Her confession, the sequences at the beach, the eels and her eating them, the greediness especially during her pregnancy? Her sensuality, her death? Oskar and his role in killing his mother and its meaning?

13. The contrast with his grandmother who was always there? The two men and Oskar's vengeance towards them? His attitude towards Kurt and the grandmother's love of her grandchild? Her trying to foster a new generation?

14. Jan the Pole, his work, the sensuality, his how, sharing the experiences with Agnes? Playing with Oskar, providing him with tin drum , the Nazi attack, the contrast with Agnes' husband, the siege and bombardment in the post office, his finally being led to execution and Oskar's role in Jan's death?

15. The husband? Oskar's father, his roughness of manner, his being blamed for Oskar's accident and the stunting of his growth, the beach sequences, the eels? His decision to be a Nazi? Agnes' death and his reaction? Maria and his liaison with her, the father of Kurt? His survival during the war and his arrogance? His death ? and swallowing his Nazi button, Oskar being instrumental in his death, the violent choking, burial?

16. Markus - the gentle Jew, Charles Aznavour in this role? Toys, joy, kindness towards 0skar, kindness towards Agnes and her rejection of him? Symbolising the Jews? The pathos of his death?

17. The detailed presentation of the neighbours during the 20s and 30s, the relationship with Agnes and her men, love for Oskar, presence at the party especially when he had the accident? The difficulties in the war years? The ambiguity of the range of people with their problems e.g. homosexuality? The cross-section of German people and their experience of the war?

18. Germany in the '20s - the comic presentation of Hitler and his pretensions, the rallies and the rain, the visual presentation of the rallies and people's reaction? What insight into Hitler's influence over the people - its comic and carnal aspects?

19. The contrast with the war itself, the bombs, suffering, the loss of freedom? The Poles and their obstruction? The contrast with Oskar and his escape, his linking with the dwarfs, his liaison with the Italian dwarf and its significance? The importance of their going to Paris and an illustration of German invasions, occupations of other countries? The ironies of the dwarfs occupying Paris? Oskar and his survival of the war?

20. Oskar and his decision to grow and symbols of reconstruction? A Germany based on this experience?

21. The quality of the film in its characterisations, reproduction of the periods, attention to character detail and symbolic action? The allegorical themes?

TIME WITHOUT PITY

UK, 1957, 88 minutes, Black and white.
Michael Redgrave, Alec Mc Cowen, Leo Mc Kern, Renee Houston, Ann Todd, Peter Cushing, Paul Daneman, Lois Maxwell, George Devine, Richard Wordsworth, Joan Plowright.
Directed by Joseph Losey.

Time Without Pity was Joseph Losey's first English film that bore his own name after his being blacklisted in America (after The Boy With Green Hair, M, The Big Night, The Prowler) and anonymous working in England e.g. The Sleeping Tiger. Losey is noted for his vigorous, operatic and melodramatic approach. It is evident in this melodrama, scripted by his frequent associate Ben Barzman.

The credits of the film are very good including Frederick Francis as photographer. The cast is very strong ? even though Leo McKern? is made to act in an almost hysterical manner. Michael Redgrave gives a very good performance as the alcoholic father. The film almost goes over the top at times - but is an interesting example of vigorous and frantic style by an American stylist working in England. Losey was to reach a peak in his work in England during the '60s. He moved to France in the late '70s and '80s.

1. The impact of this kind of frantic melodrama? Satisfying entertainment? Character study? Portrait of desperation and hysteria? Moral tract on capital punishment?

2. The work of Joseph Losey and his career? Work in America, anonymous work in Britain? His baroque style? His interest in
melodramatic incidents and situations? Pace, style? The editing for heightened effect? The style of black and white photography, especially use of light and shadow? The score and its insistence for a feeling response?

3. The quality of the drama? The insertion of long speeches? The special pleading about capital punishment? Moralising within melodrama? How persuasive?

4. The style of the screenplay: the title and its tone, the emphasis on time, the 24 hours? The reference to clocks and watches etc.? The prologue and the eeriness of the murder? Information immediately given about the murderer? The arrival of the plane and audiences accepting Michael Redgrave and his dignity? The change of attitude as the audience began to understand him and his weakness? His sense of urgency? The importance of encountering people and their reactions, his growing desperation and confrontation? The growing urgency and hysteria?

5. The situation: the frequency of themes of unjustly accused men in prison? The time count for capital punishment? The ironies of the young man's imprisonment? The circumstances, the truths and half-truths? The credibility of his situation? Realism and authenticity?

6. David Graham and his arrival, his seeming to be a businessman, the truth, the sanatorium, his weakness? Alec's reaction to him and explanation of the past? Using people? His visit to the prison? Information from the lawyer and trying to understand what to do? The visit to Soho and the interrogation of Agnes? and the urgency of his return later? The visit to Stanford? The encounter with Brian Stanford and Honor? Audiences tense with his meeting with Robert, knowing that Robert was the murderer? Brian's story about the tutor? The visit to the flat? The phone call to Canada? The continued heightening? The visit to Mrs. Harker and the encounter with Vicki Harker? Mrs. Harker and the drinking? Honor and the visit to the jail? Trying to assess his son's relationship with Honor? The gradual reconciliation? The visit to the Home Secretary? His test for drinking and his failing? The confrontation with Stanford? His decision to make Stanford pay - and giving his life? Michael Redgrave's skill in drawing a character? Communicating his values? Giving his life for his son and making something of his life?

7. Alec and his being in prison, audience response to him, his reaction to his father? His relationship with his friends? With Jenny? and her murder? Information from Agnes? His relationship with Honor, with Brian? Caught in circumstances? His desperation in prison? The encounter with Honor in prison? His being saved?

8. Brian and his friendship, help, the encounter with David Graham and the story of the tutor, the phone call? His place in the Stanford family - especially his adoption? Response to his father and his demands? To Honor?

9. Honor and her help, attractive, the clashes with Robert, the visit to the prison, the truth?

10. Leo McKern's presence as Stanford - audience knowledge that he was the killer? Shouting? His shaving and stopping, the rage? His commanding attitude? His wealth, business, the testing of the car? His drinking? Confrontation with Honor? Clash with Brian? Vicky and her not telling the truth? The visit to the Home Secretary? His finally being trapped? The ugliness of the confrontation? His being defeated by Graham?

11. Vicky and her lies, her smooth performance, relationship with Stanford? Her drinking mother and the clocks?

12. Agnes and her place in the show, the background, her attitude towards her sister, unwillingness to help Graham? The final confrontation?

13. The lawyer and his help, the objectivity of the facts, the visit to the Home Secretary and the pleading? The prison sequences?

14. The world of English business, wealth, fast cars?

15. The interlude with the editor and his cantankerous attitude, his speech about the issues?

16. Themes of capital punishment? Pros and cons? PR for the anti-punishment case?