THE TIME MACHINE

US, 1960, 101 minutes, Colour.
Rod Taylor, Yvette Mimieux, Alan Young, Sebastian Cabot.
Directed by George Pal.

The Time Machine has come to be considered as one of the better science-fiction films. It was directed by George Pal who won a number of Academy Awards for his special effects and who in the late 40s and early 50s was responsible for some imaginative science fiction films, such as Destination Moon, before science fiction became quite so respectable. Pal in his MGM period around 1960 was also responsible for special effects in such films as Tom Thumb, The Wonderful World of the Brothers Grimm. This film is an imaginative representation of H. G. Wells' story, Planet of the Apes. Rod Taylor brings his own style to the role of the hero. The special effects are very enjoyable and highlight the themes of civilizations in different times in the one place.

1. How enjoyable was this science fiction fantasy? How well produced? How valuable in its presentation and themes? The nature of science and the nineteenth century? The scientist playing God? The speculations about time and moving through time?

2. How impressive were the Oscar-winning special effects? The machine itself, the visual portrayal of the passing of time, new worlds, the disaster sequences?

3. What were the main audience responses to this film? As entertainment, as science fiction. as fantasy, as human drama? Audience response to a story of the 1890s? To H.G.Wells' speculation about time and its effect on man?

4. How important was the structure of the film? The flashback and audience knowing that George could come and go in time? Yet the mystery indicated by Philby in 1917 that George disappeared? The mysterious nature of moving through time but not space?

5. The film's comment on the transition from the nineteenth to the twentieth centuries? The role of scientists and the fascination of discovery and invention last century? The role of businessmen patronising the scientists? The sceptical businessmen in the fact of the visionary scientist?

6. How important was the character of Philby? His support of George and his friendship? His trying to protect him from disaster? The fact that the same actor portrayed Philby the son as old? What did this particular device add to the film?

7. How interesting a character was George himself? As a man who had endured the trip through time, as wanting the support of his peers? The scientist and the inventor? The man who wanted to face challenges? His disgust with the Boer War and wars? An idealist who discovered that men were the same at all times? His experience of the changing centuries? His discovery of 1917, of the 1960s, of the future? His response to the Eloi? His disgust at their apathy, his role as a saviour, his stirring them to action and to life? Why did he want to return? Just for Weena or for his own life?

8. How was time a character in the film? The gradual moving through time, the slow changes during 1900, the gradual speed, the model in the shop window, the house itself, the wars, the sense of journey?

9. What comment did the film make about the contrast between 1900 and 1917? The nature of war? People's response to war?

10. What comment did the film make on 1940? The fact that the world continued in war? But each time more devastating?

11. The film's judgment on 1966 and the sense of ultimate destruction? How anti-war was the film? How interesting was the portrayal of the Eloi? Their apathy, Weena's drowning, their banquet, their lack of interest in books, their following the sirens and going to their death, their inability to fight?

12. How attractive a heroine was Weena? In her trying to understand George? In his trying to understand her? In trying to get some vitality into her life? His willingness to return for her?

13. The portrayal of the Morlocks? As horror characters, as monsters, as oppressing mankind, the fights, the clashes, the fire?

14. The dramatic significance of George's return? The fact that he chose to return after seeing the future and reminding himself of his own time? Philby's inability to change his mind?

15. The film was released at the beginning of the 60s. What effect then as regards science and its advances? What impact now? Was this a good film? High quality science fiction

A TIME FOR MIRACLES

US, 1980, 107 minutes, Colour.
Kate Mulgrew, Rossano Brazzi, Lorne Greene, John Forsythe, Jean Pierre Aumont, Milo O'Shea.
Directed by Michael O'Herlihy.

A Time for Miracles is a reverent biography of America's first canonised woman saint: Elizabeth Bayley Seton. Born in the 18th. century, she was a widow who became a Catholic and was asked by the Archbishop of Baltimore to begin a religious order for the education of girls and for the poor (the latter being her stipulation).

The film takes the generally pious tone of the Hollywood biography. At times, the ordinary humanness of Elizabeth Seton breaks through. Kate Mulgrew (Tristan and Isolde, A Stranger is Watching, Star Trek) does her best with the central role. There are many guest stars including Lorne Greene as the Archbishop, John Forsythe as the 20th. century Cardinal, Jean Pierre Aumont as the priest who helps, Rossano Brazzi as an Italian nobleman.

The film is colourful, has the atmosphere of the early 19th. century and is a tribute to a strong American woman - her saintliness and her ordinariness do not come quite so well through the screenplay. One is left wondering, somewhat, what distinguishes Elizabeth Seton from others in her sainthood.

1. The presentation of an American saint? In the American context? Enjoyable entertainment. period drama?

2. The opening and closing in Rome: the cardinals discussing the cause of Elizabeth Seton, their discussions, the nature of miracles required? The pleading of the Bishop? The finale with the conditions being waived for her canonisation? Pope Paul VI's proclamation?

3. The atmosphere of the 19th. century, America, Europe? Decor and styles? Affluence and poverty? The ecclesiastical atmosphere? The Catholic tone?

4. The title and its focus on Elizabeth Seton's canonisation? The miracles achieved by her dedication?

5. The portrait of Elizabeth Seton: an 18th. century American girl, growing up, her marriage, her devotion to her husband, her children, his losing his money, illness, death? As a widow? The visit to Italy, the friendship of the Felici family? Her love for Antonio? Her interest in the Catholic church, worship, her attempt at confession? Her return to the United States? The welcome from her children? Her interest in Catholicism, the anti-Catholic riots and her injury, her family disapproving and her being cut off? The hostility of her son? Her being received into the Catholic church? The failing of her school? The invitation to Baltimore, the priest, the Cardinal Archbishop, the request to found the religious order? Her hesitations? The first girls and their loyalty? Her spirit and spirituality, habit? The establishing of the school? Friendships, hostilities and the farmer changing his mind about Catholics and education? The poverty and hardships, ecclesiastical support? Her achievement for American religious spirit and education?

6. Elizabeth Seton's children, victims of their home situation, William's hostility and the happiness of the final reunion? The girls and their approving their mother's conversion, supporting her, in the school? Their sharing in her poverty ? and the repercussions on her awareness of her being a mother? The early nuns and her having to be a mother to them?

7. The Felici family, the Italian style, the Catholic tradition, Antonio, the visits to America, his coming to her aid?

8. The Cardinal and his quest, confidence in her, the conditions, changing the rules so that she would found the order?

A TIME FOR GIVING

US, 1969, 108 minutes, Colour.
David Jansen, Kim Darby, Peter Deuell.
Directed by George Schaeffer.

A Time for Giving is based on a successful Broadway play called "Generation". It concerns a young couple who opt out of wealthy American society to live together quietly and without money in Greenwich Village. The action takes place when Doris is about to give birth and rich, typical U.S. businessman Dad, arrives on the scene horrified at the couple's way of life. Of course Dad does not come off too well, but all is not completely on the side of the couple, either. They all have to make concessions, at least in understanding each other.

The film should be better than it is. It is marred by a certain staginess, but more by having too many corny humour situations (farce rather than comedy) when, as a matter of fact, it has much delightful comedy and many wise and humorous lines. David Janssen shows quite a flair for comedy and Kim Darby does well in the role of the daughter. An unpretentious minor film which, although no world-shaker, is full of wise comment on the behaviour of the generations today.

1. The title of this film in the U.S. (and of the play on which it is based) is Generation. Generation suggests giving birth and the generations of parents and children. How does 'generation', in these two senses, open up discussion of the film's themes?

2. The themes of the film are fairly serious in themselves, but the film uses comedy as a way of getting them across. How effective is comedy as a way of communicating themes to an audience?

3. How typical do you think the principal characters are?

4. Is the film slanted against the older generation? U.S. bourgeois rich father with hang-ups versus Greenwich Village, nice poor dropouts; the capitalist business executive and the needy photographer.

5. What attitude towards marriage does the film take? The couple marry for the child's sake? love is important, there is no meaning in the form (look at the civil ceremony and its speed). Is it worth marrying for the child's sake? What of the contrast with the father's marriage?

6. Why did the couple drop out or rebel; note the father image they dislike.

7. Contrast the father's and husband's attitudes towards the baby's delivery. Dad thinks money can do all, he thinks conventionally about doctors and deliveries; tricks the young couple. Husband and concern for exercises, photos and being aware of the reality of the birth.

8. The point of the end of the film is that each person has to make concessions. Do you agree? Dad is forced to co-operate and judge that all he dislikes is not bad; the couple have to learn that some system is necessary and they can't be absolutely independent. Are these realistic lessons? Why?

9. Although some of the situations are stock humour, there is considerable wise humour in the dialogue; how adequate a moral judgment on the themes of the film is it to say that it is better to accept life as we find it and then try to build up rather than merely deplore?

TIME BANDITS

UK, 1981, 113 minutes, Colour.
Craig Warnock, John Cleese, Sean Connery, Shelley Duvall, Katherine Helmond, Ian Holm, Michael Palin, Ralph Richardson, Peter Vaughan, David Warner, David Rappaport, Kenny Baker.
Directed by Terry Gilliam.

Time Bandits is one of a number of films at the end of the 1970s on time travel: Somewhere In Time, The Time Machine, The Final Countdown. This is a delightful Boys' Own adventure comedy drama. The hero is a 12-year-old British lad, well versed in history, called Kevin. He falls through time holes following a map, accompanied by six lively dwarfs who are escaping from the Supreme Being to become international robbers. If that sounds puzzling and humorous, the source of the ingenuity is in the Monty Python group. This film is co-authored by Michael Palin and Terry Gilliam. Palin appears in the film and Gilliam directs. John Cleese makes an amusing appearance as Robin Hood (imitating royalty welcoming the dwarfs to the Middle Ages).

There are a number of stars who do very interesting and entertaining turns e.g. Sean Connery as Agamemnon, Ian Holm as Napoleon, Katherine Helmond of 'Soap' as Mrs. Ogre with Peter Vaughan as the ogre. Shelley Duvall is Pansy both in the Middle Ages and on the Titanic. While David Warner is the Evil Genius, Ralph Richardson is a very schoolmastery Supreme Being. Kevin is very well played by Craig Warnock. There is a great deal of satire on the present and a great deal of humorous delight in the past. There are also expeditions into myth and fantasy. There are more profound undertones as the confrontation between evil and God is established. The film is for devotees only, it has constant visual and verbal delight.

1. An entertaining film? The appeal for adults, children? The blend of fantasy, imagination, history? The playing with time travel? Adventure and comedy? The Monty Python touch? The free ranging of the imagination over history and time, drama and adventure? The sense and nonsense of the screenplay? The blend of spoof and insight?

2. The Boys' Own imagination style? The schoolboy and his love for time travel? The audience being able to accept this or not?

3. The stars and their contributions? The writers with their Python background? The director? George Harrison's music?

4. The impact of the sets, decor? The lavish touch with re-creating each period? Special effects? Spectacle?

5. The initial satire on 20th. century parents? The continual watching of the television and the style of the quiz show? The preoccupation with the kitchen? The furniture covered with plastic? Mum and Dad in plastic and in blue and pink? The inanity of family life? Their being taken by the Evil One to symbolise evil and to entice Kevin? Their attitudes towards Kevin and his growing up, meals, behaviour and discipline? Their lack of interest in his study and imagination? The house being burnt down and their bemoaning their loss? Competitiveness with the neighbours?

6. Kevin as the above average schoolboy? The world of the 12-year-old? His reaction to his parents? His room with its books and posters? His imagination and dreams? The impact on Kevin (and on the audience) of the knight riding into his room? His getting himself ready for the next night's visit? The dwarfs and their flurry, their attack? Taking Kevin with them? The challenge and their not being frightened of him? The expanding room and their escape? The pursuit by God speaking? Our wanting to go with Kevin and the dwarfs following the time hole map?

7. The importance of the dwarfs ? their size, style, manners? Friendly? Their role as working for God, their mistake. their taking the map, their fighting, their decision to be international bandits? Their awkwardness? Fuss? Their taking Kevin along? Their shrewdness? Kevin and the audience becoming one of them? Their plans with the holes? Their wanting to succeed? The spoof on their ambitions? Their not being very successful? Their being able to be manipulated by the Evil One?

8. The world of Napoleon ? the Napoleonic wars and their devastation, the atmosphere of 18th. century France? The satire on Napoleon himself? His size and his enjoying puppets and small people? His one-handed clap? His child-like enjoyment of Punch and Judy? and its violence? His disregard of the Generals? The theatre and the manager trying to entertain and his poor choice of tall entertainers? Napoleon liking the dwarfs? their backs? The point of the satire on the Napoleonic period, Napoleon and his ambitions and self-image?

9. The transition to the mediaeval world and its roughness? Vincent and Pansy and their being satirised? Their being robbed? Romance? The violence of the Sherwood Forest robbers? The style of the company ? the arm wrestling competitions and wrenching arms etc.? John Cleese as Robin Hood and his satire on royalty as the met the dwarfs, took their money, murmured inanities? The poor and their being punched to remind themselves of their poverty? Robin Hood taking the wealth? The satire on the grim mediaeval world?

10. Kevin's escape into the world of ancient Greece? The desert landscapes, the fierce battle of Agamemnon and the minotaur? The screenplay relying on knowledge of the classics? The brutality of the fight and Kevin's intervention? ills being taken by the grateful Agamemnon to Mycenae? Clytemnestra and her jealousy? Kevin at home in the city? Agamemnon making him his son? Sean Connery's warmth as Agamemnon? Matters of state, the dinner, the performance and the humour of the dwarfs robbing the Greeks and their not realising it?

11. The transition to the Titanic and the atmosphere of the early 20th. century? Pansy and Vincent and the echoes of their mediaeval romance? Vincent's toupee and Pansy's disgust? The dwarfs enjoying the wealthy leisurely life? The singing of the Titanic and their floating in the water?

12. The Land of Myths - fairytale atmosphere, the ship? The satire on the ogre and Mrs. Ogre? The ogre and his attempts at frightening people, acting like an ogre? His back trouble and the dwarfs helping him? Mrs. Ogre and Katherine Helmond's mimicking of her role in TV's 'Soap'? Her fussing over him? The dwarfs one-upping Mr. & Mrs. Ogre?

13. Their arrival on land, their wandering, the giant and the ship on his head, their escaping from him as he lay down? Their greed? The decisions and the wall of glass? Its being shattered?

14. The Evil One and his laboratory, his assistants and his getting rid of them instantly? The dog? The plastic world and the Evil one covered in plastic? His wanting to destroy the world by technology ? the number of computer jokes? His antagonism towards God? His plan and manipulating the dwarfs to come towards him? The plans of the Evil One?

15. The visual impact of his castle, the special effects, the various traps, the television trick and the reprise of the TV quiz show? The dwarfs and Kevin being trapped in the cage? The ingenuity with the rope and the escape? Kevin and his photos with the map after the Evil one had tricked the dwarfs?

16. The build-up to the battle against the Evil One -? the vast number of resources ? the Romans, the knights, the wild west, the tanks? The Evil one's ingenuity in stopping them ? and the spectacular special effects? The dwarfs and their attack? The dwarf turned into the pig?

17. The arrival of the Supreme Being in the form of Ralph Richardson? His schoolmastery style? The contrast with the vision of his face and voice pursuing the dwarfs in their time-tripping? The inevitability of the Supreme Being winning? His explanation of the predestination plan? The ironic picture of God as a schoolmastery business executive?

18. Kevin's awaking. the fire in the house -? and the pleasant surprise of Sean Connery as the fireman?

19. The visual delight of the film? The verbal humour? The ironic jokes and the insight into past eras via contemporary language and references?

20. Insight into the world of the young boy and of the imagination? His perceiving themes of history, the world, religion, good and evil?

TIME AFTER TIME

US, 1979, 112 minutes, Colour.
Malcolm Mc Dowell, Mary Steenburgen, David Warner, Charles Cioffi.
Directed by Nicholas Meyer.

How pleasant to see Malcolm Mc Dowell as benign, bespectacled, shy H. G. Wells. How imaginative to have Jack the Ripper (and David Warner is persuasive) escape from London 1893 to San Francisco 1979 and murder again in Wells' time machine. How much better to see the 'prophetic' Wells trying to cope with our times, freedoms, technology (and see ourselves through Wells' Victorian eyes) as well as pursue the Ripper and save the heroine. The screenplay is full of delightful touches as well as offering us crime and romance. Written and directed by novelist Nicholas Meyer who arranged for Freud to treat Sherlock Holmes in The Seven Per Cent Solution.

1. The significance of the title, its ambiguities, indication of plot, theme, H.G. Wells and his interests?

2. Audience expectations from the basic imaginative plot? The appeal of the 19th. century, the shuffling of time, imagination and fantasy, a story of H.G.Wells, a story of Jack the Ripper, the time machine? Nicholas Meyer and his imaginative treatment of 19th. and 20th. centuries? The success of the shuffling of tine and the imaginative conceit?

3. Panavision photography, London in the 19th. century and the atmosphere of Jack the Ripper, H. G. Wells' house? The special effects for the travelling through time? San Francisco in 1979? The contrast of worlds? The contribution of the old-fashioned lush score?

4. The enjoyment of seeing 1979 and the contemporary world through the eyes of Victorian H. G. Wells? His awareness of so much change, the types of change in human behaviour, the appearance of cities? Technological change? The expected Utopia and yet the history of war and violence? The change in freedom? The differences in language and jargon? How well did the film comment on the Victorian world and its standards and the modern world?

5. Audience interest in the concept of time, the reality of time? The irrevocability of time? The right time for living and experiencing and people being out of time? The imaginative experience of comparisons of times, learning about the two eras, seeing the similarities, the differences? Wells' final comments on love sustaining people whatever the situations? The ironies of Jack the Ripper saying that he was at home in 1979, an eccentric in 1893 but as part of the world of the '70s?

6. The traditional presentation of Jack the Ripper and his murders, the prostitute, the subjective shots, the flirting and the sudden violence? The police chase? The identification of Jack the Ripper with Dr. Stevenson? Friend of Wells, elite society, intellectuals? The chess game and his always beating Wells? Suggesting that Wells had to understand his mind ? The shock to the group with the police search? His disappearance? His knowing about the time machine and using it? Jack the Ripper quickly adapting to 1979, learning to live quickly in San Francisco, resourceful with money, hotels, television, appreciating the changes? The repetition of his crims and San Francisco providing an updating of the London prostitutes and their world? The Ripper's menacing wells and Amy? The anticipation of his murders by Wells, the car chase through San Francisco, the Ripper's wanting to have the key to move freely through time to murder? The irony of his not murdering Amy but her girlfriend? The thwarting of predictable events? The final confrontation in the museum and his death? A successful character portrayal by David Warner of Jack the Ripper?

7. Malcolm McDowall? and his style and presence as H. G. Wells? A 19th. century intellectual, his friends' comments on his sermons, his attitudes towards religion ? and his later praying in the Grace Cathedral and his being evicted, his optimism about the future, theories of Utopia and the elimination of war, his scientific skill and imagination, his anticipated permissiveness and his articles on free love (and Amy's later laughing at this)? The making of the tine machine, displaying it to his friends, having the nerve to go? His integrity in pursuing the Ripper, his motives for doing this, the shattering experience of the voyage through time?

8. Wells arriving in San Francisco, the exhibition and his seeing his fame and his own future?

9. His response to America, 1979, to San Francisco ? and his discovering where he was? His fascination with the machines, his almost being knocked over by cars, his taxi ride, fascination with watching Amy drive ? and his later driving? The various machines, hiding under the seat at the cinema , his awareness of change of manners, the place of women, the Queen, his searching through the banks and his detective ability to search out the Ripper, the humour of the encounter with Amy, the speeding taxi through San Francisco streets, the visit to McDonald's,. his coping with the language? The friendship with Amy and his love for her? The contrast with the Ripper and the chase through the buildings and streets of San Francisco?

10. The character of Wells shyness. intellectual. resourcefulness, beaten at chess by the Ripper? His skill in detection, visiting the banks. the cathedral. his trying to cope with the police and the mistake of calling himself Sherlock Holmes? A man of integrity?

11. Amy as the liberated young woman of the 20th. century, of the 170s? Her work in the bank, her love for her work, her career? Her girlfriend and their discussions? Her invitation to Wells, the outing and enjoying it? The talk on the revolving restaurant? Her revealing her own story and getting Wells to reveal his own? especially about his marriage? Their outings. the return home, the meal. the lovemaking and the bond between the two? Her not believing his story,. despite her experience of the Ripper at the bank? Her fears?

12. Amy's decision to let Wells try to prove the truth, the visit to the Museum, the moving ahead to the Saturday,, the disbelief, the newspaper and her joy, the sudden news of her own death?

13. The police and their obtuseness, the reaction to the early morning call and death, arresting Wells,, the long interrogation, the final apologies after the death of Amy's friend?

14. Trying to thwart the Ripper ? Amy asleep, her door open, audiences thinking that she had been killed? The shock to find that it was her friend? Wells' not returning? The final confrontation with the Ripper?

15. The declaration of love in the museum, the Ripper's death. Wells' leaving and Amy's inability to go ? her final decision? The connotations of the information given that Wells married a woman called Amy?

16. Audience delight in such imaginative exercises, the stimulation of the imagination and understanding by this kind of 'what if .... ?' especially with non-celebrities? Seeing ourselves through their eyes, irony, disappointment,, comparisons?

TILL THE END OF TIME

US, 1946,105 minutes, Black and white.
Dorothy McGuire?, Guy Madison, Robert Mitchum.
Directed by Edward Dmytryk.

Till the End of Time was released at the same period as The Best Years of Our Lives. It is a smaller scale reworking of the same theme: the return of three servicemen to ordinary life and the difficulties in rehabilitation after World War Two. The film was directed by Edward Dmytryk. at a period when he was directing very effective small-budget dramas and thrillers e.g. Crossfire, Cornered. (He was then indicted as one of the Hollywood Ten and returned in the mid-'50s to make a wide range of very popular big-budget films). The film has a good cast led by Dorothy McGuire?. The lead, Guy Madison, did not have a career that matched hopes at the time. The supporting lead, Robert Mitchum, of course, was more successful. The film has an adaptation of a theme from Chopin with words "Till the End of Time" which recurs throughout the film. Entertaining in its way but not as good as The Best Years of Our Lives.

1. An entertaining post-war story? The return of the servicemen? The picture of Middle American cities? Rehabilitation? The waning of life, building up careers, relationships and love?

2. The impact of the film in 1946? Comparisons with The Best Years of Our Lives? The mood reflected by these films? Atmosphere, feeling? Sentiment? Popular melodramatic style? Issues? The film as a valid comment on the period in the U.S.?

3. R.K.O. production values? Studio work? Atmosphere of California in the '40s: the city, hospitals, homes, bars, workplaces? Contribution of the score ? the adaptation of Chopin and the lyrics? Recurring chorus?

4. The introduction to the men, the situation of their return, their war service. the repercussions ? physical injury, psychological? The characters of each of the three. the background of their heroics, by word only? American buddies? 3 years service, injuries and the prospects for work? The praise given to those returning, then the transition to humdrum way of life and problems?

5. The American small city, bars, jobs, study, lack of opportunity and the emphasis on profit, parents and the gaps in feeling and experience, needs and sentiment?

6. The focus on Cliff, a pleasant young man, his return? The encounter with Pat and the complexities of their relationship? Her memories of her husband? Bill and the plate in his head, his wandering? Perry and his inability to face his crippled state? Helen and relationships, flirting? Jobs, relaxation, having to face up to realities, angers, crises? Cliff and his antagonism towards Pat, feeling he was deceived by her, attacking her? The fight? The true love and the future?

7. Pat and her going to the bar, her experience of being a widow, memory of her husband. falling in love with Cliff? His attack on her as a tramp? Her true character, her not telling him the truth, his discovering it for himself? The musical theme in relationship to her?

8. Bill and his wandering, the plate, friendship, gambling. refusal to go to hospital?

9. Perry and his relationship with his mother, his experience of boxing, disappointment? His becoming involved with training and the possibility of rehabilitation?

10. The sketch of the parents, their hopes, concern but inability to understand?

11. The background of military concern for ex-servicemen, medical help available?

12. The electrician and the fight?

13. The atmosphere of the bar? The questions of bigots and antagonism towards the war effort? The film taking sides?

14. The picture of a period, the aftermath of war? The simplicity and complexity of issues?

TIJUANA (LOSIN' IT)

US, 1983, 104 minutes, Colour.
Shelley Long, Tom Cruise, Jackie Earl Haley, John Stockwell.
Directed by Curtis Hanson.

Tijuana (Losin' It) is one of many youth-oriented films of the early '80s. However, this one has something more to it than mere exploitation. It dramatises sexual preoccupations among Southern Californian adolescents in the early '60s ? and takes them for their affluent background down to the Mexican border and Tijuana, a city especially geared towards visiting Americans who want to go to nightclubs, gambling, brothels etc. The screenplay makes the Mexicans take a dim view of American treatment of Tijuana. (Publicity for the film noted that Tijuana has changed since the '60s and Mexican authorities have been trying to clean it up.)

The film was written by B.W.L.Naughton, author of a number of screenplays including More American Graffiti, which he directed. He is able to capture the types of adolescents of the early '60s period? the pleasant hero, the surly young man, the self-consciously vain and ignorant show-off. They are all portrayed very well by the young cast. The film also has the advantage of a performance by Shelley Long as an attractive runaway wife. The film is quite good of its kind, and has its heart in the right place. The title Losin' It was used for export purposes outside the United States. (Tom Cruise and director Curtis Hanson were not yet as famous as they were to become.)

1. The title and the focus on Tijuana? (The overseas title and sexual exploitation?) The film as a piece of Americana, youth-oriented, the presentation of adolescence, sex, rites of initiation? Entertaining? Exploitive?

2. Glossy production values: southern California. the Mexican border. the city of Tijuana and its atmosphere? The sleazy atmosphere, the real-life behind the facade? Tijuana as an imagined city ? in the imaginations of Americans visiting? The musical score, songs ? touches of local music? The raucous style?

3. The journey framework of the film? The group of boys going, their being bound together in the plan? The collage of them getting up and getting dressed, looking at themselves in the mirror, setting the tone for their journey? The experience, the return learning? A message with a light touch?

4. A piece of Americana, affluent young Americans. responsibility and irresponsibility. attitudes towards sex? Exploitive attitude towards Mexico? Creating Tijuana? The anti-Mexican tone of aspects of the film, anti-American?

5. The background of the school, jokes, Wendell selling essays etc.? Relationship with the girls and the nice girls saying no? The sport sequences? Punishment and detention etc.? A background of credibility to the journey to Tijuana?

6. The theme of the peer group, peer pressure, code and the buddy system? Its operating in the school, in Tijuana as each helped the other?

7. Themes of rights of passage, sexuality, virginity? Sexuality as real and as imagined? The innocent Woody, Dave as a vain lair, spider and his moodiness? The precocious Wendell going along for the ride? A cross-section of young Americans? The preparation, the macho style and talk, regarding themselves in the mirror? Ignorance - the jokes about Spanish Fly? Going to the brothels and Dave eager for the first one? Being taken in by all the tricks of the brothel keepers, the different girls upstairs etc.? The pick of the girls? The reaction of each in the brothel? Dave and his pranks with the fireworks? Dave and his big talk, troubles, yelling? The repercussions on each? The contrast with Woody and his talk with the prostitute, his going downstairs and meeting Spider, meeting Kathy? The contrast with the older generation: the police, pimps, the hustlers and the girls?

8. The American background: affluent southern California. the American presumptions? The reactions of the Mexicans ? the police, the exploiters, the Mexican adolescents and their condemnation?

9. The trip, and the return, were they wiser or not? The interlude in Kathy's shop? The incidental nature of the argument and its becoming part of the main theme? Kathy and her husband arguing, the boys shoplifting, Woody leaving the money behind? Kathy's sudden leaving, accompanying the boys? Her reaction to each of them ? and the audience sharing her point of view? Her becoming part of the plot?

10. Kathy as an interesting character for the adult audience? The farce of the argument and her leaving. her plans for a divorce, the quick-talking Mexican authority and her getting the divorce, her throwing her ring in the pool ? and rushing to rescue it from the scavengers, the bar and her drinking, experiencing the hustlers? Her antagonism towards Spider? Her tolerance of Dave? Attracted towards Woody? The conversation with Woody and reassuring him? Their walking together through the real town, talk about romance, their drinking, her need and his need? The motel, the shyness? The sexual initiation? Kathy's motives, her tenderness, her discovering her husband ? and the shock of her reaction to seeing him? Her returning to him and the final kissing of Woody?

11. Woody as hero, wanting to go to Tijuana, peer pressure, the awkward clean-cut young man? His behaviour with the others? Leaving payment for the shoplifted goods? Reaction to the prostitutes, to the brothel? His backing out and the prostitute being kind to him? The talk with Kathy, talking with her, romance? The initiation? The discovery of Spider in jail, he and Kathy working for his release, promising the car, the chase by the police? The average American hero ? no more, no less?

12. Spider and his dour and surly style, getting up, vanity. punishment, running from the football field? Going to the brothel in a businesslike way, his encounter with the prostitute? His growing surliness, the clash with the police officer, going to the bars, the brawls with the military, his antagonism, being put in prison. being bashed by the large prisoner, the clash with the military men and the prisoner protecting him, being bailed out? The loner with the chip on his shoulder and lack of interest from his parents?

13. Dave and his being set up, his vanity in the mirror, his sock (and the jokes about his virility. being charged extra by the prostitute, having to show the sock to the border police, brashness, loud and crude. his pride in his car. the man about town and the girls, his ignorance about Spanish Fly and the encounter with the pharmacist, trying to put the Spanish Fly in the girl's drink, the Mexican young man attacking him for trying to seduce his sister, the car being given to the policeman, his being humiliated? on the hook, the fire? The return and his car being taken to pieces? His finally throwing his hat away?

14. Wendell as the wheeler-dealer, money. selling essays, wanting to buy the fireworks, his wisdom, minding the car, his driving and rescuing them? His future as an American businessman ? on the shady side?

15. The Mexican boys, the reaction to Dave's attitude towards the girls, their chasing him, humiliating him with the hook? The chase?

16. The police and harassment, the bribe, his taking the car, the chase? Unable to pursue them across the border? The drug dealers, the pharmacists, the car dealers?

17. Tijuana as a symbol of the sleaziness of American exploitation and the Mexican response?

18. For what audience was the film made, for what response? Enjoyment, reflection?

TIGHTROPE

US, 1984, 109 minutes, Colour.
Clint Eastwood, Genevieve Bujold, Dan Hedaya, Allison Eastwood.
Directed by Richard Tuggle.

Tightrope is an interesting and exciting Clint Eastwood police drama. Coming immediately after his fourth Dirty Harry film, Sudden Impact, it shows a change of pace. This policeman, Wes Block, works in New Orleans, has recently been divorced from his wife and is bringing up two daughters. He is no loner. We see him within the context of the police force and in contact with a representative from a rape crisis centre.

The film uses the New Orleans locations, especially the red light district, well. Of interest are the psychological implications of the thriller. Block is tracking a sex killer whose bizarre behaviour in some ways represents his own fantasy life. The implications of the murderer being the law and order enforcement agent's double indicates repression and shadow assertion. There are some psychological statements and an interview with a doctor who points out: 'There's a darkness in all of us. Some act it out, the rest of us try to walk a tightrope

Eastwood is somewhat more genial in this film, especially working with his daughter Alison. Genevieve Bujold is an attractive heroine. A further interesting step in Clint Eastwood's films and exploration of his police persona.

1. Interesting thriller, police thriller? A piece of Americana?

2. Clint Eastwood and the tradition of his films, the Dirty Harry films, tough policeman, law and order stances? A change and a humanising ? reflecting changes in the United States in the 1980s?

3. New Orleans and its atmosphere? Grey, ugly, the red light district, the world of prostitutes. police stations? The contrast with homes? With Beryl's world? The use of the Mardi Gras sequences? Local atmosphere, ordinary citizens, factories etc? Musical score and atmosphere?

4. The quality of the film as a police thriller, the initial murders, the police and their detection detail, clues, investigations, leads, information? The identity of the murderer, pursuit, fights? Effective? Realistic? The attention to detail?

5. The re-working of Clint Eastwood's police persona: the change from the loner to the family man? Marital situation? his wife having left him, photo, his drinking, sexual needs, seeing her, talking on the phone, hospital? His going to visit prostitutes? The effect on him? His stances, personality, morals? His repression and fantasy surfacing? His relationship with his children, playing, outings, his professional life making him have to leave them, the human touches with the dogs in the house? A pleasant man, his ability to communicate with his daughters, his reaction to their sex talk? His dating Beryl, also the human touch?

6. The police efficiency yet the dramatic tension? Beryl and her stances, his avoiding her, clashes, learning from her? The macho policeman being mellowed? Talk, aerobics? Concern? The girls, the carnival? A mellower policeman? Yet; the fascination with the prostitutes, discussions with them liaisons with them, needs and awareness?

7. The significance of the title: shadow life, repression, reality? Acting out fantasies? The tightrope being walked to cope with life? The killer as policeman? The shadow image of the policeman? Needs, use of prostitutes, bizarre sadomasochistic behaviour? Fantasy? Violence and the potential for violence? The policeman close to the edge, close to the killer? The killer following Block? The significance of the murderer's dream and the killing of Beryl? The encounter with the gay man and his being killed? The prostitutes and the tie as evidence? The handcuffs? The contrast with Beryl and his relationship with her, the violence? The finale with the clash and the discovery of the identity of the murderer, the ex-policeman and Block's role in his arrest?

8. How well did the film work on a psychological level: ego, animus and anima, masculine and feminine roles, expectations, repression, the subconscious, dreams? Pressures, surfacing of pressures, needs and dangers, dreams and reality, the acting out of the pursuit of the criminal? integration and peace?

10. The prostitutes and their styles, the girls, the birthday party, the girls at work, the bizarre behaviour? The homosexual and his relationship with the killer, with Block, his death?

11. The killer and his sandshoes and the visual link with Block? The audience knowing his general identity? The violent deaths, the pursuit of the prostitutes, the sexual motivation? Home, sauna, the dumping of the bodies, unseen and seen? The irony of his 'shadowing' the girls? Eating, drinking, prying on Wes Block? The letter? The homosexual? The Mardi Gras and the use of masks? The carnival, the balloon, the beer? Scarlet ribbon? The terrorising of Beryl? The girls? The final chase and the violence, death? The facts about the murderer: his arrest, release, chase, shooting, the dog helping, the work in the factory?

13. Beryl and her work, the concern of the city, the rape centre, men and women and their roles, attacks? Beryl and her mellowing? Attached to Wes's family? Her place in Wes's dream? Her being attacked and saved?

14. The sketch of the girls, the feminine for Wes Block? His gentle touch with them? Their being terrorised, his anger and going berserk, smashing the room, a motivation for pursuing the killer?

15. A glimpse of United States society? Corruption, repression? The police thriller as a way of facing this reality?

THE TIGER MAKES OUT

US, 1967, 94 minutes, Colour.
Eli Wallach, Anne Jackson, Bob Dishy, David Burns, Charles Nelson Reilly, Dustin Hoffman.
Directed by Arthur Hiller.

The Tiger Makes Out is based on Murray Schisgal's one-act play, The Tiger. The playwright has written his own screenplay amplifying the play for the cinematic presentation of character and environment. It does not quite come off - and may have been more successful in the mood of the '60s than later years. There is mixture of realism and surrealism both in the performances, the dialogue and in the photography and editing. Husband and wife team Eli Wallach and Anne Jackson are very good in the central roles. There is also an interesting supporting cast of actors and actresses who were much successful later, including Dustin Hoffman in his first film role. Others are Frances Sternhagen, Elizabeth Wilson, David Doyle and John Ryan. Direction is by Arthur Hiller, who was to go on to make Love Story and a number of films throughout the '70s including Man of La Mancha, The Man In The Glass Both, Silver Streak. The film may be compared with another version of a Schisgal play, Luv, directed by Clive Donner, with Jack Lemmon, Peter Falk and Elaine May. Schisgal was trying to say something about the oppressive madness in American urban living in the '60s.

1. The impact of the film in the '60s, Later? The impact of black comedy and its style? The blend of realism and surrealism? Laughing with the characters and their situations, laughing at them? The relevance of satire and black humour?

2. How evident that the film was based on a play? A one act play with two characters? The quality of the opening out, amplification, use of cinematic techniques, editing, quick flashbacks? The use of interiors and exteriors? Placement of camera, especially for characterisation? For humour? The New York locations? musical score, song and lyrics?

3. The title and the lyrics of the song? The image of the tiger and its use throughout the film? Ben as Tiger? The symbol of the tiger, the reality?

4. Ben as the ordinary New Yorker? Waking up in the urban rush and noise, the hurried pace (and his walking slowly through the rushing crowds)? The farce of the wife stuck in the hole in the floor? Radio, word a day? Paying the rent? Work as a postman, lecturing the ladies about asking for letters? Encountering the lady in the bus with the balloons? The long farcical sequence about his wanting to make a complaint and having to wait for numbers? His continually being harassed? Bank draft? Techniques used to portray his character as well as his situation ? his slow walk in the rushing crowds, soliloquies? Insight into his character?

5. The plan and its humorous overtones, lack of reality? The focus on Toni? His coat to kidnap her? The use later in the film of the resume of his attempts at kidnapping? The purpose of the plan (the variation on John Fowles' The Collector, filmed by William Wyler ?

6. The contrast with Gloria, the housewife at home, husband and children, her firm-mindedness, her wanting to get her degree? The comedy with Jerry and his trousers? Leo and his wife as neighbours? Leo and his coveting Gloria? The talk about wife-swapping? Jerry and Leo and their talk, sleep in the car, the bar, the crash? The symbolic satire on the drabness of suburban life?

7. Gloria and Beverly and their talk? The feminist harangue? Beverly's suspicions about their being followed? Gloria and the visit to the university, the encounter with the mad registrar? Her failure to qualify? The housewife as victim of the academic world and standards?

8. The kidnapping of Gloria, by mistake? Her reaction? The confrontation with Ben ? the two types? Her telling the truth? Their talk and their silence? His aggressiveness? Her fear? Their gradually beginning to understand each other? Ben explaining his goals, opportunities? The discussion about increasing word power, French? How persuasive was the building up of friendship between the two?

9. The visit and the hiding of Gloria? The flood? The visit to the Kellys and the friendship? The new apartment and the Kellys thinking the couple were married? The bonds between the two?

10. Gloria’s train ride home, the irony of Jerry and Leo being on the train? Ben on the train? The farcical train ride and hiding? Ben's siege of the home? His attack and encounter with Jerry?

11. Ben's friendship with the Kellys, the paying of the rent, the discovery of the truth about their not owning the apartment? His returning to them and joining them in bed watching television? An opting out? The only answer for the frustration of the rat race?

12. The minor characters and their contribution to the film in vivid sketches: Toni and her escort, Hap the hippie and his discussion about guilt with the woman in the street, the housing clerk, the secretary at the university, the mad registrar. the lady with the balloons, the Kellys?

13. The psychedelic effect of flashbacks. colours, dancing and music? The trappings of the '60s?

14. How satisfying a black comedy? Audiences accepting the conventions and contrivances? Insight into reality?

TIGER BAY

UK, 1959, 105 minutes, Black and White.
John Mills, Hayley Mills, Horst Buchholz, Yvonne Mitchell.
Directed by J. Lee Thompson.

Tiger Bay is a first-class thriller, set in Cardiff and its docks and slums. Hayley Mills, at the beginning of her career as a child star, is effective as the little girl who witnesses a murder. She works well, as she did in several subsequent films, with her father, John Mills. Horst Buchholz gives human credibility to the role of the pursued Polish sailor. Excellent melodrama.

1. The tone of the title, the Cardiff background, the seaport, the world of sailors and foreigners? How did this add atmosphere to the film?

2. How successful was the film as a thriller? Its use of thriller conventions, the criminal, hunted, menace to the little girl? The climax? How was audience interest and suspense retained?

3. What value did having a child in a central role have for the film? Did it involve audiences more? Did it make it more human? The role of feeling and sentiment?

4. How attractive a character was Korchinsky? His arrival and naivety and joy, the awareness of his jealousy, anger, anger enough to kill? Was this credible? What explained this aspect of his character? The resulting fear, the sequence in the church, frightening Gillie, then praying? Why did the two become friends? The suspense of the sequence at night and the hotel. going away from the city? What bond was established between them during their night. the games, their love for each other? How shrewd was he in organising his escape? Did the audience want him to escape? Audience response to his pursuit in the ship? The tenseness of the interrogations? Was it credible that he should try to save Gillie? The repercussions for him for the future? How well explored was his character?

5. Was Gillie an attractive figure? As a little girl, her involvement with the children in the city, their games, guns and violence, the importance of her lies? How callous as a child in her feelings was she? Her relationship to her aunt? Tormenting the people in the flats. the bomb? The inevitability of her spying, her fear, her wanting the gun? How important was her wanting the gun above everything else? The importance of the chapel sequence and the abrupt ending to her singing? Her fear, the change of attitude to Korchinsky? Why did she become his friend? The desire to go away to sea, the games, her love and support for him, being pursued by the people at the picnic? Why was she relentless in her lies with the Superintendent? The tenseness of the interrogations? Her loyalty to Korchinsky? His disillusioning her and her falling into the sea? The bond between them when he saved her?

6. How convincingly did the film portray the interaction of Gillie and Korchinsky? In terms of fear, threat, menace, knowledge, communication, support. love?

7. How important was the Inspector in focusing attention on objectivity? Could the audience identify with him? His exasperation at Gillie's lies? His search for the truth? Doing his job? The conflict with the ship's Captain? The impact of the events on him finally? Convincing?

8. How did the minor characters add to the quality of the film? The particulars of their characterisation, the detail of the incidents in which they appeared? How did each contribute? Anya and her relationship to Korchinsky and the murder? Aunt Phillips and her looking after Gillie, her attitude towards the police? The neighbours in the flat, the wife. the policeman? Barclay and his relationship to Anya. his position in the city. his fear and attitude towards the police? The choir and the choirmaster? The police assistance? The children? The landlord? The West Indian girl and her helping Korchinsky with his passport? The Port officials. the ship's Captain and crew? What facets of human behaviour did they illustrate?

9. What did the film have to say about truth and lies and the consequences of telling lies? What attitude did the film take on moral issues?

10. What did the film have to say about guilt, innocence. justice and its execution? was this well explored and realistically?