THE TIGER AND THE PUSSYCAT

US/Italy, 1967, 90 minutes, Colour.
Vittorio Gassman, Ann Margret, Eleanor Parker.
Directed by Dino Risi.

The Tiger and the Pussycat is a film by Dino Risi. Risi has produced quite a number of effective satirical comedies on the Italian way of life. often he has had Vittorio Gassman as his leading actor - The Scent of the Woman, Anima Persa, Viva Italia. The tone of this comedy is more of the '60s - the dash of psychedelic colour, the verve with the music, the hectic pace of the romance. Vittorio Gassman represents the middle-aged Italian. Eleanor Parker, in black wig, is a piece of unusual casting as his wife. However, Ann Margret is the leading lady. She appears as a young girl - though it is not easy to see how she could persuade Gassman to leave his wife. There is satiric comedy and parody of the Italian manner and way of life. It was probably more effective in its time - and the material is the perennial older man infatuated with young girl.

1. The title and its tone, the stars? Italians and Americans? An international production of the '60s?

2. The perennial them of the older man attracted by the young girl, his dissatisfaction with his marriage? The '60s and their presentation of marriages and divorces, Italian style? This film fitting into the pattern? Its Italian appeal, universal appeal?

3. Vittorio Gassman as representing the Italian male? His style and manner and presence? Middle age? Seeing him within his family, at work? And yet his fantasies and imagination and the indications that he was dissatisfied and would be seeking something else, someone else? His son and his tantrums? The visit to Carolina and her mother? The infatuation, Carolina throwing herself at him? His resistance, his succumbing? The effect on him and his work, family life? Going out, dancing, his trying to be younger? His slackness in his work? His denials, dismissal, dependence on his friend Tazio? His final dilemma?

4. Luca and his relationship with Carolina, his sardonic observation of his father, e.g. meeting him in the park? The daughter and her husband? Esperia and her devotion to her husband, the domestic sequences ? e.g. the comedy of his return and having to hide when Luca was explaining himself? Esperia and the neighbours, her chatter, seeking advice from her friends? The decision to pretend not to notice? Her reaction to seeing her husband on the television? Her long suffering? Her breakdown when he was leaving? Her decision to pretend that nothing had happened? The films satiric comment on the realities of marital difficulties, family tensions? The cover-up?

5. Tazio and his friendship with Francesco? The encounter and Tazio being down and out, Francesco's rushing off, his helping him? The reversal of roles and Tazio helping Francesco? The resolution at the end?

6. Francesco and his work, his ruining his career and his reaction to this?

7. The portrait of Carolina - Ann Margret's style, sensuality? The young girl, being wilful, the seduction? Her wiles in order to ensnare Francesca? The outings, dancing, skiing? The irony of her age and her infatuation with the pop group? Her final tantrum after the outing with her father?

8. Carolina's mother and her attraction towards Francesco, trying to console him?

9. Francesco's decision to leave - Tazio bringing Carolina to him in the aftermath of the fight? The decision to leave, the letter to Espiria, the station?

10. The irony of Francesco leaving the train and discovering Carolina had left? The details of the final cover-up and the family back to normal?

11. The blend of farcical situations, satirical characterisations, comedy? How much truth told in this kind of sex comedy?

TIARA TAHITI

UK, 1962, 96 minutes, Colour.
James Mason, John Mills, Claude Dauphin, Herbert Lom, Roy Kinnear.
Directed by Ted Kotcheff.

Tiara Tahiti is an ambling kind of serious comedy. It resembles Tunes of Glory (again with John Mills and Alec Guinness) in its picture of a casual army man clashing with a strict disciplinarian. This time James Mason plays the rather loose and casual army man who smuggled during the war and retired to Tahiti. John Mills was an employer in Mason's firm, rose above him in the army, reported his illegal doings and later encounters him in Tahiti. The film shows episodes of their clash. The film provides James Mason with a pleasing portrait of a potential beachcomber. John Mills repeats something of his role in Tunes of Glory. The film is pleasant, blends raucous comedy with some serious moments. It was the first cinema film directed by television director Ted Kotcheff who was to make such interesting films as Wake In Fright, Life At The Top, The Apprenticeship of Duddy Kravitz. The last was based on a novel by Mordechai Richler, who is credited with additional dialogue for this film.

1. An entertaining film? How serious? How comic? A satisfying blend?

2. The use of German locations, British? The focus on Tahiti and its beauty?

3. The background of World War Two? The '60s and attitudes towards the war? The post-war era? The boom and progress? The contrast with Tahiti and its slow pace, ease of life?

4. The colour photography, the score, the song and its lyrics? The stars and the quality of their presence, character studies?

5. The film as a conflict of character? The study of two particular British types? Jams Mason and his style as Aimsley? John Mills and his strict and narrow style as Southey? The background of class difference, employment, wealth? The influence of background? The war and the reversal of roles and importance? The use of the war for the furthering of aims and careers? The post-war period and Southey's fortune, Almsley's misfortune? Southey and his antagonism towards Aimsley? The irony of their meeting in Tahiti? The discovery of the truth? Aimsley allowing Southey to be victimised? His harsh attitudes towards him? His relenting? Southey and his being victimised? The reversal of roles? Two aspects of the British character? the aristocratic, easy, wealthy view of life versus the seriousness and pomp of the self-made poorer man?

6. The outline of the war: occupation of Germany, the picture of the range of officers and soldiers? Inner action? The background from British war films? The black market and double dealings? Aimsley and his involvement? The investigations? Southey using his personal antagonism and reporting Aimsley?

7. The contrast with Tahiti: Aimsley and his way of life, the pleasant beachcomber, his relationship with Belle Annie? The antagonism of Chong Sing? The friendship with Henri Farengue? The pace of life? Aimsley's popularity?

8. The arrival of Southey - his appearance, manner, work, importance? The discovery of Aimsley? The build-up to the clash? The irony of the visits, the drinks together?

9. Chong Sing and his antagonism, rivalry, the sinister villain? The relationship with Belle Annie? The attack on Brett and the thugs? The hospitalisation of Aimsley? The accusations against Southey and Aimsley not doing anything to extricate him? His revenge?

10. Southey and his anxiety - his speeches? The serious side of the film? The audience enjoying his comeuppance? His being victimised? His having to leave the island? Humiliation?

11. The island returning to its old way of life? Aimsley and his future in Tahiti?

12. An amiable entertainment, the strength of the character studies and conflict? Thews of aspects of human nature, rivalry? Points about class differences, wealth differences, career?

THUNDER ON THE HILL

US, 1951, 84 minutes, Black and white.
Claudette Colbert, Ann Blyth, Anne Crawford, Robert Douglas, Philip Friend, Gladys Cooper.
Directed by Douglas Sirk.

Thunder on the Hill was based on a popular play of the early '50s, Bonaventure by Charlotte Hastings. It was an entertaining English murder mystery. What made it more interesting was the convent setting during a village flood. The focus of the play is on Sister Bonaventure, her handling of the hospital situation, her believing in the innocence of Valerie, an accused murderess, and her attempts to prove her innocence. There is a final confrontation with her
religious superior about obedience, and with the doctor who committed the murders. This is enjoyably transferred to the screen in Hollywood style - with the Hollywood re-creation of England.

Claudette Colbert is very good in a strong old-style nun performance. Gladys Cooper is once again a religious
superior. Ann Blyth, with some echoes of her murderess in Mildred Pierce, is an attractive heroine. There is a strong supporting cast, especially of British actors resident in Hollywood. Direction is by Douglas Sirk, who was soon to make his mark with a series of romantic melodramas at Universal, e.g. Written on the Wind, Tarnished Angels, Imitation of Life, Magnificent Obsession.

1. An entertaining melodrama? Murder mystery? Interest, sentiment? Hollywood old style? The quality of its appeal?

2. The work of Douglas Sirk and his reputation? Universal Studios' presentation of England and its atmosphere? Black and white photography? The stars? The score?

3. Enjoyment of the murder mystery: clues, puzzle, suspects, sympathies? The final desperation? The background of the newspapers, the letter? The plausibility of the solution?

4. The tradition of films about religion and nuns? Dedication? Old style convent life? Hollywood presuppositions about holiness, commitment to work, prayer? Pious poses, heavenly choirs? The decisions that Sister Bonaventure made? The crises imposed by the superior? Audience response to Sister Bonaventure's behaviour, results?

5. The film based on a play - confined area, the film opening out the play - the trip to the town? The strength of the dialogue scenes? The clash of personalities? The climax?

6. The presentation of the convent: religious life, the superior and her relationship with the community, her decision about the letter and Sister Bonaventure's involvement in Valerie’s case? Sister Josephine and her joviality, her keeping of the papers and their later use? Prayer in the chapel? The work in the hospital? The villagers and their dependence on the Sisters? The sequence of the difficult birth? Themes of religious life: obedience, law?

7. Claudette Colbert's style as Sister Bonaventure: late vocation, her competence, her memories of her sister's death and her responsibility, repercussions and her seeing the same situation with Valerie? Trouble in the hospital, especially with the prim nurse? The situation of the flood? Helping the patients? Her relationship with the superior, discussions,
the later question of obedience and the burning of the 1&tter, the superior's final apology? The situation with Valerie in the convent? Their talks, Valerie's hostility, her asking for a miracle? Sister Bonaventure's treatment of Willie and understanding of him? His getting the boat and taking her to the town? Her pleading with Valerie's fiance? Her belief in Valerie's innocence? Her interaction with the doctor, with the police and their complaints? Sister Josephine and the newspapers? The discussions with Isabel and the final confrontation with the doctor? Sister Bonaventure as a woman, nun, woman of faith, coping with crises, learning about herself?

8. Valerie and her story, her bitterness, the villagers' reaction, the police escort? Her antagonism towards the people in the convent? Wanting a miracle? The meeting with Sidney? The change in her attitudes? The building up of hopes and their being dashed? The discussions with Sidney and her knowing that he did not believe her? The build-up to the climax? The background of her story. Jason and his music and her playing it. his liaison with Isabel?

9. Doctor Jeffrey’s and Isabel? Her nerves, seclusion, the doctor's dedication to his work, his pleasantness? The background of Jason and Isabel's letter? His drugging his wife? The struggle with Sister Bonaventure on the tower? His being taken away? The motives behind the murder?

10. Sister Josephine and her humour, reliance on the papers, helping in the solution?

11. Willie and his being retarded, helping, feeling insulted by Jason, the boat and breaking it, the letter and his being bashed? His contribution to the solution?

12. Sidney Kingham and his relationship with Valerie? The hesitation in belief? His coming back with Sister Bonaventure? The happy ending?

13. The villagers, their superstition, their hostility towards Valerie, the difficult birth and the blaming of Sister Bonaventure for her absence? Her nursing the child to health?

14. Entertainment value? Traditions of good and bad? Religious traditions?

THUNDERBOLT AND LIGHTFOOT

US, 1974, 115 minutes, Colour.
Clint Eastwood, Jeff Bridges, George Kennedy, Geoffrey Lewis, Catherine Bach.
Directed by Michael Cimino.

Thunderbolt and Lightfoot is a change from the police twosomes, criminal twosomes. Above average action, this film relies on the Clint Eastwood mystique of tough coolness and the attractive larrikinism in Jeff Bridges. Whether chased by a villainous George Kennedy or involved in a spectacular robbery, the two make an interesting team and keep the audience with them in their adventures. The screenplay is a bonus for those who like something more to their action: deadpan wisecracks, some bristling character interaction, much small detail of the US background that situates the characters well in their contemporary world. Some of the action is fairly brutal and the whole plot tests one's sense of justice.

1. How enjoyable was this action film? Why? How important were the robbery sequences for its enjoyment? A comradeship and relationship between the two men?

2. How well made was the film? The use of colour and Panavision, locations, the screenplay and the tightness of the plot, the incidental detail of character and of location? The contribution of the actors? The ethos of the United States in the 70's?

3. Did the film take a moral stance? Did it make judgements on its characters? Was it in sympathy with its characters? Why? Could the audience have criteria for judging right and wrong? Did the film exploit the characters, situations, violence and crime?

4. How important was the irony of the film, in its opening, characterization? The irony of humour and wisecracks? The loss of the money, the repetition of the robbery, the final finding of the money, the death? How did the film move into a more. serious vein eventually?

5. How vividly portrayed was the interaction between Thunderbolt and Lightfoot? Why did they relate so well? One saving the other? The complementing of temperament and character? Old and young? Affection? Lightfoot daring Thunderbolt to another robbery? The example of the older run for the young? The sense of achievement and Lightfoot's reaction to this? How did the film portray this cinematically by the use of the actor's features, acting together, small details?

6. How typical a Clint Eastwood character was Thunderbolt? The first impressions as a Minister, the chase? His tough coolness and suavity? As a contrast with Lightfoot? His making mistakes? His relationship with Red and the suffering of violence? The agreement to go into the robbery again, his work, finesse in planning? His sense of vengeance as regards Red? What were Thunderbolt's dreams? How was he affected by people's death? As finally alone with his money? How typical a U.S. figure was he? The heroic gangster? The homely gangster?

7. How attractive was Lightfoot? Jeff Bridges' portrayal, young, brash, naive? His moral stance, the stealing of the car, saving Thunderbolt? His capacity for fear when bashed and bullied by Red? His Cadillac dreams his flippant and daring tone? His relationship to women to Red? His getting the job and training for it? His role in the plan his disguise and reaction to it? Our sympathy for him being bashed? Joy in finding the money? The irony and sadness of his death? As a typical U.S. American? The point be-hind his characterization?

8. Red and Goodie - greed, ignorance, Red gone to seed, violent and ageing.. callous? The portrayal of Goodle as a stooge? Their expertise in the robbery?

9. Comment on the details of place, the towns., motels whores, the details of work. the bank. the drive-in, cars.

10. The contribution of the people in the film: the congregation, the car salesman, the petrol assistant, the couple in the car, the whores, the workmates, the policemen, the girl on the bike, the night watchman, the final tourists?

11. What did the film have to say about robberies and justice? About violence and death? About dreams and reality?

12. How interesting a portrait of contemporary America did the film give -crime, heroes, achievement, justice, and all the ironies of life? was t an important entertainment?

THUNDER ALLEY

US, 1985, 105 minutes, Colour.
Roger Wilson, Leif Garrett, Jill Schoelen.
Directed by J.S.Cardone.

Thunder Alley is a film about rock and roll. However, it is influenced very strongly by such films as Flashdance and, particularly, Footloose. It shows a group of would-be rock and rollers in Tucson and their local success. However, along the way there are the usual hazards of the climb to stardom - exploitation, fan adulation, drugs. There is also tragedy and death along the way.

The cast acts competently - Roger Wilson (Porkys, Second Time Lucky) is quite engaging as the farm boy who becomes the star. Leif Garrett appears as a rock and roll singer.

The film is very much for an American audience, for American sentiment but, of its kind, it is quite enjoyable.

1. A piece of Americana of the '80s? The world of popular music? Youth?

2. The Arizona locations, Tucson and the other cities, Colorado? The use of clubs? Staging of the music? The ordinary life of farms? The cities?

3. The musical score? The songs, their staging, performance? The appeal of the music in the 1980s? The sound and the lyrics of the '80s and American youth?

4. The title and the reference to the street in Tucson, the Rat Trap, the Palace? The recreation of the youth? The groups, the music, the atmosphere, the dancing? The various Thunder Alleys of the western cities ?

5. The portrait of Richie - his work at home, the bonds with hi s mother and father, his father's reticence, wanting him to work, his mother's pleading his cause, his father's pride in him, reading of the letters that he wrote. the permissions to go. the pride in his performance? The farm boy, his old school friends, going to town? Donnie influencing his life? Arranging the date with Beth? His friendship with Beth. their talking. taking her home, her father's assault? The growing friendship and support? Donnie and his arranging the group. getting Richie to perform, the clashes with Skip? on the road, the successful gigs, his enjoying his performance, his skill with the guitar, his song in Denver? Weasel's support? The return to Tucson? The Fat Man's plans? His disillusionment with Donnie, the drugs. his going to see him, the final friendship plea? His response to Donnie’s death, the funeral. hating him for what he did? His anger, going with Donnie’s girlfriend, the drug revelation. smashing the Fat Man's car? His return home and opting out? Weasel's attempt to persuade him? His final coming on stage and success? His future? The traditional story of a star is born as well as the many stories of the ups and downs of groups?

6. The members of the band: Donnie and his push, happy-go-lucky style, friendship with Richie, putting Skip in his place? Speaking out - and Weasel putting him down? Persuading Richie to go on the road? His girlfriend? His reckless style, enjoying the attention of the groupies during the tour? The Fat Man's party. the girl seducing him, drugs. his irresponsibility, poor performance? Ritchie’s pleading with him? His decision to overdose himself and die? The two regular members of the band and their friendship, support? Unable to be successful without Richie? Skip and his antagonism, people not liking him, his skill as a rock and roll singer. his jealousy of Richie. opting out. the Fat Man offering him a job. his joining with the group

7. The Fat Man and the various proprietors of the clubs? Their control, bullying? Weasel as the Fat Man's henchman, his tough attitude on the road, getting the money out of the managers? His liking for Richie, warning him about the Fat Man? Asking him to come back? Arranging for the performance at the festival? His success? The various members of the staff?

8. Beth and her work with Lorraine? Friendship with the boys? Beth falling in love with Richie, their sharing, his betrayal and her pardoning him? Her not being able to persuade him? Her joy at the end?

9. The world of rock and roll, clubs, the youth and their enthusiastic support? On the road, the groupies, the unreal life, the exploitation?

10. The build-up to the festival? Surgical Steel and their music? The contrast with Magic?

11. Traditional American themes in modern dressing? The stance of the hero? His rebellion? The success? The film's stand on drugs? on relationships? on family?

THUNDER OVER THE PLAINS

US, 1953, 82 minutes, Colour.
Randolph Scott, Phyllis Kirk, Lex Barker, Charles McGraw?, Elisha Cook, Henry Hull, Richard Benjamin.
Directed by Andre de Toth.

Thunder Over the Plains is one of the numerous Randolph Scott westerns from the '50s. It is efficiently made and enjoyable. Set in Texas in the period after the Civil War, the film shows the difficulties of the state joining the Union with carpetbaggers, the Texans impoverished by money deals, the role of the army: There is plenty of action and a sketch of the American heritage of Texas. There are some good character portrayals by Charles McGraw?, Elisha Cooke.

1. Interesting and entertaining western? A Texas western?

2. Colour photography, the atmosphere of the 1860s? Clashes, battles? The military?

3. The title and the focus on the Lone Star State? Action on the plains?

4. The voice-over technique and the situation in Texas? The late 1860s, the aftermath of the Civil War? Hostilities towards the North? Texas and the Union?. The tax assessors, the carpetbaggers and their extortion, the cotton crops? The American outlaws? The role of the military in keeping peace? The Texans in the military and local suspicion? The West Point graduates? The manipulations, extortions, murders? The restoring of order?

5. Captain David Porter and Randolph Scott's screen image? In the military? Suspicions by the locals? His administering law and order even though he knew that the carpetbaggers were in the wrong? The letter of the law? The clash with authorities? His relationship with his wife? Bill Hodges and his violence, approach to his wife? The Lieutenant-Colonel? and the issues? The cotton-growers and their being robbed? The carpetbaggers? Ben Westman and his outlaws? Porter's decisions? The murder and his wanting to discover the truth? His taking off uniform and putting himself in danger? Chases, shoot-outs, the taking of Westman? The real killers overcome? The restoration of order? A character of the West?

6. Ben Westman and the cotton situation, the humiliation of the carpetbaggers and their trousers, things becoming more serious, the sieges, the pursuit by the military, the taking of Westman? Justice to be done?

7. Bill Hodges and the West Point background, his flirting with Nora? The fight with Porter? His use of the gun?

8. Balfour and Standish, their double-deals, shrewdness with money, Balfour's killing? His being exposed?

9. The atmosphere of workers, vigilantes, the military?

10. A sketch of the American heritage? The origins of the state of Texas?

THUNDER

Italy, 1984, 84 minutes, Colour.
Mark Gregory, Bo Svenson.
Directed by Larry Ludman.

Thunder is an Italian exploitation movie - taking the main strands of its plot and characters from First Blood.

The Italian team has gone to Arizona (with the help of the local industry and politicians) to film a story about bigotry against the American Indians,- especially by workers who have no idea of conservation and are building an observatory on Indian cemeteries, and a tough sheriff with his henchmen. The Arizona scenery is filmed spectacularly - and keeps the attention. Bo Hopkins has the role of the sheriff confronting the artful Indian hero. He is supported by a great number of American rednecks (making one wonder why the governor of Arizona permitted the film to be made.

The 'hero' is the tall almost non-speaking hero Mark Gregory, from Enzo Castellari's The Bronx Warrior films. Here he strides around laconically, is humiliated and persecuted, his girlfriend assaulted, his grandfather burnt to death - enough for him to wreak vengeance on his pursuers. There are some exciting enough action sequences in the mountains - always echoing the guerrilla tactics of Sylvester Stallone in First Blood including an extraordinary high dive. The film ends with expectations of a sequel.

The film is not of great value in itself - though competently enough done in a popular way. It is an interesting comment on Italians going to a great deal of trouble aping the conventions of American films, going to America for production. This is a comment on the response of European audiences - as well as of American and overseas audiences who have made this kind of film popular, especially for drive-in audiences.

THREE WOMEN

US, 1977, 123 minutes, Colour.
Shelley Duvall, Sissy Spacek, Janice Rule, Ruth Nelson, John Cromwell.
Directed by Robert Altman.

Altman enthusiasts will not be disappointed. Nashville touches occur in deft satirical observations of the Southern Californian ethos. But the film in closest to his Images a psychological study of women expertly played by Shelly Duval, Sissy Spacek (kin to Carrie) and Janice Rule as a speech-shy artist. The framework is dream. While the plot can be explained 'realistically', the facets of dream are most important. Inconsistencies, contradictions are united in the psyche of the dreamer. The dreamer seems to be Sissy Spacek's 'Pinky' in whose dream we live and where the other women are characterized loved and dreaded. Colour, music, alarming symbolic man-woman paintings contribute to one of Altman’s best films.

1. The impact of the film? Its reputation, quality? Its place in the canon of Robert Altman? The film as based on Altman's experience, his dreams? The blend of reality and dream? Fact and interpretation? The significance of the subjectivity of dream - the world as part of the author's dream? Characters as parts of one another's dream? Mutual identification, change of personalities? The insight through dream? The dream as being facets of the personality of the dreamer? The need for dreams and their interpretation for wholeness of personality, integration of personality?

2. The quality of the colour photography, the style of the film? Panavision? The ordinariness of southern California and its eccentricity? The surreal aspects - as in the baths? The impact of the opening - water and dream, the paintings, their content and their style? The monsters in the paintings: animal, masculine, vicious? Wili as the painter and creating these dream monsters? Their use throughout the film? The places where she painted? The close-ups and timing? Audience response to these monsters? Monsters from a woman's point of view? The audience sharing the comment on the characters via the paintings? The contrast of the art with the plastic and motel - type society? Millie’s colours? The interrelationship of the two worlds? The style of the music, the thews, the placing of the score?

3. The structure of the film: the introduction to Millie, Millie as seen by Pinky? The introduction of Pinky and Pinky as seen by Millie? The brooding presence of Wili? The interrelationship of the three women? Realism, the surreal? The break in friendship between Millie and Pinky? Pinky's attempted suicide and the unsettling of Millie? The crisis? The mystery of the finale?

4. Themes of identity: the particularity of individuals, the integration of the individual personality? Millie and her identity, what made it up? Popular magazines, chatter? Her being ignored? Pinky and her admiration, infatuation? Similar names and background? Pinky and her idolising Millie? The significance of the twins and the dialogue commenting on twins, identity, knowing the reality of one's identity? The puzzle as to which twin was which? Millie and Pinky becoming kind of twins? The other friends in the baths? Pinky's gradual absorption of Millie's way of life, trying to imitate her, admiration, reading the diary? The disillusionment and Pinky’s reaction against Millie, acting out the extremes of Millie's potential behaviour? The effect on Millie and her growing sense of responsibility? Imitation, copy, caricature? The relationships between the sexes and each being the shadow side of the other? The film's explicit dialogue about identity? The importance of Wili and her relationship with the other two? The Mother Earth figure, the mother giving birth, stillborn children? The interrelationships at the end?

5. Themes of truth: words, their meanings, actions, facts, insight, lies?

6. The focus of the title on the three women themselves, their individuality, interrelationship? Representing three generations? Similarity of names? Their appearance, regard for each other? Care and disregard? Pinky becoming Millie? Pinky against Millie? Millie caring for Pinky? Millie's final disgust with Pinky? Wili and the birth and the demands made on each of the two younger women? The final change? The success and failure of this portrait of three women - in terms of character drawing, communication to the audience? Themes of roles and relationships? Transference of feelings, transformation of personality?

7. The opening with the baths: the dreamlike sequence, the water, the music and the sounds? The old people moving in the water? The odd type of procession? The detail given at the opening, the paintings? This move to southern Californian realism: the doctor and the running of the place, the nurses and their talk, the twins? Cafeterias? Millie and her role, her chatter, her guiding Pinky? The gradual imitation? Millie's talk about herself? The restaurant sequences and her chatter? Pinky's failure? The Social Services card and its being punched wrongly? The build-up to Millie's indignation and feeling of rejection - while her concern about Pinky's absence? The edge between the two women? The baths as a symbol of the world of California?

8. The portrait of Millie: her presence, appearance, her care about her appearance - and the skirt edge out of her car? The colours, magazines, food specials etc? Her talking at people? The twins and the other girls ignoring her? The reaction of the medical staff? Her home at the motel and her own design? Her thinking she was liked? Tom and his cough? People talking about her? Her looking for a roorr2--mate? Her notes, diary, recipes? The design of her room repressing her? Millie and the critique of superficial American women?

9. Pinky and her arrival, her Texas background, her age, her gasping with delight, hero-worshipping Millie, imitating her, the chatter at work? Her curiosity? Her strange behaviour as regards the Social Service card, punching in and out? Her moving in? Talk? Going to the bar, Edgar and the shooting and her being scared? The encounter with Wili? The tips? Her missing Millie? Copying her? Her curiosity about the twins ~ as a key to the transformation?

10. Millie and her artwork, marriage to Edgar? Her enigmatic presence, the places where she painted? Her pregnancy? Age, appearance and dress? Her regard for Millie? Suspicions of Pinky? The shooting at her artwork? Her giving birth, Millie's responding to the situation, Pinky's helplessness? The baby stillborn? What happened to Edgar? The interrelationship of the three women at the end? Menage, the generations, mother-daughter relationships?

11. Millie and her transformation: her friends and their not turning up for the meal which she prepared so carefully, Pinky's offhandedness, Millie's bringing Edgar home, her being hurt by Pinky, her shock? The visits to the hospital, her concern, sense of responsibility and change? Her grief? Her puzzle especially with Pinky's behaviour in her recuperation, the invasion of privacy? The shooting at Edgar's place? Her disgust?

12. Millie's developed responsibility especially with her behaviour during the birth?

13. Pinky and her hospitalisation after her jealousy? The motives for jealousy of Millie? Falling into the pool? Comatose? Her reaction against her parents? Her changing into a hard character? Flirting? Promiscuous? The shooting and Edgar? Her inability to cope with the birth? The Dr. Jekyll and Mr. Hyde aspects of her character?

14. Edgar and his being a stunt man, the macho image, the shooting, the way with the girls, with Millie, Pinky? What happened to him at the end? The ranch and the cafe and the shooting range and the satire on southern California?

15. The sketch of the supporting characters - the doctors at the baths, the twins and their self-preoccupation, the other two girls and their constant chatter and disregard of Millie? The sequence of the signing of the card for Pinky in hospital? The friends at the bar? Millie's girlfriend and her callous attitude towards calling in? The people who lived at the motel, Tom?

16. Pinky's parents and their age. their inability to understand what was going on? The discovery by Millie of the two of them in bed - and its comment on sexual relationships?

17. The finale and the enigmatic relationships amongst the three women?

18. Thews of dream and reality, the psyche., personality, individuality? Transference of attention, identification, transformation? Art and reality? Altman's capturing of the southern Californian ethos and parodying it? The interplay of surface and depth?

THREE STRANGERS

US, 1945, 92 minutes, Black and white.
Sidney Greenstreet, Peter Lorre, Geraldine Fitzgerald, Joan Lorring, Robert Shayne, Marjorie Riordan, Arthur Shields.
Directed by Jean Negulesco.

Three Strangers is an entertaining thriller with twists. It was co written by John Huston with Howard Koch. It was directed by Jean Negulesco, who worked at Warner Bros at this time (Mask of Dimitrios, Humoresque, Johnny Belinda) and was to move to 20th. Century Fox and many glossy films including How to Marry a Millionaire and Woman's World.

This film shows three strangers and their midnight encounter, a Chinese goddess, a lottery ticket. It soon emerges that the three characters have secrets and are not at all the virtuous members of society they might at first seem. The film shows the reversions of luck. There is a dramatic and downbeat ending.

Geraldine Fitzgerald is effective as the selfish Crystal. Peter Lorre and Sidney Greenstreet (who worked effectively in such films as Casablanca, Mask of Dimitrios, Passage to Marseille) give typical performances.

The film has the Warner Bros. production values - including a studio lot London.

1. Interesting and entertaining melodrama? Themes of good and evil? Fate and luck?

2. Warner Bros. production values: black and white photography, the London setting? Musical score? The stars?

3. The title and the focus on the encounter of the three people? Drawn together by fate? The goddess? The lottery ticket? The race? people and their secrets? Good and evil? Being defeated by their greed?

4. The plausibility of the plot: the chance encounter? Crystal controlling West and Arbutny? Her proposal? Midnight? The pact? The reversal of luck? Their downfall? The melodramatic style -making the implausible enjoyable?

5. Crystal and her background, tours of the East, the goddess? Her leading West and Arbutny to her flat? The proposal? The pact? Crystal and her husband? His arrival? Her schemes? Trying to win him back? Going to the Foreign Office behind his back? Poisoning his girlfriend's mind? Her melodramatic style? Her. husband wanting to murder her? Her hold over West? Her refusal to sell the ticket despite Arbutny's pleading? His killing her? Her husband intending to kill her? The reversal of luck?

6. Arbutny and Sidney Greenstreet's style, respectable lawyer, his financial dealings and speculations, the rich widow, his deciding to marry her, the irony of her seeming stupidity and talking with her dead husband and yet her getting the books examined? His pessimism? Decision to kill himself? News of the draw for the race? His putting pressure on Crystal? His madness in killing her? His going out into the street trying to draw attention to himself as a killer? His mental collapse? The reversal of luck?

7. Peter Lorre as John West? Musician? Alcoholic? His being caught up in the murder? The landlady and her prying? His friend? The court cast? His having to hide? The arrest? His being set free? His friend killing their enemy? His not caring about the money? Reunited with the girlfriend? His trying to cover for Arbutny? The irony of his having the winning ticket? Burning it?

8. The melodrama background of the murder: the man in court and the prosecution, his false witness and his phoniness? The girlfriend and her testimony? Betraying his friends? Gabby and his killing him? in prison? Freeing John? Girlfriend reunited with John?

9. Enjoyable melodramatic characters? Situations? Themes of chance, evil?

THREE SECRETS

US, 1949, 98 minutes, Black and white.
Eleanor Parker, Patricia Neal, Ruth Roman, Frank Lovejoy, Leif Erickson, Ted de Corsia, Edmond Ryan, Larry Keating.
Directed by Robert Wise.

Three Secrets is a soap opera melodrama directed by Robert Wise who started work as an editor with Orson Welles and as a director with producer Val Lewton. He was to make more and more ambitiously successful films, winning Oscars for West Side Story and The Sound of Music. Three Secrets is women's material, presented with the melodramatic styles of the '40s. The three actresses do well in their central roles, particularly Patricia Neal. There is a lush score by Max Steiner. The material now seems fairly contrived and coincidental - but it stands well enough by later versions of this kind of material in the disaster films of the '70s.

1. The appeal of melodrama, soap opera? 'Women's material' and its perennial appeal? Emotional and tearful response?

2. Audience response in the '40s? (The equivalent of modern series and serials on television?) Black and white photography, obvious studio sets, the emotional musical score, the dialogue with its conventional and sometimes trite material, obvious devices and contrivances? The predictable aspects of the screenplay? How well does the melodrama come across despite the conventions?

3. The social background of the film - unmarried mothers, adoption, the law,. the privacy for adoption agencies? Careers, prison? The emotional response to social questions? Audiences identifying with each of the three women?

4. The initial build-up to the disaster,, the survival of the boy, its effect on the three women, giving them hope, courage to face their own lives and remember?

5. The flashback technique of the film and its building its drama on this? Audience interest in each of the three women, emotional response to their stories, judging them able to be a mother. guessing which was the real mother? The cumulative dramatic effect?

6. The presentation of the disaster material - the situation, the crash. the photos and their accuracy, the survival of the boy, the sheriff and his rounding up the party, the climbers, the radio interviews, the accident on the mountain, the people looking through binoculars, the signals and the flares?

7. The media and their prying into people's lives, the interviews, the tough interview methods, the personalities of the climbers coming through, the information given about methods for rescue? The documentary overtones?
8. The portrait of Susan: her marriage to Bill, the influence of her mother, successful marriage? The effect of the news and the memories? The wartime romance with Paul, his leaving and explaining that it was only a passing affair, her grief at the fence? Her attempted suicide, the pregnancy, the going away with her mother to have the baby, the melodramatics as regards the adoption and her signing the papers? The introduction of the other two women?

9. The contrast with Phyllis? Tough, her work as a reporter, her relationship with Duffy and their clash on her return how, her absences, his not being able to stand it? Their night together and her pregnancy? The separation, Duffy's remarriage? The decision for Phyllis to leave Duffy and go on the war mission? Duffy’s overhearing it and her going? Her success in her career? Her reputation for tough-mindedness and hard-heartedness? Her presence at the mountain, her treatment of the other two women, her resourcefulness? The final bargain as regards suppressing the news?

10. Ann and her vulnerability, the situation with the gangsters, the money, her being bought off, her grief and the killing of her lover? The manslaughter change? The birth of the baby and its adoption?

11. The drama of the three women meeting and interacting? Susan and her longing, her telegram to Bill, her fear and the reconciliation? Phyllis and her getting the information, her control of the other women? Her sentiment in suppressing the news? Ann and her grief, the interaction with the other two women and its effect on her, her knowledge that it was her baby, giving it to Susan without the information? Her seeing beauty in the mountains?

12. A satisfactory solution for each of the women? Satisfying for the audience? The boy with a home and a future?

13. The value of the emotional response to this kind of film, to the characters, their situations? An awareness of social issues and a sympathetic response?