THREE RING CIRCUS

US, 1954, 108 Minutes, Colour.
Dean Martin, Jerry Lewis, Joanne Dru, Zsa Zsa Gabor.
Directed by Joseph Pevney.

Three Ring Circus is a standard Martin and Lewis comedy. It was their first in Vistavision and raised expectations because of its circus setting. It was directed by Joseph Pevney, noted for war dramas and human interest stories. It was written by Don McGuire? who later wrote and directed films for Jerry Lewis. Joanne Dru is an attractive heroine. There is an attempt to create pathos in the poor little man character portrayed by Jerry Lewis.

1. An entertaining Martin and Lewis comedy?

2. The styles of Dean Martin - singing, straight-man, hero? And of Jerry Lewis - slapstick comedy, sentimental comedy? How well did they mesh together? The usual ingredients - better or less good?

3. Colour photography, the atmosphere of the circus, the music, the songs, special circus events?

4. The routine plot with the circus background? How plausible? Pete and Jerry and their war experience, their searching for work? Pete and his ingratiating himself into the circus, Jill and Saadia falling in love with him, his getting ownership of the circus and his callous treatment? Jerry and his ambitions to be a clown and his unexpected success? The clash of values and the happy resolution? Conventional material - how well presented?

5. The contrasting character between Pete and Jerry? Pete as the supposed American hero, his principles, his fascination with himself, his almost ruining others, his coming to his senses? How well portrayed was this kind of character? The contrast with Jerry and his seeming stupidity, his ambitions to be a clown and his qualities for clowning, his work as an animal tamer, his yearnings and unexpected success, becoming the star of the show and provoking jealousy, his capacity for entertaining people, the sequence where he made the little girl cry? A credible portrayal of the "little man" hero?

6. The contrast between Jill and Saadia? Jill as the hard-working American girl trying to keep the circus going, falling in love with Pete, friendly with Jerry? The happy ending for her after the disappointment? The contrast with Saadia and her acrobatic skills, the vamp type?

7. The minor characters, especially Sam and his devotion, Kimmy and his place in the circus, the humour with Fritz Schlitz and the exaggerated Germanic style, the bearded lady and her advice, Puffy and the resentful clown?

8. The humour and atmosphere of the circus sequences? How memorable were they? Audience response to circuses? The final performance for the disabled children and the atmosphere of entertainment, communication, laughter and tears?

9. Themes of heroes and heroines, heroism, self-centredness and lack of scruple, devotedness? The conventional ingredients of this kind of romantic comedy -how thoughtfully presented within the framework of comedy?

THREE ON A COUCH

US, 1966, 109 minutes, Colour.
Jerry Lewis, Janet Leigh. Mary Ann Mobley.
Directed by Jerry Lewis.

Three On a Couch is one of the later Jerry Lewis comedies. With this film he moved from Paramount where all his films had been made, to Columbia. He produced and directed the film himself. It is also an attempt to move to a more serious style of comedy for himself - as he had done earlier in 1966 with Boeing Boeing with Tony Curtis. However, he also has the chance for his mugging clowning and impersonation with pretending to be three characters courting three girls in psychiatric treatment. These impersonations are sometimes funny and inventive although they have echoes of the old style farcical clowning. Janet Leigh is an attractive heroine but the three girls - the three on the psychiatric couch - are very good especially Leslie Parrish as the southern girl. There are amusing cameos by Kathleen Freeman, a regular in Lewis' films. and Buddy Lester as a drunk. The film is also an amusing comment on psychiatry and its fashionableness.

1. How enjoyable and entertaining a Jerry Lewis vehicle? His style, comedy roles, impersonations, farce? His attempt at a more serious role than usual? This film coming towards the end of his career in cinema?

2. Lewis as star, his relationship with women, the four leading ladies and the way they combine with Lewis? Less the pathos of the little man and more the ordinary man and the humorist?

3. How well did he draw the serious character of Chris Pride? The art prize, the relationship with Elizabeth, his hopes for his career, love for Elizabeth, friendship with Ben, the motives for his posing? The humour of his having to cope with the three girls? Moving in and out of character swiftly? The inevitability of their finding out? Elizabeth and her disappointment and his reaction? The suspense? The girls persuading Elizabeth to have him back? How well did Jerry Lewis manage the various roles?

4. Janet Leigh's charm as Elizabeth? Seeing her at work during the credits, her skill as a psychiatrist, her love for Christ, her reliance on Murphy as secretary? Her listening to the three girls, her decision not to leave them because of their need for her? Her trying to arrange to get away to Paris? Her seriousness in listening to the girls talk, enjoying their change, the build-up of her hopes for Paris? The arousing of suspicions? The humour of going to the boat and the discovery of the truth? Her failing in following her own advice? Her being able to be persuaded to take Chris back - especially when she thought he had fallen overboard?

5. The build-up to the revelation of the truth - the party sequence and its length, people dodging one another, the various jokes, Chris managing the three girls, Ben and his cover-up? The escape to the wharf? Elizabeth's disillusionment, the drunk overboard, the girls persuading Elizabeth and her final forgiveness?

6. Susan and her disillusionment , her love for sports, her meting the sports enthusiast, Warren? Sharing sporting activities with him, the change in her attitude, her reliance on him? A good satirical portrait of the active woman?

7. Mary Lou and her southern style? The encounter with Heather and the friendship, the discussions of biology, the emergence of Rutherford and the scientific discussions? His shyness? Mary Lou's coming out of herself?

8. Anna and her European background, her love for cowboys, Ringo and his wealthy style, the humour of the rodeo?

9. The variety of Jerry Lewis' impersonations? His old style comedy routines, the clever impersonations, his warning everybody off at the party?

10. The character of Ben and his advice, helping out his friend? Murphy and her devotion, her arranging the party, her speech?

11. The incidental characters and their contribution - especially the patients and the satire on psychology, the drunk and his presence at the party, his falling overboard?

12. Which were the most successful routines and jokes? The serious presentation of psychology and therapy, the satire on psychology?

THE THREE MUSKETEERS

US, 1973, 107 Minutes, Colour.
Michael York, Oliver Reed, Raquel Welch, Richard Chamberlain,
Frank Finlay, Faye Dunaway, Christopher Lee, Simon Ward. Roy Kinnear, Geraldine Chaplin. Jean- Pierre Cassel. Spike Milligan.
Directed by Richard Lester.

The Three Musketeers - if you like swashbuckling costume adventures, you should like this. You will like it even more if you join in its mocking mood, for this is an elegant spoof: 3 clumsy musketeers, a naive Dartagnan, some hilarious misadventures in chivalry, dialogue straight from the Goons. And generally it works very well - though a good mood is always a pre-requisite. Very colourful, it follows Dumas' story: it is also very funny. Director Richard Lester moves his cast energetically, with irony and joy. There are Michael York, Raquel Welch, Charlton Heston, Faye Dunaway, Oliver Reed, Richard Chamberlain, Spike Milligan amongst others.

1. Why did audiences find this film enjoyable? Its treatment of the romantic 19th century story? How much of the romance did it retain? As an expensive spectacle with costume and drama? Its basic plot? Its humour? Was it a' successful version of the story?

2. How important were the satirical and parody elements of the story? What was the film satirising? The genre itself? How did it parody the ordinary swash-buckling film? Successfully? Did it remain in good taste and effectiveness in its burlesque of romance dramas?

3. The significance of the screenplay and the dialogue? The Goon humour. the wit. the bathos and contrast of the dialogue and situations? What happened to audience response when romantic incidents are linked with parody dialogue? Does the success of the film lie here? Did the film have 'its cake and eat it,?

4. How well did the film portray the different classes in France. the life of the peasants and the musketeers background. court life and the intrigues of court life? Why do audiences find such costume intrigue interesting?

5. what did the film portray of power struggles? How seriously? Richelieu’s power hunt? The ineffective king and queen. the English influence. Richelieu's spies the dash of the Musketeers?

6. How was the film a morality fable? Surface conventions and interior hypocrisy? The stands of right and wrong. good and evil? Noble situations and ironic comments? Ugly situations and ironic comments?

7. Why was D’ Artagnan made the central figure? Our response to him at the start - the swords during the credits, his fight.. lessons from his father, his arrogance in challenging people? Why was he accepted as a Musketeer? His poor background and yet their overcoming this? The number of his mistakes and awkwardness? His hiring the house, his relationship to Constance and her husband, his role in the court? How much a hero was he? How romantic? The picture of patriotism? How enjoyable a hero? How real?

8. what was audience response to the Musketeers themselves? Our initial viewing of them? The personality of the actors portraying them? Their pretensions and pride, vanity? Their patriotism? Their love of a fight? Their roguery? The fact that they were not entirely successful? mock heroics?

9. Was Richelieu a comic character like the others? Charlton Heston's performance and style? His intrigue for power? His hold over 'milady'? Over Rochefort? His torturing of Constance's husband? The sequences of his presence at the chess game. in the dungeons. at the final banquet?

10. The portrayal of the king and queen - arrogant costume drama? Fools of royalty? Was Buckingham also presented as a fool?

11. How romantic a heroine was Constance? The personality of Raquel Welch? Her love for her husband? Her love for DArtagnan? As a loyal patriot for the queen? The awkwardness of her presence at the end?

12. How did Planchet add to the humour of the film? The peasant servant for the peasant Musketeer? His loyalty and devotion? As a buffoon and fool?

13. How strongly did the film rely on spectacular details? The Musketeers fighting with the soldiers, the animated chess game, the poorhouse and the periscope, the elaborate stealing of the food, the fighting in the laundry, the Pageantry of the court, the jewels incident, the ball, the suspense about the jewels etc.?

14. The film was made with satire and spectacle. What does this say about the tastes of the audiences of the 70s?

THREE IMMORAL WOMEN (LES HEROINES DES MAL)

France, 1981, 95 minutes, Colour.
Marina Pierro, Gaelle Legrand, Pascale Christophe.
Directed by Walerian Borowczyk.

Three Immoral Women is yet another film in the strange career of Walerian Borowczyk, the Polish director who works in France. After making a number of experimental shorts and Goto, Island of Love, he moved into more big-budget films, making his mark with the mediaeval fable Blanche. With the interest in sexuality (and its relationship to religion, tradition, society, he moved into the field of sexual fable and allegory. He made a collection of stories
called Immoral Tales, moving through the Renaissance period to 19th. century France and modern times. His subsequent films were variations on these themes: The Beast, The Streetwalker, Behind Convent Walls, Lulu.

Many reviewers were disgusted by his films and branded them ‘Sexploitation'. While there are certainly exploitive elements in them, Borowczyk, in his eccentric way, does raise questions about the place of sexuality in relationships, in society, but especially in repression in the psyche. Borowczyk has an eye for detail as well as a capacity for presenting baroque images on the screen, of a seemingly hermetically sealed world, whether it be of the Renaissance or of 19th. century France. The dazzling visual impact draws a non-verbal response from the audience, which makes his films harder to deal with than the ordinary presentation and exploration of sexual themes.

The three stories in the present film are of mixed value: Margherita presents a peasant girl whom Raphael loves after spying on her with her fiance Tomaso. The film blends Raphael's painting career, especially on Madonnas, with his
affairs and infatuation with beautiful women. There is a background of jealousy, especially with a banker spying on Margherita - who then is tempted to poison Raphael. She poisons both men and, with her wealth, returns to her fiance. This is a lavishly cynical story about men exploiting women and, of course, being vanquished by them.

The second story, Marceline, is more bizarre but more persuasive. A childish girl who clings to her pet rabbit (somewhat erratically) is horrified when her parents serve the rabbit for a meal. As she crumbles with this experience, she visits a delivery boy, Petrus, thinking that he is a butcher and that he might help. She is raped. Petrus, thinking he has killed Marceline hangs himself. The effect on Marceline is devastating and she returns home to kill her parents. In this striking fable, Borowczyk shows so much of basic human drives, repression, violence and vindictiveness.

The third story, Marie, is less persuasive and is set in the present. Marie is held to ransom. She is tracked down by her dog, who attacks and emasculates the kidnapper and then does the same to Marie's husband. Marie embraces the dog in the finale. Of all three stories, the last seems the most exploitive (perhaps because it is set in the present whereas costume distances thee response of the audience ).

Borowczyk certainly has obsessions - they are not for every audience but they make their own bizarre contribution to the explorations of repression of the screen.

THREE GODFATHERS

US, 1948,106 minutes, Colour.
John Wayne, Pedro Armendariz,Harry Carey Jnr., Ward Bond.
Directed by John Ford.

Three Godfathers is a John Ford/John Wayne western - with a touch of adventure and a great deal of sentiment. The story had been filmed several times in silent versions and was remade as a telemovie, The Godchild.

The film was made at the time Ford was doing his cavalry series including Fort Apache, She Wore a Yellow Ribbon. This fable was set in the desert, had some outlaws on the run fleeing from a wily sheriff, finding a dying mother in the desert and taking her child to New Jerusalem, Arizona. They then become a modern equivalent of the three wise men saving a Christ figure child. Ford has a great deal of sentiment in dialogue, Christmas music, emotion in this western. Critics were hostile to the sentiment but praised the beauty of the scenery etc. Depending on one's mood, this is a humorous and emotional satisfying western.

1. An engaging western? The work of John Ford? The range of his westerns? His work with John Wayne? John Wayne's western image? A western of the late '40s?

2. The John Ford tradition: westerns as Americana, the nature of the 19th. century West, men and women, law, integrity, chivalry, decency? Respect for life and death? Honour? Sentiment - and sentimentality?

3. The story as a fable: the many filmings, the emotional appeal? The Christian overtones? An allegory of the three wise men and the Christ Child?

4. Attractive colour photography, Arizona locations, the mountains, the deserts, the storms, the railways, the towns? The musical score? The songs and the hymns - 'Bringing in the Sheaves', 'When We Gather at the River', 'Streets of Laredo'? The insertion of the Christmas carols?

5. The title and expectations: fathers, orphans? In the West? The three and the binding together in their care for the baby? The responsibilities of a godfather? The religious overtones - concern, paternal? God and his fatherliness?

6. The details of the fable - the transferring of the Magi story to the West, from good and wise men to outlaw bad friend? How effective was the transformation of the story? Or was it forced? How well did it work symbolically? The message about life and death, right and wrong, care? The light touches, the grim touches?

7. The situations of the West: isolation, robberies, rustlers, the role of the law, the desert, the pursuit of criminals, know-how and survival, frontier atmosphere?

8. The opening and the three: the visit, the jokes about Pearlie, the giving of the badge, the girl in the bank, the robbery, awkwardness, escape and chase? Conventional material?

9. The three men and their relationship, friendships? Leadership? Decisions, the chase? The Kid being hit? The need for water? The harshness of the desert? The train depot? The shrewdness of the strategy? The links between the two - jokes and insults? The Mexican, the Americans? The support for the Kid? Suffering, the horses, the winds, the need for sleep? The well and its being exploded?

10. Pearlie and the shrewd sheriff, his strategies, the train, the outpost? The encounter with Jane Darwell's rough but humorous storekeeper? Pearlie's pursuit, finding them and chasing them?

11. Bob's story - the man and the fool, the woman, the birth and Pedro? Death? Comedy? The book, greasing and feeding, the dying promise, the name and the saving?

12. The woman in the desert, her experience, her love for her child? The birth, the bequeathing, the sentiment in her speech? The attitude of Ford towards the baby ~ and the beautiful shots of a beautiful child?

13. The baby and the audience emotional response, the belief in saving the baby? The trek, the water, suffering, deaths so that the baby could be saved?

14. The religious symbolism - the Christ Child and the baby, the parallels with Mary and the mother, the Christmas setting? The three wise fools? The Bible and its falling open at the Presentation narrative, going to the New Jerusalem? The Magi changed - and saved? The Magi dying instead of the innocents? The symbols of the donkey, the carols, the celebration of Christmas in the town?

15. The portrait of Hightower and the John Wayne figure? Pete and his Mexican loyalties, the pathos of his death? The Abilene Kid and his youthfulness?

16. Religion and agnosticism, faith in the Bible, Pete and the Indians, the chanting, the sign of the Cross, the Bible, men becoming children and praying - Gospel themes?

17. The end and the chess, the meal, the court and its decisions - Hightower's farewell? A pleasing resolution?

18. A picture of the West, western types in the format of adventure but in the guise of a fable?

THREE DAYS OF THE CONDOR

US, 1975, 118 minutes, Colour.
Robert Redford, Faye Dunaway, Cliff Robertson, Max von Sydow, John Houseman.
Directed by Sydney Pollack.

Three Days of The Condor: ten years ago, spy films were generally escapist spectacles. Five years ago, the genre soured and the sordid realism of espionage was presented. Post- Watergate films highlight the manipulation, the cover-ups, the using of individuals as pawns. This is the background to this thriller which makes it topical and exciting. Once the scene is set and the shooting starts, the film is well-paced and involving. Robert Redford is as expected, Faye Dunaway has more verve than usual, Max Von Sydow does his sinister thing. Films like this, accepted widely by audiences, will continue to give international intelligence work and the intrigues of espionage a (deservedly?) bad name.

1. The impact of this thriller? Enjoyment of espionage films?

2. Social comment on America in the 70s? The significance of the title? What thriller conventions did the film use, how well? The establishing of the hero, the massacre, the pursuit the mystery of identifications espionage and manipulation of people, the lonely girl, the solution? How modern, how old fashioned?

3. Comment on the modern look the film was given: colour, Panavision, stars, American locations. the emphasis on the C.I.A. and post-Watergate America.

4. What picture of America was given in the film? The effects of Watergate and the exposure of cover-ups? The nature and morality of espionage? The C.I.A. and intelligence? The use of information? The hiring of assassins and the manipulation of peoples' lives? To what purpose? The importance of the long opening: establishing situations and people? Atmosphere of suspense? The suddenness of the massacre? The mysteriousness of Joubert? Of Joe Turner? The preparations of the scenes of the slaughter? The execution of these scenes? The atmosphere for later assassinations? The rationale behind such assassinations? The film's judgement on this?

7. The film's establishing Joe as a person for audience interest and identification? The individual the theorist, the reader. his intelligence? His fear? His coping with mystery? His use of phoning intelligence headquarters? His survival?

8. His use of Cathy, relating to her? Their ingenuity together? The ordinary man surviving against the machine? The ultimate confrontation with Higgins? The condemnation to loneliness?

9. Turner as victim: audience sympathy for a nun who is pursued, seeking the truth, under suspicion. having to use his wits? How well was this exemplified in incidents in the film? What sense of achievement did Turner have in the end? Coping with the predicaments? The final prediction for his loneliness?

10. The portrayal of the C.I.A.; Wicks and his treachery, Atwood and his masterminding the killing? Wabash and his anonymous authority? Higgins with a more personal touch? Trusting Higgins? The values that Higgins stood for? His final condemnation of Turner?

11. The importance of Cathy? In the shop. her fear, the physical reality of her being tied up, her beliefs. her relationship her photos, the wintry tones of her outlook and loneliness? Her growing in love? Helping Turner? How convincing was this? Her meeting Higgins? The danger for her in the assassination attempts? As a support for Turner in the future?

12. The film's emphasis on the role of the individual? Espionage machines and international conspiracies? Joubert as the professional executioner? The man of menace and danger? The irony of his close presence to Turner at various times? The irony of his shooting Atwood? The film's comment on such persons?

14. The film was popular espionage entertainment. What values about modern politics did the film stand for?

THREE DARING DAUGHTERS

US, 1948, 115 minutes, Colour.
Jeanette Mac Donald, Jose Iturbi, Jane Powell, Ann Todd, Mary Elinor Donahue, Larry Adler, Edward Arnold, Harry Davenport, Moyna Mac Gill.
Directed by Fred M. Wilcox.

Three Daring Daughters is an attractive M.G.M. musical of the late '40s. It was one of the last star vehicles for the ever-popular Jeanette MacDonald? who had begun singing in films in the early '30s for Paramount - with Maurice Chevalier - had moved to M.G.M. and partnered Nelson Eddy in so many evergreen musicals of the time. She had some dramatic roles e.g. with Clark Gable and Spencer Tracy in San Francisco.

Here she is Jane Powell's mother and the two of them have a chance to sing together. There is an attractive supporting cast including Jose Iturbi acting as himself. He has opportunity to play the piano, playing duets with his sister Amparo, conducting orchestras. Jane Powell also has a chance to sing a range of serious songs as well as join the cast with the song popular at the time 'The Dicky bird'.

The film is typically attractive and glossy M.G.M. production: a girls' school, apartments in New York, a luxury liner, nightclubs, palatial offices. The family is, of course, affluent. Mother is divorced, a successful career-woman who has overworked and is ordered on holidays by kindly doctor Harry Davenport. Her daughters want their father back - Mother has not told them he has gone off as a reporter to Africa. Everyone seeks the help of kindly (this time) Edward Arnold - who has a running joke about visitors interrupting his meals. There are complications on the luxury liner, especially with Moyna MacGill? (Angela Lansbury's mother) as a gossipy tourist The pace gets slightly frantic for an M.G.M. musical with complications about daughters, mother and prospective stepfather - all works out well in the end. Not a memorable musical, but pleasant. Directed by Fred M. Wilcox who made such memorable films as Lassie Come Home and The Forbidden Planet.

THREE COMRADES

US, 1938. 98 minutes, Black and white.
Margaret Sullavan, Robert Taylor, Robert Young, Franchot Tone, Guy Kibbee, Lionel Atwill, Henry Hull, Charley Grapewin.
Directed by Frank Borzage.

Three Comrades is a pleasing 1930s romantic melodrama. It was based on the novel by Erich Maria Remarque, (All Quiet on the Western Front). Once the audience is able to accept the leads, all playing genially, as Germans, the film is acceptable as entertainment - with some point about emerging Nazism. (Commentators note that the film, produced in 1938, was toned down by censors in its anti-Nazi stand.)

Co-author of the screenplay was F. Scott Fitzgerald. There is a romantic score by Franz Waxman and the usual gloss and, production values. Robert Taylor, after Camille and other romantic leads, was emerging as an important star at MGM. Margaret Sullavan exercises her particular charm in the central role of an aristocrat, impoverished and suffering from tuberculosis - and deciding to end her own life. She was to be teamed with Robert Young in The Mortal Storm, also about Germany and Nazis. James Stewart was the star and appeared with her at this time also in Shopworn Angel and Shop Around the Corner. Monty Woolley appears in a small role as a kind doctor. The film shows its age - but is an example of popular MGM entertainment of the '30s.

1. The impact of the German themes for the '30s? Romantic themes? Satisfying romantic entertainment?

2. Production values: German atmosphere, studio sets? Black and white photography? Romantic pace? The musical score? The romantic attitudes of director Frank Borzage? The work of F. Scott Fitzgerald? The popularity of the novels of Erich Maria Remarque - and his insight into human nature, his attitudes towards Germany?

3. The focus of the title - Patricia as centre, the three men as her close friends, the bonds between the three? An engaging portrait of love and friendship?

4. The focus on Germany at the end of World War One? Defeat? The young officer wanting to call the major his father because the war had ended? The attitude of defeated Germany? The portrait of the three friends and the influence of the war on their lives, the lives that they had missed out on, their hopes as they returned? The growing unease in Germany after the war? The temptation to be self preoccupied? To ignore social disturbances? The film's alerting audiences to social unrest, street rallies, riots and killings? The film's relevance for Germany of the late 1930s?

5. The portrait of the three men and their friendship? Their sharing of war experience? Their hopes after the war? Their work in the repair shop? Building their car 'Baby'? The mutual respect, the helping of one another, the friendship towards Pat and their love for her? Self-sacrifice?

6. Pat as the focus of the friendship? Her relationship with Breuer and the car ride? The enjoyment of the company of the three? Erich and his attentions, his phone call, her proposing the outing? Their shared enjoyment? The social entertainment - Erich making a fool of himself with dancing and his makepiece suit, Breuer laughing at him? Pat's return? Her discussions with Otto and his persuading her to marry Erich? The support of Gottfried? The friendship with Alrons and Pat's visit to his cafe? The place and the happy ceremony? The romantic trip, the beach, the honeymoon, the press-up and Pat's illness? The ride by Dr. Jaffe? Her going to the sanatorium, her return home and 'the happiness with Erich? Her asking him to come before the operation? Her attitude towards the operation? Her decision to die? The final talk with Erich - and her going out to watch him and into the snow to die?

7. Erich: Robert Taylor as romantic lead? Dashing war hero? Work in the repair shop? His attitude towards Germany and life, disappointments, drinking? The instant falling in love with Pat, his awkwardness, her calling him, a baby? The phone call, the outing, Alfons' cafe? His embarrassment at his social awkwardness, drinking, finding Pat at the door? The happiness of the wedding? The honeymoon, his concern about her illness, discovering the truth? His concern about Gottfried and his being shot in the demonstration? Otto's selling the car for Patricia? His grief at her death?

8. Otto as friend? His blowing up his plane at the end of the war? His building the car, his speed in driving? The clash with Breuer? His wanting to ignore social situations? His support of his two friends? The serious discussions with Patricia and his persuading her to marry Erich? Patricia's knowing the truth about his selling of the car, Gottfried's death? His staunch friendship for both - in avenging Gottfried, in selling the car for Erich and Pat?

9. Gottfried and his idealism, the impact of the war, social concern, involvement in Left-wing groups, the speechmaker and his rescuing him, his being shot? His being considered an honourable man and concerned about causes?

10. The humour with Alfons and his cafe and love for choir music? The local doctor and his concern? The doctor's helping Pat? The people at the sanatorium? Dr. Jaffe and his rushed trip, concern for her?

11. The importance of her decision to die? Her right to die? Her not wanting to linger?

12. Themes of friendship? Loyalty? Love - within the German context? The impact of the spirit of Gottfried and Pat joining Otto and Erich at the end?

THREE

UK, 1969, 104 minutes, Colour.
Charlotte Rampling, Robbie Porter, Sam Waterston, Pascale Roberts.
Directed by James Salter.

Three is a youth-oriented film of the late '60s. It was written and directed by James Salter, who wrote the screenplay for the Robert Redford-Michael? Ritchie film Downhill Racer. The origin of the film is an Irwin Shaw story, And Then We Were Three. The film seems an ambling and almost directionless story - a presentation of three young people adrift in Europe during a holiday. They meet, work out a code for travelling around Europe together by car, they interact without much drama or even melodrama. They gradually change somewhat and one leaves possibly for maturity. The Europe backgrounds are beautiful. The film is slow moving and is not persuasive in its presentation of character. It is very much a mood piece representing moods in the late '60s.

1. An interesting and entertaining film? Reflecting the period of the late 1960s? Its impact later? For what audience was it made? A youth audience, adult audience?

2. The moodiness of the film - in its screenplay, presentation of character and interaction, in the colour photography, pace and editing? A slow and wandering film? The attention to detail? The cumulative effect? The point of the story as seen in the ending - the characters moving towards this point with direction or aimlessly?

3. The purpose of the film: mood, feel for character, issues of youth, lifestyle, relationships, fulfilment?

4. The European locations and their presentation - attractive scenery, cultural background, wealth? Europe as a setting for a meeting between American men and an English woman?

5. The significance and focus of the title, audience expectations - especially in terms of relationships and clashes, sexual overtones? Fulfilment of expectations or not? The low-key presentation of interaction?

6. The tradition of the road picture - the road itself. the vehicle, the young characters and their journey? A pleasant and well-mannered road picture?

7. The buying of the car at the start, the audience identifying with Bert and Taylor? The importance of the car and their use of it throughout the film, attachment to it? Their age., money background, professional possibilities in America, education? Their experiencing Europe? The attraction to girls and their awkwardness and shyness?

8. The visit to Florence and the encounter with Marty? Her being attracted towards them? The background of their previous attempts to get friendly with girls? Marty's decision to take them to visit her friends - the small talk, the wealthy mansion, the puzzle about relationships? Italian wealthy class? The proposal to Marty for her to go with them - Taylor's idea, Bert's proposal? Her acceptance? The code that they established, the rules for the journey, honesty between them? The freedom for Marty to do as she wished? Taylor living by this? Marty wavering. Bert going his own way?

10. The travelogue and television commercial style of their travel and enjoyment -the road, hotels, beaches - cavorting on the beaches, splashing each other etc.? The car ride, meals?

11. Marty's friends and her associations? Her taking them to familiar places to her? Their enjoyment of this?

12. Taylor and his background, sensitivity and shyness? The idea of the trip for the three? His flirting with girls, his refusal of Marty's seduction? His sensitivity to Bert's feelings? Qualities of friendship? The climax with his diving to rescue the people in the water? Its not being necessary? His staying in bed. the significance of his dream? His waking up, changing, leaving? Where did he go? To maturity? How did he change throughout the film?

13. Bert as the more conventional American? Relying on his good looks, manner, approachability? Friendship with Taylor? The car, his going behind Marty and Taylor's back - friendship especially with Claude? Taking her out? His growing away from the other two at times? The challenge for diving to rescue the people in the water? His refusal? His staying the night with Marty and remaining in Southern Europe with her? Unchanging?

14. Marty and her style? Sense of freedom? Pleasant, well educated, wealthy? Her background, her base in Paris., her friends in Florence? The attraction towards Taylor? Her going her own way? Wanting to spend the night with Taplor and his refusal? Spending the night with Bert and being left by Taylor? Her future?

15. How accurately did the film observe its three characters, their behaviour, speech, ideals, way of life? How well did the film reveal their characters? Or not?

A THOUSAND CLOWNS

US, 1965, 115 Minutes, Colour.
Jason Robards, Barbara Harris, Barry Gordon, William Daniels.
Directed by Fred Coe.

A Thousand Clowns is a very engaging comedy written by Herb Gardiner who was also to write Thieves. Expanded from a very successful Broadway play, it features Jason Robards in the central role as an irresponsible but genial New York man. His encounters with his nephew and with an attractive probation officer are very enjoyable as well as causing food for thought. Filmed in black and white on New York locations, the film is really the filmed play. Martin Balsam as Robards' brother won an Oscar for best supporting actor. There was a sequel made by Tom Gries featuring Robards and Katherine Ross. It was called Fools. It was not commercially successful.

1. An entertaining film? A moral fable? Overall impact and value?

2. The significance of the titles - to whom referring? The song and its lyrics and significance? The focus on people, the focus on the circus and the clowns? Tone of joy, funniness? Humour? Was the film funny?

3. The importance of black and white photography, photography of New York - as real and authentic, its feel, look? The contribution of the collage of images at the start - people, buildings, occupations? Crowds? The artificial arrangement of people and the comment that it made? Interiors and exteriors? References to the atmosphere of New York and its places? The bike travel? New York as a character?

4. The contribution of the score: song, satiric, the use of songs, rhythms?

5. Was it evident that the film was based on a stage play? Number of characters, quality of dialogue, interaction? The way the film was opened out to make it cinematic? The importance of symbols? Murray and his kites, symbols of escape, his room itself, the boats, songs? Sandra and her files and flowers? Nick and his books, dole?

7. How was it Murray's film? Audience interest in him, identification with him? Jason Robards' style and skill in making him authentic? Making a contrived character authentic? The quality of his articulateness - real, contrived, wise? was the screenplay for him or against him, his attitudes, behaviour? Seeing people and events through his eyes? The importance of the ending for this? The initial impact of Murray? Profile, the day with Nick and all its various events, points of view, discussions? His attitudes towards people, work? The importance of shouting? His confronting people - how willing was he to be confronted? His response to Albert and Sandra? The impact of Sandra and his love for her? Talk about the boat, the ride, the night and its repercussions for him? His facing up to decisions about Nick, and avoiding them? Work, getting the suit, the job and refusing? The impact of Leo's visit on him, Nick? Arnold and the bond between the two brothers, Arnold's influence? Doing favours for his brother, putting the opposite point of view? Sandra and Albert and their effect on him? The cumulative effect of people on him? How perceptive was he? How much did he learn from his perception? The film was full of witty sayings - how humorous, cogent, wise, the points being made?

10. How free was Murray? His own ideas of freedom, behaviour and attitudes? Escaping from the artificiality of New York? His being a child? His hopes, attitude towards responsibility, to change?

11. The contrast with Nick? Murray's explanation of his background and his kindness in taking in the boy? His parents? A boy and yet very adult? The importance of his change of names? The importance of the focus on transition from childhood to adulthood? How knowing and wise was Nick? The importance of the interview with Sandra and Albert and his assessment of it, his assessment of Sandra? His contrived answers and wanting to control the situation? His response towards Leo and the emphasis that he was not a child? The bond with Murray and his gratitude towards him, love for him? The scenes of their sharing? Sentiment yet the social situation and its realities?

12. How attractive was Sandra - an academic, related to her work and its jargon, the bout with Albert and her standing up to him? Her emotional involvement in her work and her assessment of this? Her laughing and crying? The importance of the day with Murray, the night? Her hopes? The change in her life? Being a mother for Nick? Loving him? Her leaving and saying "I'm sorry"? Her return? The file, the boat? Was the screenplay in favour of Sandra's attitudes or not? Audience response to Albert and his manner, his job? Audience feeling against him? His attitude towards Sandra? The significance of his return and his long speech about himself and his job? How much did it justify his stances and himself?

13. Arnold and his role - as brother, responsible for Nick, the fruit? His work, office, jobs? The importance of his visit? The significance of his long speech and his explanation of himself? How right was he? Did the audience agree with him?

14. The TV ideas men and the satire? The various contributions to satire on the media? The audience sharing Murray's spurning of them? Satire?

15. The character of Leo - seeing him at work, statues, the routines and the children? His pleas to Murray? His being hurt? The world in which he lived a mirror of Murray's world? How well delineated was the character of Leo especially in the television world?

16. The effect of the small number of characters. the strength of the dialogue? The intensity of the interactions? Insight? The long speeches presenting the point of view of each character?

17. A thousand clowns and the humour of words, actions? Insight into the American way of life?

18. Themes of values and relationships, responsibilities. sentiment and thought. the rat-race and contemporary coping with it?