1001 NIGHTS

US, 1945, 89 minutes, Colour.
Cornel Wilde, Evelyn Keyes, Phil Silvers, Adele Jargons, Rex Ingram, Shelley Winter.
Directed by Alfred E.Green.

1001 Nights is an old-fashioned Arabian adventure - with a comic satiric touch. It indicates the origins of so many of the television series and specials in succeeding decades. The film seems near in spirit to Mel Brooks and his send-ups of the past. This is seen in the introduction, the appearance of Phil Silvers ahead of his time, wearing (like Woody Allen) glasses in the past. He has a lot of corny turns and burlesque jokes culminating in his being dubbed with Frank Sinatra's voice at the end. Cornel Wilde is hero - the type of film that he did very well. It is reminiscent of his mid-'50s Omar Khayam. Evelyn Keyes enjoys herself as Babs the genie, and Adele Jurgens is the princess. While there are the usual variations on Arabian adventure, The Thief of Bagdad, including Rex Ingram as a genie, and the story of Aladdin and his lamp, the film blends the tongue-in-cheek serious touches of Arabian adventures with very good comedy. The film is a cinema oddity.

THOSE FEARLESS VAMPIRE KILLERS

UK, 1966, 107 minutes, Colour.
Jack Mc Gowran, Roman Polanski. Alfie Bass, Sharon Tate, Ferdy Mayne, Iain Quarrier, Terry Downes.
Directed by Roman Polanski.

Those Fearless Vampire Killers is a very stylish comedy satirising the conventional vampire horror films. Acting and sets are much better than the usual horror films and, in fact, there is quite an atmosphere, part beauty, part horror about the whole film. It is witty and clever.

Polanski avows he is a fan of horror films and he is a master at creating atmospheres of horror and terror without resorting to blood and scream tactics. Knife in the Water, Repulsion, Cul-de- Sac, Rosemary's Baby, Macbeth, The Tenant, all rely on this creation of atmosphere.

Jack Mc Gowran, looking like an emaciated Einstein and Polanski himself, looking like Danny Kaye, seek out vampires in the name of science and, then, in the name of liberating the world. With the surprise ending, their mission is a failure. Vampires are laughed at - a Jewish vampire who is not repelled by a cross, a homosexual vampire and Richard III at the Vampire's ball. Peasants are laughed at. The fearless vampire killers are laughed at - and the audience is really laughed at but all in a light, good-humoured way. There is a certain curiosity about the film because in it Polanski directs and acts with his wife, the late Sharon Tate. The film is a better vampire film than the horror films it sets out to mock.

1. Did you think this was an effective satire? Why? Did it use cheap camera tricks and jokes to ridicule its subject or did it use better means? What were they?

2. What were the chief targets of satire here?

3. How did the M.G.M. Lion turning vampire and the continuous drop of blood (becoming a bat!) set the tone of the film?

4. Why was Professor Abronsius made up to look like an emaciated Einstein? Did the film poke fun at scientist theoreticians? (Dr. Abronsius seemed more interested in confirming his theories than the people involved in the vampire sucking. He almost stopped to study bats instead of making his escape.) Is Don Quixote and Sancho Panza a valid comparison for the two heroes?

5. What was Alfred's role in the film - master's apprentice? comic hero? An example of ordinary, fearful humanity - he could not put the stakes through the vampire's hearts.

6. Why did a Jewish vampire unafraid of the cross and the homosexual vampire, and the vampires at the ball poke fun at vampires? (And the lower class vampire put outside to rest!)

7. Why did vampire stories arise? Did people believe in them? Why were people so superstitious about them (with garlic)?

8. Writers say that vampire stories and superstitions express some of the darker side of our own personalities. How? Could this be true?

9. Is it true to say that evil always wins in this film?

10. What was the meaning of the ending? Did it poke fun at the whole film? How? "That night, fleeing from Transylvania, Professor Abronius never guessed he was carrying away with him the very evil he had wished destroyed. Thanks to him, this evil would at last be able to spread across the world."

THIS WOMAN IS DANGEROUS

US, 1952, 97 minutes, Black and white.
Joan Crawford, David Brian, Dennis Morgan, Mari Aldon, Phil Carey.
Directed by Felix Feist.

This Woman is Dangerous is definitely a Joan Crawford vehicle from her middle-age period. She has glamour and class - but is revealed to be a criminal. The film obviously relishes the ambiguity of Joan's stances - and her reform. She is once again teamed with David Brian (Beyond the Forest) and has Dennis Morgan as a sympathetic doctor in the Dark Victory style. There is a competent supporting cast. Production values are excellent and the film has the Warner Bros, technical gloss. The Monthly Film Bulletin says that it does not have the outlandish thrills that a Crawford vehicle needs - but is of interest to students of her career. With Faye Dunaway's impersonation in Mommie Dearest, Joan Crawford's personality and career received a new boost.

1. Entertainment value of Joan Crawford vehicles? The popularity in the '40s and '50s? Her screen image? The good girl, the bad girl - class (even in middle age)? Joan Crawford as a Hollywood figure?

2. Production values: black and white photography, editing and pace, action and romance? Romantic score?

3. Audience acceptance of the genre and the characterisations? The conventions of romance, the ailing heroine, her being treated by the doctor, her recuperation and convalescence? The interplay of her criminal background, jealousy, the law? How well presented? Hollywood style?

4. The plausibility of the plot: Joan as a criminal, her work with the gang, the pursuit by the police? Her going blind? The chances for the success of the operation? Her chances of falling in love with the doctor? The final melodramatics - death, revelations to the police, F.B.I., lenience? American values and dreams?

5. Joan Crawford's screen presence? The credibility of her characters? Her strong presence, glamour? Beauty? The opening for audience sympathy with the test of her eyes and her going blind? The possibilities for the operation and its success? The revelation that she is a criminal? Her style with the gambling and the bank account? Her covering her tracks? Relationships with the Jacksons? Matt's obsessive love for her? Her feelings of gratitude towards him? Her control? Disappearing? The tension ~ black and white lighting dramatising the difficulties of the blindness? The operation, her convalescence? The ambiguity of the phone calls and her anxiety? The dates with the doctor and her falling in love? Domestic Joan and the doctor's daughter? The possibility of marriage? The pursuit by Matt? The pursuit by the police? Growing tension? The operation and the melodramatics - her putting her life on the line for the doctor? The finale and her receiving a lenient treatment by the F.B.I.?

6. Matt as jealous criminal? Participation in the plans, the robberies - and the effectiveness of the disguise as police and the robbery? Escape? Held up by police? Holed up in the caravan? Clashes with Will? with Ann? The phone calls, the visit? Suspicions? The credibility of Matt's obsession? The confrontation with the doctor? The melodramatics of the operation and his literally smashing death?

7. Will and Ann and their participation? Criticisms? Ann and her support of Beth? Will as the petty criminal?

8. Dennis Morgan and his charm as the doctor? Bedside manner? Successful operation? The outings? The lectures? His daughter and bringing Beth home? The impact of his visit to the prison - and its effect on Beth waiting in the car and her memories of her own time in prison? The operation, danger to his life, accepting death as she is?

9. The picture of the police and their interrogations, tapping phones etc.? The work of the F.B.1.?

10. The flavour of the hospital - doctors, nurses, operations, convalescence?

11. The action sequences? The nicely timed robbery? The pursuit of the police and interrogations?

12. Romantic themes - the material of the classy novelette?

THIS SPORTING LIFE

UK, 1963, 128 minutes, Black and white.
Richard Harris, Rachel Roberts, Alan Badel, William Hartnell, Colin Blakely, Arthur Lowe.
Directed by Lindsay Anderson.

This Sporting Life is one of the best of the English dramas of the early '60s. The angry young men had made their mark in English literature, drama and cinema in the late '50s - people like John Osborne, and Tony Richardson directing his films; Karel Reisz and Alan Sillitoe and the filming of Saturday Night and Sunday Morning. Richardson, Reisz and others joined with Lindsay Anderson to form a group making films of these glimpses of life in its harshness and reality. Reisz produced This Sporting Life and asked Anderson to direct. Anderson had made only short features and was a prominent stage director. He made his mark with his few films: If, 0 Lucky Man, and the American Film Theatre version of In Celebration. Collaboration by David Storey, author of This Sporting Life, was considerable in Anderson's films.

Anderson also drew one of Richard Harris' best performances from him. Harris won and Oscar nomination. Rachel Roberts has seldom been better than she is in this film. There is an excellent supporting cast and each of the characters is brought vividly to life. The film, while a slice of life, is presented generally in flashbacks and is really the portrait of an ordinary man with a driving ambition. He wants to succeed in football and does, unscrupulously. He also has a sensitive side but is unable to communicate it to a widow, Margaret Hammond, played by Rachel Roberts. The end is tragic. However, Frank Machin, the hero, has to live on. There is strength, passion, vision and involvement in the film and this is dramatically communicated to its audience. An excellent film which has stood very well the passing of years.

1. The impact of this film? Its humanity, passion, authenticity?

2. The qualities of British production? The realism, toughness? The adaptation from a novel? Lindsay Anderson and his stage work? The strength of the black and white photography, the blending of reality and imagination? The musical score?

3. The screenplay and its structure: the audience involved in the middle of the story, the flashbacks into Frank's life, career, relationship with Mrs. Hammond? The progress on the Christmas Eve and his going to the party and the further flashbacks? The thrust forward from the Christmas Eve party? The dramatic impact of this presentation of past, present and future? The significance of the past within the conflicts of the present? The flashbacks highlighting Frank's opportunities and the different roads that he might have taken? The motives for his taking various decisions and paths and their repercussions? Audience involvement with the character via the flashback technique?

4. The film's award nominations, prizes? Its classic status? Its impact in its time, in succeeding decades? Audience response and involvement?

5. The significance and tone of the title? Its ironies? The humour and pleasant side of sporting life and chances? The competitiveness and goals of sport? Sport used as fact, symbol? A mode of observation of life as well as a critique?

6. The presentation of football as the symbolic and realistic sport? The opening sequence and its reality, hard play, strategies and techniques, the managers, the supporters? The mystique of football and competition? The fans on the weekend and their glorifying their sporting heroes? A man's sport and the focus on the masculine ethos? Teamwork, individuals and self assertion as well as work within the team? The need to win, tactics, glory? The horseplay at the background of the serious sport - the showers and baths and the horseplay there, the parties, the awards? The drinking and comradeship? The importance of success and being in favour? The comments on footballers seeming to be apes on the field - the way this was visualised? As a fair comment on the reality? The insertion of the various football sequences into the film for its pacing? The final sequence and the camera with drawing from the game? Football as a context for this presentation and interpretation of an ordinary man's life?

7. The contrast with Frank's sensitive side? His boarding with Margaret, his regard for her, his relating well with the children? Discussing with Margaret? His attitude towards her husband, her polishing the boots? His meals? Her reserve with him and his trying to draw her out? Interest in her? Discussion about the football and her lack of response, her response to the $1000 cheque? Her comments on Johnson and his love for Frank? The more playful side of Margaret and Frank's ability to draw her out? The car, taking the children for a ride? The long picnic sequence and the throwing of the ball, the water? The sexual relationship? His hopes for her? The restaurant sequence and the giving of the fur? The clash especially at the wedding? His being thrown out? His leaving and staying in the doss house? His anguish when he returned and found her in hospital? His grief and presence at her death? The tenderness in him? The other side of the tough exterior? The scream of grief?

8. How well did Richard Harris' performance combine these aspects? The football and the treatment of his teeth? The party and his feelings, memories? His failure with Margaret? His failure at the hospital? The final game and the audience leaving him in the distance playing? The portrait of a man? The symbolism of a man - strong and tender? How well observed, insight into character? His drive, goals, ambitions, experience?

9. Rachel Roberts' portrait of Margaret? Her being seen through Frank's eyes? The audience sharing his perceptions of her, judging her from a different angle? Seeing her at home and the domestic sequences, her reserve, fears? Her comments on Frank and his behaviour, the critical remark, holding in her feelings? Her care for her children? Her needs, having the boarder despite what people would say? Her memories of her husband, the polishing of the boots? The later revelation of the story of his possible suicide and Frank's using it against Margaret? Was it possible? Her laughter at the $1000? Her changing in her attitude, the car ride, the picnic and her standing back and then laughing? The sexual relationship and its intensity? Her response to Frank? Her holding herself in reserve, feeling like a kept woman and despising herself? Her puritanical attitudes, impossibility of enjoyment? Her fears? The gift of the fur and her response, the dinner and her embarrassment? The wedding and her comparisons with herself? The visits to the graves? The anger at Frank and the slaps- at the wedding? Her driving him out? Her illness? The pathos of her death? The portrait of a woman?

10. The significance of the spider in the hospital, Frank killing it, the blood from Margaret's mouth?

11. The portrait of Johnson - the old man and his affection for Frank, following him, being called Dad, wanting to help following the team around, offended when offered money, the visits to Frank, Weaver spurning him? His sudden absence? The father-son relationship, Johnson's love for Frank?

12. The presentation of Weaver and his control of the team, his attitudes at meetings, the bargaining about Frank's salary? The falling out with Frank? The sexual innuendo? His happiness with the team and the singing 'For He's A Jolly Good Fellow'? His wife and her meeting Frank? Mrs. Weaver and her attempts at seducing Frank and his response? Her later ridiculing of Frank? The film's critique of the couple?

13. Slomer and the comparisons with Weaver, his dislike of Weaver, his criticisms of Frank and seeing that he deliberately brutalised the player for his own ambitions? The Christmas party and Slomer's control of Frank?

14. The presentation of the team - the initial fights and Frank's abrasiveness, the captain and his being punched at the dance? Later friendships and concern? Maurice as a good friend? The outing with the girls, Frank's singing in the club? Their discussions about life? Maurice's engagement and wedding? The sketching in of the personalities of the team?

15. The presentation of the team ~ hard play, horseplay? Looking like apes on the field? A just criticism of football?

16. A perceptive view of a particular way of life, the realistic treatment, the insight and perceptions?

THIS HAPPY FEELING

US, 1958, 92 minutes, Colour.
Curt Jurgens, Debbie Reynolds, John Saxon, Alexis Smith, Mary Astor, Estelle Winwood.
Directed by Blake Edwards.

This Happy Feeling is one of Blake Edwards' earliest direction projects. Writing a number of musicals and comedies in the '50s, he moved to direction with such films as Mister Cory, Operation Petticoat. During the '60s and '70s he had great success (Days of Wine and Roses, Pink Panther series) and some flops and studio disagreement with The Return of the Pink Panther and films such as 10, S.O.B. and Victor/Victoria he established himself as a director of the '80s. The film is based on a play, For Love or Money, by comic writer F. Hugh Herbert. It is a star vehicle for Debbie Reynolds and a vehicle for introducing Curt Jurgens to American audiences. There is a strong supporting cast, especially with veteran actresses Alexis Smith, Mary Astor, Estelle Winwood. A pleasant theatrical comedy.

1. Entertainment? Comedy? Insight into the theatre world? Romance?

2. Colour photography, Cinemascope? Musical score? The title song? For the mod of the film?

3. The popularity of theatre films? The background and glamour of Broadway? Stardom? Retirement and comebacks? The attraction of the audience? The ego of actors? The production of plays? Conventional material - pleasantly done?

4. How realistic the portrait of the ageing star? Comebacks? The generation gap? His falling in love with his secretary? Her response? The new lease of life?

5. The picture of Preston Mitchell - his status on the stage, his retirement, the Connecticut farm, the invitation to return to Broadway? His estimation of his age? His refusals? Janet and her urging him to go back, confidence, love? The crises? Janet and her youthfulness? Mitchell's skill in breaking off the romance? The experience of Broadway, the younger actors and actresses, the clashes. new determination and energy? Success? Curt Jurgens in this role?

6. Debbie Reynolds and her liveliness, charm? Her working for Mitchell? Persuading him to go back. admiration. falling in love, her romantic dilemmas, the pain, the humour? The end of the romance? Success for her, for him?

7. The background of New York theatre? The attractiveness of the stage, the audiences? The tensions of rehearsals? Comedy and irony?

8. The supporting cast, attractive, humorous, ironic? The gallery of stars and their skills - Alexis Smith, Mary Astor, Estelle Winwood? The humour of Estelle Winwood and her age, appearances, whimsy?

9. John Saxon as youthful, romantic - American hero?

10. Particular sequences and their humour. comedy touches, verbal humour, slapstick?

11. An attractive piece of '50s Americana?

THIS GUN FOR HIRE

US, 1942, 81 minutes, Black and white.
Alan Ladd, Veronica Lake, Robert Preston, Laird Cregar, Tully Marshall, Mikhail Rasumny, Marc Lawrence.
Directed by Frank Tuttle.

This Gun For Hire introduced Alan Ladd (though he had appeared in very small roles in such films as Citizen Kane, Joan of Paris). It also teamed him for a successful duo with Veronica Lake. The film is adapted from Graham Greene's A Gun for Sale, translated to America and war propaganda of the early 140s. Paramount did the same with Greene's Ministry of Fear, directed by Fritz Lang in the following year. The film is an interesting brief portrait of a psychopathic killer, effectively played by Ladd. It prefigures the type of film that was much more popular from the '60s on. There have been many film versions of Graham Greene's work from the '40s and Brighton Rock, The Third Man, The Fallen Idol through the '50s with The Heart of the Matter and The End of The Affair, into the 160s with The Comedians, the '70s with Travels With My Aunt and The Human Factor.

1. The success of the film in its day? A semi-classic status? The anticipation of the mid-40s film noir? The stars and their impact? The blend of thriller and war propaganda? The popularity of Graham Greene and his entertainments? The adaptation of Greene's characterisation and plot to the United States?

2. The brisk '40s style, black and white photography, San Francisco and Los Angeles location, the blend of location and studio work? The musical score, the Frank Loesser songs?

3. The film as a portrait of the psychopathic killer: the introduction to Raven, Alan Ladd's presence, appearance, manner? Alone in the apartment, the aggression towards the cleaning girl, the kindness towards the cat? The coolness with which he killed his assignment? Shooting the girl through the door? The payment and his pressure on Gates? His curiosity about the authority for the killing? The buying of the dress for the girl? Discovering the police, hiding in the phone box? The escape, the train ride and the encounter with Ella? His talking with her, unburdening himself, formulating his aggression on Gates? The decision to kill Ella and her escape? The intensity of his tracking Gates - the mistaken identity and the fainting chemist? Finding Gates' house, rescuing Ella, the attack on the chauffeur? Hiding out with Ella and telling his story about his background, the cruelty that he had experienced? The bond between the two? The escape and the hiding in the gasworks? Letting Ella go and escaping through her disguise? The confrontation of Gates and Brewster with the gas mask? The deaths of the villains? His own death and the touch of a smile? A portrait of an enigmatic violent psychopath?

4. The focus on the killer, murders, consciencelessness and cold-blood? The contrast with Gates and his fear of violence, not wanting to hear about it? Brewster and his ruthlessness in use of violence? The chauffeur and his enjoying it? The police and their having to use it?

5. The background of espionage in the United States during the war? The propaganda appeals?

6. Brewster as the tycoon, his ruthlessness, traitor? The interview with Gates? His misleading the police? The final confrontation - and the hatred of his valet? Gates and his fastidiousness, eating, his fears, wanting to catch Raven at the train? Lies? His lavish home, the betrayal of Ella? His patronising the clubs and the girls - the audition for Ella? His fear? His death?

7. Ella as heroine? Veronica rake's style? Her songs and the magic tricks with hocus pocus? Love for Michael? Being employed by the senator to track Gates? The train ride and her listening to Raven? Her almost being killed under the overpass? Her being captured at Gates' house? Ella's being rescued by Raven, the escape and her leaving the cards for the police tracking, the hiding in the gasworks, listening to Raven's story and the bond of affection between them? A credible heroine? A credible American spy? Michael and the conventional picture of the police force? Police action? The final shoot-out? A grim world - European espionage translated to the American west coast? The anticipation of the film noir? The exploration of values: violence, loyalty, conscience?

THE THIRTY-NINE STEPS

UK, 1978, 102 minutes, Colour.
Robert Powell, David Warner, Karen Dotrice, John Mills, Eric Porter, George Baker, Timothy West.
Directed by Don Sharp.

John Buchan's popular classic has had Hitchcock/Donat ('thirties) and Kenneth More ('fifties) treatment. For contemporary audiences, the emphasis is on period: the look and feel of 1914 England. it is also in the old British tradition of film-making, quietly competent and tense, assassinations, dastardly Prussian plots and upright John Mills trying to warn complacent politicians. And with Robert Powell's Hannay's stiff upper lip and strong right arm saving the country. The chase is convincing (Hannay has strong wits and legs) and the baddies, led by David Warner, particularly Menacing and ruthless. Unfortunately, Mister Memory has gone but there is the most far-fetchedly tense finale, literally on Big Ben, to climax everything.

1. The appeal of this classic story? The plot, issues, hero, adventures, patriotism, types?

2. The influence of the film tradition? Hitchcock and his classic treatment of the 'thirties? The remake of the 'fifties? The highlights and their inclusion or non-inclusion? e.g. the farm sequence in Hitchcock's version, Mister Memory? The contribution of the 'Big Ben' climax in this film?

3. The title, its illustration during the credits? The code meaning? Tone, expectations, adventure?

4. The importance of atmosphere for this version? Colour, London and England in 1914, Parliament, Big Ben, the streets and houses of London, the countryside, by train and car and air? Scotland? The Big Ben and Thames climax? The delight in nostalgia and re-creating the period? An authentic atmosphere for this kind of story? The contribution of the score and its atmosphere?

5. The political background: the Prussians and their infiltration in England, England and its preparation for the war? Scutter and his investigations and warnings, the sleepers awaking, the assassinations? Appleton and his infiltration? The assassins and their acceptance in society and adapting to England? The impact of these stories of World War One and 1914 in the late 'seventies? Historical interest?

6. Scutter and his impact, the opening, his pursuit especially after the assassinations? His anxiety, packing, decision to go to Hannay? Telling his story, the gun, Kate sleeping, escaping death? The empty gun? Posting the notebook? The suddenness of his death? The nuns screaming? His continued presence throughout the film and the importance of his notebook?

7. Hannay as hero? Robert Powell's style and presence? South African background -mines, English, German? The decision to go to Scotland? Providing a situation for adventure? His apprehension of the various clues? Sheltering Scutter and emptying the gun? Being present at his death? The implications and accusations? The continued escaping?

8. The presence of the police, the interrogation, the pursuit? The aspects of the manhunt presented? The proving of the innocence but the decision to make out that he was still being pursued? The role of the police in defusing the bomb? The character of the Inspector?

9. The background of the politicians and the issues of war? The substitution of a pier and the repercussions especially for Navy, Army, Intelligence?

10. The confrontation of Hannay and Appleton? The character of Appleton and his presence in England, his decisions, his influence over the two assassins? Audience response to his stabbing the politician in the street? The spectacular kidnapping of Hannay, the interrogation and imprisonment, letting him escape, the incidents at the railway station?

11. Hannay's ingenuity in escaping, taking the place of the parson, escape in the train and pulling the cord, hiding on the bridge, the pursuit over the fields? His background of hunting in Africa? The tramp and his clothes? The assassination of the gamekeeper? The continued moving through the fields?

12. The introduction of the shooting party, Hannay telling his story, the fascination of Miss Mackenzie and the romantic interest? Her engagement to David? His continued help? The escape, the bicycle ride and the plane pursuit, the political rally and his double talk, the presence of the assassins? The return to the house and David's death? The sanatorium scenes and his inability, summoning the attendant, the wheelchair incident?

13. Appleton and his presence at the sanatorium ? The lengths to which he would go?

14. Hannay helping the Inspector? The decoder, the thirty-nine steps? The kidnapping of the politician and Miss Mackenzie, the elements of time?

15. The build-up to the Big Ben sequence - the political situation, the constant focus on the time. Big Ben itself, Hannay's decision to confront the assassins, his understanding what was going on, going out on Big Ben and holding the hand? How far-fetched, how authentic? The people watching and the audience sharing this? The fights, deaths, the rescue of Hannay?

16. The rescue of Miss Mackenzie and the politician - England saved?

17. Characters developed for this kind of action adventure, British types, tradition and the traditional presentation, patriotic values - and their perennial appeal?

THE THIRTY-NINE STEPS

UK, 1960, 93 minutes, Colour.
Kenneth More, Taina Elg, Barry Jones, Faith Brook, Brenda de Banzie, Duncan Lamont, James Hayter, Michael
Goodliffe, Reginald Beckwith.
Directed by Ralph Thomas.

The Thirty - Nine Steps is the second version of John Buchan's famous novel about Secret Service agent Richard Hannay. The first film was the Hitchcock classic of 1935 with Robert Donat, Madeleine Carroll, Godfrey Tearle, Peggy Ashcroft and John Laurie. There was to be a remake in the late '70s with Robert Powell as the hero and a supporting cast including John Mills. This latter film was a return to the structure and style of the original novel. But the remake of 1959, an adaptation by Frank Harvey, was based more on the Hitchcock film than on Buchan's novel.

The remake was an updating of the action to a contemporary England. There was attractive colour photography and some special effects for action sequences. The film was a production of the very popular Betty E. Box and Ralph Thomas combination (the Doctor series, many dramas starring Dirk Bogarde). The film also takes its tone from having Kenneth More in the lead - a much more genial actor than either Robert Donat or Robert Powell. The supporting cast is very strong and very effective. Barry Jones is an eccentric villain, James Hayter a delightful Mr. Memory and Brenda de Banzie and Reginald Beckwith are the couple, Peggy Ashcroft and John Laurie in the original film. Taina Elg was not a strong heroine.

This film, as with the original, relies on an atmosphere of suspense, the focusing on the character of Richard Hannay and his mysterious adventures - with many London Hitchcock touches including the death of the nanny. There is the famous train sequence with the unwilling heroine. There are the chases in Scotland and the finale in the theatre with Mr. Memory giving the secrets. While the film lacks the cinematic style of Hitchcock's original, this version is a very entertaining action spy adventure.

1. The appeal of this classic story? The plot, issues, hero, adventures, patriotism, types?

2. The influence of the film tradition? Hitchcock and his classic treatment of the 'thirties? The remake of the 'fifties? The highlights and their inclusion or non-inclusion? e.g. the farm sequence in Hitchcock's version, Mister Memory? The contribution of the 'Big Ben' climax in this film?

3. The title, its illustration during the credits? The code meaning? Tone, expectations, adventure?

4. The importance of atmosphere for this version? Colour, London and England in 1914, Parliament, Big Ben, the streets and houses of London, the countryside, by train and car and air? Scotland? The Big Ben and Thames climax? The delight in nostalgia and re-creating the period? An authentic atmosphere for this kind of story? The contribution of the score and its atmosphere?

5. The political background: the Prussians and their infiltration in England, England and its preparation for the war? Scutter and his investigations and warnings, the sleepers awaking, the assassinations? Appleton and his infiltration? The assassins and their acceptance in society and adapting to England? The impact of these stories of World War One and 1914 in the late 'seventies? Historical interest?

6. Scutter and his impact, the opening, his pursuit especially after the assassinations? His anxiety, packing, decision to go to Hannay? Telling his story, the gun, Kate sleeping, escaping death? The empty gun? Posting the notebook? The suddenness of his death? The nuns screaming? His continued presence throughout the film and the importance of his notebook?

7. Hannay as hero? Robert Powell's style and presence? South African background -mines, English, German? The decision to go to Scotland? Providing a situation for adventure? His apprehension of the various clues? Sheltering Scutter and emptying the gun? Being present at his death? The implications and accusations? The continued escaping?

8. The presence of the police, the interrogation, the pursuit? The aspects of the manhunt presented? The proving of the innocence but the decision to make out that he was still being pursued? The role of the police in defusing the bomb? The character of the Inspector?

9. The background of the politicians and the issues of war? The substitution of a pier and the repercussions especially for Navy, Army, Intelligence?

10. The confrontation of Hannay and Appleton? The character of Appleton and his presence in England, his decisions, his influence over the two assassins? Audience response to his stabbing the politician in the street? The spectacular kidnapping of Hannay, the interrogation and imprisonment, letting him escape, the incidents at the railway station?

11. Hannay's ingenuity in escaping, taking the place of the parson, escape in the train and pulling the cord, hiding on the bridge, the pursuit over the fields? His background of hunting in Africa? The tramp and his clothes? The assassination of the gamekeeper? The continued moving through the fields?

12. The introduction of the shooting party, Hannay telling his story, the fascination of Miss Mackenzie and the romantic interest? Her engagement to David? His continued help? The escape, the bicycle ride and the plane pursuit, the political rally and his double talk, the presence of the assassins? The return to the house and David's death? The sanatorium scenes and his inability, summoning the attendant, the wheelchair incident?

13. Appleton and his presence at the sanatorium ? The lengths to which he would go?

14. Hannay helping the Inspector? The decoder, the thirty-nine steps? The kidnapping of the politician and Miss Mackenzie, the elements of time?

15. The build-up to the Big Ben sequence - the political situation, the constant focus on the time. Big Ben itself, Hannay's decision to confront the assassins, his understanding what was going on, going out on Big Ben and holding the hand? How far-fetched, how authentic? The people watching and the audience sharing this? The fights, deaths, the rescue of Hannay?

16. The rescue of Miss Mackenzie and the politician - England saved?

17. Characters developed for this kind of action adventure, British types, tradition and the traditional presentation, patriotic values - and their perennial appeal?

THE THIRD SECRET

UK, 1964, 102 minutes, Black and White.
Stephen Boyd, Pamela Franklin, Richard Attenborough, Jack Hawkins, Diane Cilento, Rachel Kempson, Alan Webb, Nigel Davenport.
Directed by Charles Crichton.

The Third Secret is a good murder mystery with plenty of red herrings, but probably quite obvious from the start for those who go for the least likely suspect. What makes it more interesting than the usual run-of-the-mill 'who-dunit' is the psychiatric setting and the need for a psychiatrist's patients to know that the man who was guiding them to confidence in themselves had been murdered and had not opted out of life by suicide. The minor characters are all better developed than usual in performances by Richard Attenborough, Diane Cilento and Jack Hawkins. Pamela Franklin has a principal role. Earlier she had been one of The Innocents. Later she was to be sinister in Our Mother's House and The Prime of Miss Jean Brodie.

Above average crime entertainment.

1. Was this a good murder mystery? Why? Was the psychological background well portrayed and convincingly communicated? How? By the situations, the style of filming, the dialogue? Whom did you suspect at first? why? Were there sufficient clues from the start that Catherine had killed her father? What were they? Was the difference between a psychotic and a neurotic explained well? What was the difference? Who is the more dangerous?

2. Why was it important for Alex that Dr. Whitkins had not committed suicide? What would have been the effect on the confidence of the patients? Did Alex think he was psychotic? Did his smashing of the office and the choking of Catherine's uncle indicate this? Were the minor characters, the suspects, convincingly portrayed? Were they interesting characters? - the judge, his fear of the past, pleading with Alex, the trick Alex played on him; - Anne, lonely, shy, seeking friendship, the meaning of her suicide and her note; - the art dealer, his pride and confidence? What kind of man was Alex - too serious? Had he the right to investigate the death and know the patients? Why?

3. Why did Catherine ask him to investigate?

4. Why was Catherine psychotic? Did you notice inconsistencies, sudden changes of mood, in her behaviour? Her attitude towards her father and the house?

5. Why did she kill her father? Did she ever think she had? Why did she stab Alex? Whom did she think she had stabbed? Why did she save his life?

6. Why couldn't she cry? Was the ending convincing - her being glad that Alex knew, her tears? What did this mean?

7. What was the significance of 'the third secret'? Did it help with the meaning of the film?

8. What cinema devices did the director use to create suspense or to cause shocks and surprises? How effectively were they used?

THINGS TO COME

UK, 1936, 113 minutes, Black and white.
Raymond Massey, Edward Chapman, Ralph Richardson, Margaretta Scott, Cedric Hardwicke, Sophie Stewart, Derrick de Marney, John Clements.
Directed by William Cameron Menzies.

Things to Come has become a science fiction classic. It was produced by Alexander Korda in the mid-'30s when he was building up London Films. After the initial success of The Private Life of Henry VIII, he moved into a wide range of films employing a talented group of designers, scriptwriters, musicians and actors. He established a thriving film industry in Britain up till the beginning of World War Two.

The film itself was written by H. G. Wells who supervised a great deal of the production with Alexander Korda. The direction was be designer William Cameron Menzies who is excellent with special effects but not so good with actors. The result is a visually impressive film but on the level of acting, it is stilted and rhetorical. The special effects are outstanding - the re-creation of London as lively city, blitzed, derelict city of the future. There are also creative sets for the future world. The film could stand some comparisons with much more sophisticated science fiction of later decades. Wells was, in his way, prophetic - especially with reference to World War Two. He anticipated a number of technological advances of the 20th. century. However, inevitably, he was off the track with many predictions - most especially that of man's landing on the moon.

Wells had made great impact for almost a half century prior to the film. With his philosophy, faith in man's progress and the advance of science, his enjoyment of science fiction, he had become a celebrity in England. Film versions of his novels included The Island of Lost Souls (from The Island of Dr. Moreau) and, after his death, there were to be versions of The Time Machine and such fiction as The Empire of the Ants and The Food of the Gods. There were also versions of The Invisible Man. Wells was himself to be portrayed by Malcolm Mc Dowall in the inventive Time After Time, in which Wells pursues Jack the Ripper into the San Francisco of the late '70s. Wells himself was to write the screenplay for only one other film, The Man Who Could Work Miracles (1937).

As an example of imaginative film-making in the '30s, Things to Come is excellent in showing the potential of cinema - and it is a pity that it seems so artificial in its presentation of human beings.

1. The reputation of H. G. Wells in his time? Background in science, literature. philosophy? His vision? His optimism in human progress? His man-centred faith? The quality of his imagination? His rhetoric and exhortation to his contemporaries? The impact of his literary work, especially his novels? His transferring his novel to the screen? His skills as screen writer, his limitations?

2. The production values: London Films and Alexander Korda's team? The establishing of a '30s British film industry? The prestige of Wells and his ideas, vision and writing? The importance of the sets, decor, design? The special effects? The skill of inventive film-making? The musical score? The stars and the cast?

3. The relevance of the film for the '30s? Its impact in terms of vision and warning? As seen in later decades? How dated does it seem? How much freshness? How much of the vision is still valid? Comparisons with later science fiction in terms of style, themes? The comparisons with what actually happened in the times specified by the screenplay?

4. The impact of the film for a '30s audience: London as Everytown? Hitler and the war threats? The blitzing of Everytown? The threat to civilisation? The long war? The demise of civilisation and an ugly future world? The seeming death of civilisation but germs of rebirth and progress? Men of faith and courage overcoming evil? A greater universal vision of peace? Space exploration? The development of the human spirit and optimism about united nations and peace? The film as warning and encouragement?

5. The Christmas setting and the establishing of detail of the '30s world and its ignoring the headlines of war? The impact of the collage of contrasts? The discussions about Christmas and the invasion? Passworthy and his anger about war and his righteous justice called down on the enemy? The eruption of war '30s style? The accuracy of the anticipation of World War Two?

6. The collage of warfare - by land, sea, air? The soldiers going to war and the pathos of the Passworthy boy and his drumming and then his death in the rubble? So many victims of war? The people of Everytown in panic? The disruption of life as known? The decades going by and the protraction of the war?

7. The '60s and the ugly future world? The symbol of the wandering sickness and individuals infecting others? The analogies with the Black Plague and the breakdown of civilisation? Human beings shooting one another? The Boss as a warlord and his ruthlessness in shooting victims? The scavenging and fear of the times? Yet the elimination of the plague and the possibility of building civilisation again?

8. 1970 and The Boss and his authority? The transferring of the atmosphere of the oriental warlord to the British setting? Roxana as the mistress of The Boss? The classic dress - with the overtones of mistress and moll? The Boss and his riding the horse and his exercise of authority? The contrast with Dr. Harding (and the memory of his youthful attitudes in the '40s)? Mary and her assisting her father? The concern about illness? Richard Gordon and his love for Mary? The death of his sister with the wandering sickness? The decor of the ruins and the attempts to establish civilisation? The ruins of the shops and the city squares etc.? Gordon and his work on planes? The futility of trying to build up again?

9. The film's focus on Caball - Raymond Massey's presence and style? His attitude in 1940? The clash with Passworthy about war? His concern and involvement in the war? The importance of the shooting down of the German pilot, the gas mask and the little girl, his giving the gun to the pilot to shoot himself? The sudden presence of the plane in Everytown 1970? His appearance, familiarity with Everytown? The visit to Dr. Harding and to Mary and Gordon? Their amazement about the plane? His going to The Boss after the arrest? The confrontation about Wings over the World? Caball's society with dignity, peace, the ability to fly? His imprisonment? The Boss holding Mary and her father as hostages? Gordon's escape? The irrational behaviour of The Boss and his tyranny? Roxana and her realisation of the times changing? The visit to Caball and later pleading with him? The build-up to the invasion and its visual impact? The sleeping gas and the overtones of the fairy tale where the inhabitants go to sleep and wake up in a new world? The irony of The Boss actually dying? The vision of a brave new world with order restored?

10. The transition to 2036 - a century after the making of the film? The visual impact of the city? The echoes of Fritz Lang's Metropolis - but with light and loftiness? The underground city full of light? The modernity of the metropolis? The details as rapid elevators, videos for history (with photography of New York)? The newer generation and the administration of the city? The younger Caball and Passworthy? Their memories of the past? The ambitions of the future and space exploration to the won? The rocket? Passworthy's hesitancy? His son wanting to go and taking Caball's daughter with him? The crisis with The otocopulous? The artist contrasting with the scientist? His leading the people in revolution? The giant size television screen for his exhortation and communication? His rousing the people to attack the rocket? The quick decisions for the take-off of the rocket? The vision of human beings going to the moon? The defeat of the rabblerouser?

11. The development of science? The future in the hands of the children? The build-up to Sir Arthur Bliss' score with the finale and choir? Its optimism at the time - the impact with the value of hindsight? The blend of prophecy, thought, imagination, sense of history? The film having the visual strength to communicate this vision and evoke a response from audiences? (The contrast with the pessimistic visions of, for example, Aldous Huxley and his ironic Brave New World, George Orwell and Animal Farm and 1984).