THUNDER IN THE SUN

US, 1959, 81 minutes, Colour.
Susan Hayward, Jeff Chandler, Jacques Bergerac, Blanche Yurka, Carl Esmond, Fortunio Bonanova.
Directed by Russell Rouse.

Thunder in the Sun is a brief western from the late 50s. It is unusual in the sense that it shows a group of migrants from the Basque territory migrating to the United States, travelling through Indian territory with vines which they want to use to set up vineyards in the west.

Susan Hayward is one of the Basques – and does a flamenco dance, indicating the Spanish origins of the group. Jeff Chandler is the strong and upright man of the west. The film is mainly about the trek across the west and finishes with a confrontation with the Indians.

The film was co-written and directed by Russell Rouse, better known as a writer with such credits as Pillow Talk, DOA. He directed a few films including A House Is Not a Home and The Oscar.

1. How enjoyable a Western? American heritage?

2. The variation on the Western conventions, the introduction about the French Basques, their experience in Napoleonic wars and the Pyrenees? the usage of this fighting the Indians? The variation on the theme of trekking across America, pioneering, the hopes of the West? The guide and his toughness, the characters and their nationality and traditions, the fiery heroine? An average presentation, better?

3. Colour photography, desert locations? The value of the music, the French Basque musical traditions, the song and its lyrics?

4. How credible was the plot? The historical background? The hopes of the Basques and the planting of the vines, the need for keeping their vines alive? The trek across America, their difficulties, water, Indians? The credibility of the human relationships? Satisfactory for this kind of Western?

5. The focus on the guide: Jeff Chandler and his type, the introduction to him as drunk, womanizing? The typical man of the West? His strength, guns, passion for Gabrielle? Emotional conflicts, his wisdom in leading them, his gradual admiration, his finally persuading Gabrielle to go ahead? The love for Gabrielle? A developed character for this kind of Western? The comparison with Gabrielle, her background. fiery temperament, introduction to her by the dancing, the guide's passion for her, her suspicious response, the tradition of betrothal at a young age, her respect and loyalty for Andre? Her hatred for the guide, her gradual admiration, love?

6. The minor characters and their influence, Andre and his status, his knowledge of what was happening to Gabrielle, the meaning of his death and his intention? The other young Frenchman and his conceding of his love for Gabrielle? The women and their traditions, superstition, pregnancy and birth? The Americans at the fort and their not understanding the French, their traditions? The presentation of the Indians?

7. The presentation of the social theme of the migration, vineyard planting, the opening up of California? The European background of this group, especially emphasized in their calls and sounds, religious traditions, marriage traditions? Having to adapt to America?

8. Comment on the visual presentation of the trek, the mountains, the desert. water, fire, Indians?

9. The highlight of the fight between the two men in the desert with the community looking on? The build-up to the fighting of the Indians using the techniques from the Pyrenees?

9. The Western themes of heritage, strength and adaptation, pioneering? The theme of love and hatred. respect and freedom? Insight into human nature?

THUNDER IN THE EAST

US, 1952, 97 minutes, Black and white.
Alan Ladd, Deborah Kerr, Charles Boyer, Corinne Calvet, Cecil Kellaway, John Abbott, John Williams.
Directed by Charles Vidor.

Thunder in the East is high melodrama. It is set in the years after Indian independence and partition. Alan Ladd portrays an adventurer who lands in an Indian province and finds himself in the midst of all kinds of difficulties – from the maharajah, rebels, the British settlers having to get used to the changed situation.

This is an Alan Ladd adventure film. The differences are that the leading lady, of all people, is Deborah Kerr as the blind niece of the local parson. Charles Boyer is the local Indian authority.

The film is more action adventure than character study – an Alan Ladd vehicle of the period. The film might be compared with such films as Bhowani Junction which treated the same period in Indian history. Direction is by Hungarian-born Charles Vidor who made impressions with such films as Gilda and The Loves of Carmen, and at this time Hans Christian Andersen and Rhapsody with Elizabeth Taylor. Other films include Love Me or Leave Me with Doris Day and James Cagney and the Grace Kelly, Alec Guinness, Louis Jourdan vehicle, The Swan.

1. An entertaining adventure film? The significance of the title, the original novel was 'The Rage of the Vulture'.

2. The atmosphere of this kind of Hollywood adventure: the artificial re-creation of India 1947, tough conventional hero, blind heroine, Indian politician, the assortment of bad people in the English colony and their interactions?

3. Black and white photography, Hollywood locations for India, sets and decor? Special effects especially the flight and battle sequences?

4. The reference of the plot to the events in India in 1947? The basic political background, the influence of Gandhi and Nehru? Ram Singh as a disciple of these men? His peaceful attitudes, his suffering experience, civil war and the use of violence? The need for the British colony to escape? The background of international arms sellers and dealers? Sufficient credibility for this kind of adventure?

5. The focus on Steve Gibbs as the American commercial pilot, selling arms, his attitude towards India. principles? The encounter with Joan Willoughby? The contrast with Lizette? His decision about the arms, about taking the English colony out? The demands of heroism? Conventional hero?

6. The contrast of the women? Joan Willoughby and her blindness? Lizette as the vamp style? The personality of Ram Singh? His status in the province, his principles, his reaction to Steve Gibbs and the impounding of the arms? The negotiations, the violence of the cutting off of his hand? His change of attitude? How convincing, a critique of non-violence and the advocating of violence? The other Indians?

7. The supporting characters and their contribution, for example Mr. Willoughby? The Maharajah?

8. Themes of popular politics popularly treated? The issues of nationalism, uprisings, violence and non-violence? American intervention? Political stands and attitudes of the early fifties? Their impact now?

THUNDER BAY

US, 1953, 103 minutes, Colour.
James Stewart, Joanne Dru, Gilbert Roland, Dan Duryea, Jay C. Flippen, Marcia Henderson, Harry Morgan.
Directed by Anthony Mann.

Thunder Bay is set in the Gulf of Mexico, a film about pioneering in the oil industry in the years after World War Two. However, with the new technology and the invasion of genuine oil seekers as well as wildcat strikers, there is a clash between the fishermen of the Bay of Mexico.

James Stewart is the hero, clashing with Joanne Dru. There is a strong supporting cast of regulars at Universal Studios.

This was one of several films which James Stewart made with Anthony Mann during the 1950s. The westerns in the group stand out and they include Winchester 73, The Naked Edge, Man of the West. Others include Strategic Air Command as well as The Glenn Miller Story.

1. The quality of this film as an action drama of the 50's, reflecting interest and styles of the times? Impact today?

2. The atmosphere of Louisiana, colour, locations, the 40's? An authentic atmosphere of Louisiana and the Gulf? Special effects e.g. storms?

3. The question about oil prospecting, progress and exploration? The contrast with the simple work of the shrimp fishermen? The outlook of the 40s and 50s on oil exploration, energy? In the light of the discussion in the 70's on ecology, energy crisis? The final harmony between the oil prospectors and the shrimp fishers? An optimistic solving of these problems?

4. The atmosphere of United States optimism, fighting for success, opening up new frontiers? Motivations and idealism, experience, money?

5. James Stewart's persona, personal style, as used in this kind of drama? The director is said to have presented thoughtful men having to use violence. How does Stewart's character illustrate this?

6. The introduction to the film, Johnny and Martin? Their shabbiness, lack of money, idealism? Shrewdness and practicalities? The life, the town, the initial encounter with the people? The success and change of attitude?

7. The atmosphere of deep business enterprises, financial bickering of oil exploration, answers to boards? The nature of risks? Martin's failures and his explanation? His sense, intuition, shared by the representative?

8. How dramatically was the clash between the oil men and the shrimp fishers presented? The oil men and their background, hard work, discipline? Invading the town? The symbolism of the fight? The townspeople, tradition, outsiders? Threat to the townspeople of their livelihood, marriage?

9. The world of the shrimp fishermen, Dominique and his family, his welcoming the oil men? Roland and his attitude? Friendship, hostility, fighting? The poverty, the boats? Philippe and his stooping to sabotage? His death? The build-up to the final confrontation? A presentation of real issues for livelihood?

10. The contrast with the oil men and the presentation of the searching, the explosives and the threat to the shrimps, Martin and his control, the platforms, the drilling? The sabotage, explosions? The threat of money being cut off, the men's hostility and support of Martin? The exhilaration of success and their being covered in oil?

11. James Stewart’s portrayal of Martin, as an honorable and honest man, capacity for work, his dreams, his tough attitude towards the townspeople e.g. with the explosives, a man of his word, love for Stella, suspicion of her? Friendship with Johnny and the bond between them, trying to curb his excesses, his relationship with the business men and the board? Importance of the sabotage and his fighting of Philippe and trying to save him? His shrewdness with the shrimp fishermen? The happy ending? An American type?

12. The portrayal of Johnny, his irresponsibility, change, fighting and drinking, good will, marriage? Loyalty to Martin?

13. Stella and her suspicions, Chicago experience, fascination for Martin, love or him, his hurting of her, the end? Helping? Her sister and the reaction of the isolation and narrowness of the town, her love for Johnny, marriage?

14. Themes of the clash of the tradition and the modern world. American. types, success, failure, violence, peace?

THRONE OF BLOOD

Japan, 1957, 105 minutes, Black and white.
Toshiro Mifune, Isuzu Yamada.
Directed by Akira Kurosawa.

Throne of Blood is one of the many classics by celebrated Japanese director Akira Kurosawa. He began work during World War Two with some domestic Japanese films but was soon to move to Japanese history, especially the Samurai era. With his Rashomon, a story told from four different perspectives and much imitated afterwards, he moved to such films as The Seven Samurai. His other Samurai films include Sanjuro and Yojimbo which were adapted for American films and Italian films like A Fistful of Dollars. The Seven Samurai became The Magnificent Seven. Later in his career when he began to make films in colour, he made two more Samurai classics, Kagemusha and Ran which was based on Shakespeare’s King Lear.

Throne of Blood is loosely based on Shakespeare’s Macbeth – and shows the clashes of ambition, a monarch egged on by his vengeful wife, the success of power and ruling from a throne of blood.

As with all Kurosawa films, they are meticulously mounted, re-creation of the Samurai period in striking black and white sets with photography in black and white. There is also an atmospheric musical score.

Throne of Blood is a powerful reminder of how Kurosawa was a cinematic genius.

1. This is considered a classic Japanese film. Do you agree? The significance of the title for its themes? The sombre black and white photography, the locations, the formal performances, the techniques of the Samurai legend films?

2. How important for this film was the legendry background? The choir singing the song at the beginning and end? The solemnity of the location and the fogs? The going back in time, the timelessness of the story? A morality play of the past for the present? The stylised arrangement of incidents, characters, themes?

3. How does the film stand as an adaptation of Macbeth? The transposition of the locations from Scotland to Japan? The transposition of the characters and their ambitions? The transpositions of the incidents? Does the film lose in not having Shakespearean poetry but rather sparse dialogue of its own? Is this a fair question?

4. How important was the atmosphere of the play? the fog and the isolation? The ironic comments of ruins and ambitious past, the isolation and desolation, the castles and their names, the labyrinthine forest? The atmosphere of hostility and war? A forest of witches?

5. Impressions and response to Washizu? The initial response to him and his successors? Friendship with Miki and loyalty to the king? The impact of the witches’ prophecy and the fulfilment? Why was he so responsive to his wife's influence? How ambitious was he? Willing to kill once he had killed and could look back? Why was he
under the continuous influence of his wife? The murdering of his friend? The horror of his hallucinations? His consulting the witch again? What state had he reached with the final confrontation of his enemies? His hopes that the forest could not move? His realization of the moving forest? The picture of him with so many arrows in him from his own men? the starkness of his death and the moral comment on his life and ambitions? Was this a deep characterisation? Or was the character a presentation of sinfulness and its punishment?

6. The portrayal of Lady Washizu? The formalism of her acting but the insinuations of her silence? Why was she so ambitious? Her hold over her husband? her driving him to murder? Her reaction to Miki’s son as his heir? use of her pregnancy? Her final excuses for him and the hallucinations? Her going mad and wanting to be rid of the guilt? The fact that we did not see her after this? Was this developed characterisation or again a representation of evil and its punishment?

7. Were the other characters portrayed convincingly? Miki's companionship, his loyalty to Washizu even though he abhorred the death of the king? Miki’s son? The other courtiers, especially in the hallucination banquet? The characterization of the witch?

8. What did the film have to say about social order, ambitions, power, greed, violence and retribution? Is it inevitable that social order will be restored after disorder?

9. What did the film have to say about politics, justice, cruelty, futility of ambitions? a fable of relevance to the whole world?

10. Was this a film of great insight and depth into good and evil? Or was it really a Samurai melodrama well made?

THREE VIOLENT PEOPLE

US, 1957, 100 minutes, Colour.
Charlton Heston, Anne Baxter, Gilbert Roland, Tom Tryon, Forrest Tucker, Bruce Bennett, Elaine Stritch, Barton Mac Lane, Robert Blake, Jamie Farr.
Directed by Rudolph Mate.

Three Violent People is a star vehicle for Charlton Heston. He had achieved prominence during the first part of the 1950s in such films as The Greatest Show on Earth as well as smaller-budget thrillers. He had just made The Ten Commandments (also with Anne Baxter) but it had not been released when he made this film. He was immediately a big box-office success and made a number of films including The Big Country and Ben Hur almost immediately. He was to command attention on the screen for several decades.

The film has a very strong supporting cast including veteran Gilbert Roland as well as newcomer Tom Tryon, who was to be The Cardinal and who was to leave acting and to write a number of successful novels including The Other. There are early roles for comedienne Elaine Stritch as well as the young Robert Blake and Jamie Farr who was to appear with great success in M*A*S*H.

The film is set in Texas, the clash between the carpetbag government of Texas wanting to take over some of the vast spreads. Charlton Heston is a Confederate officer returning from the war, a vast landowner, who has married a woman with a secret. The government discovers the secret that she was a saloon girl and not the lady that she pretends to be – a means of having some kind of control over Heston. He also has to contend with his black sheep brother, Tom Tryon.

There are certainly more than three violent people in this western.

The film was directed by Rudolph Mate, the Polish-born cinematographer who in the late 40s became a director mainly of small-budget films during the 1950s. However, he did direct some classics including The Dark Past, DOA as well as The Black Shield of Falworth and other action adventures.

1. The quality of the film as a Western: in the genre, conventions?

2. The emphases of the title? The fifties' Western style, this division, locations etc.?

3. The re-creation of the post-civil war period? Atmosphere and feel for the times and places? The opening fights, the taunts of the victors over the South? The role of government, taxes? Justice and oppression, the consequent violence? How well did the film help audiences understand the period and the issues?

4. The character of Saunders within this context? His war reputation, family background, impulsive and violent character, his strong qualities and weaknesses? His infatuation with Lorna? Marrying her? His tenderness towards her? His attitude towards his brother? Their both erring? His harshness and unforgiving nature towards their faults?

5. The character of Lorna? How credible a woman? Her arrival, her using of Saunders, the trick with the money? How much did she love him? Should she have told him the truth? Her role on the ranch? Attitudes towards Cinch? The discovery of the truth and the hurt for her? Her decision to go with Cinch with the horses? Her reaction to Saunders' unforgiving attitudes? Her having the baby? Her decision to leave? The final crisis and the revelation of the truth? How interesting and admirable a character?

6. The credibility of Cinch? His background and loss of his arm, attitude towards his brother, the ups and downs of his career? His stealing the horses? His going over to the Northerners and helping them? His inability to shoot his brother? His death and its significance?

7. The portrayal of the Mexicans as sympathetic people? Their role on the ranch? An advisor to Saunders? Their leaving him when he was so unforgiving? The influence in the final showdown?

8. The portrayal of the Texans as ugly, money-making, crafty? The investigator and his assistants, the tough shooter, the small-minded accountant? Their greed and their violence?

9. The value of the action sequences? With the cattle, life in the town, the violence with the Texans?

10. The dramatic importance and. impact of the showdown? The role of each of the main characters in the showdown? The consequences for each?

11. How appropriate was the happy ending for this kind of film? The change in each of the main characters? The values of this kind of Western? Human nature, law and order, justice, the American heritage?

THE TRESPASSERS

Australia, 1976, 92 minutes, Colour.
Judy Morris, Briony Behets, John Derum, Chris Haywood, John Orcsik.
Directed by John Duigan.

The Trespassers is a film about relationships and their demands and consequences, written and directed by John Duigan, at the age of 25. It could be called a film of exploration in the sense that the film gives the impression that the author needs the film to explore his theme, has some cerebral answers (explicit in stretches of dialogue), but feels they need testing. It is a film to aid the development of an outlook on relationships. The film is well photographed and finely acted by Judy Morris and, especially, Briony Behets. The film offers early work of people important in the late '70s-early '80s in the Australian film industry: the music of Bruce Smeaton, the photography of Vincent Monton, set decoration by director Gillian Armstrong, early acting work of Chris Haywood and John Orcsik.

1. The work of John Duigan? His writing, directing? His interest in contemporary characters, situations, social themes? Domestic and personal stories within social context? The film echoing themes of Melbourne in the '70s? 2. The Melbourne focus of the film? The photographing of the city, streets, buildings, houses, flats? The Victorian countryside especially Mornington Peninsula, Westernport Bay, the sea, the countryside? The crisp colours and the mellow colours? The range of the musical score – differing for various moods of the film, for characters? Songs?

3. Insight into young adults in Melbourne in 1970? Causes and interests? Trends? Commitment? The background of Australian politics – Liberal government, the emerging of the reaction of the Left? (Seen in the light of Labor government in the early '70s and its dismissal in 1975?), the war in Vietnam and Australia's involvement, protest? The arts, poetry, theatre styles, television, television interviewing and current affairs? The views of Left and Right – polarisation or not? The style of city living, country living? Australian men and women and their status, roles, interaction? The background of law and freedom – e.g. with Draft protesters? The discussion of moral issues? Sexuality and behaviour? Questioning? A film of 1976 reflecting on late '60s and early '70s? The insight of later years?

4. The point of view of the film? Did it make judgment on characters, issues? Its particularly Australian point of view with the localised Victorian and Melbourne focus? Now universal its insights?

5. The initial focus on Richard? The young Australian man of 1970? The way that he was brought up? His career? Self-confidence or not? Questioning and confusion? Seeing him and his relationship with Dee? Leaving her? Excuses at the office? The coldness of his coming home to Penny? The tensions in his relationship to her - his friends – the sequence of the meal and watching his interview on television? His interview style? The liaison with Dee and Penny's discovering it? His tantrum? The background of his relationships – shallowness, commitment? His being absent from the main part of the film – yet talked about and understood in relationship with the two women? His later entry and his inability to cope with the situation? His reaction to each woman? Moods? The walk along the beach, the meal and his drinking, Dee and her aloofness, Penny and her telling him of the lesbian encounter, his reaction to finding this was not true? The next morning and his waking up? Did he learn anything from his experience, seeing through the experience and his own inadequacy? The final sequence on the beach – what future?

6. Dee and her liaison with Richard, her liking him, her reaction to his leaving? Her friendliness to the neighbour who was cold and letting him lie down for a while? A pleasant young woman? Her confidence, sense of adequacy, her work in the theatre? Audience judgment of her behaviour, attitudes? Seeing her work in the theatre – and her visit to Richard? Her embarrassment in being caught? Her reaction at the moment? The later encounter with Penny? Having coffee together? Facing her embarrassment and telling the truth? The invitation for the holiday together? Their going off to the Peninsula, the visit in the town, the discovery of the house, the theatrical clothes and their getting dressed, the domestic sequences and their getting on well together, the visit to the pub, Dee's friendship with Sandy, the sexual encounter in the car, later visit to his house, sharing ideas? Sharing the holiday with Penny, walks, the painting of the bike, the range of topics talked about? The two men picked up, Dee's rejection of the pushy man? Dee's tenderness towards Penny? The story of her encounters, her shyness? Her reactions to Penny's incipient possessiveness? Her understanding of Penny? Reaction to Richard on his return? Her strengths of character, weakness? Pleasant young woman? What would she make of her life?

7. The contrast with Penny – poetry, tense, easily hurt, her relationship with Richard and its coldness, her theories of permissiveness and yet her strictness in action? Her discovery of Richard and Dee? Her work for Richard in the interview with the Draft resistor? Coldness with Dee, having the coffee, enjoying the talk? The decision to go on the holiday? The enjoyment of the domestic arrangements in the holiday house, the outing at the hotel with the boring architect? Her being more quiet and reflective during the holiday? Painting the bike for Dee? Her walks alone? The growing intimacy? Allowing Dee to dry her hair – and the suggestions of possessiveness and lesbian relationship? The irony of Penny's telling this to Richard later on? Did it have some foundation in her attitude? Her clash with the visitors? Her reprimanding Dee for being promiscuous? Her seeming jealousy? The purpose of her visit to pick up the architect? The discussion about the lovemaking? Richard's return, her tenseness, taunting him? The point she was making about the relationship with Dee? The truth? The final sequence on the beach – what future with Richard?

8. The gallery of minor characters giving authenticity and atmosphere to the film: Dee's neighbour and his cold, dirty socks, lying down, joviality, chat on the rooftop? The theatre people and the style for children's theatre? The Draft resistor and the television interviewers? Richard's television interviewee and the discussion about government and the war in Vietnam? The people at the pub and the joyful country atmosphere? The singers e.g. the singing of Kathleen and the old fashioned atmosphere of the country pub? Sandy and his seeming left-wing talk, his living alone, pride in his farm, the encounter with Dee, welcoming her to his home, the man and his wife and the chatter in the pub, the architect and the sexual encounter with Penny, the two men pushing drugs, full of self-importance. Dee's rejection of the sexual advances?

9. The atmosphere of Melbourne city life, the contrast with life in the country? The incidental detail – television, posters, music and records, the children on the excursion – and the two stopping back to kiss?
10. Insight into Australian social themes: the section of society presented, mainstream society and sub-cultures, trends and types, politics, areas of social concern, commitment, war, questioning of values?

11. Australian art: film-making, television, poetry, theatre? The creativity in Australian in the '70s?

12. Insight into human nature, commitment and betrayal, honesty, permissiveness, needs, love and friendship? The significance of the title? Trespassers as intruding where it was not legal, trespassers as sinners, the scriptural injunction to forgive trespasses?

THREE TO GO

Australia, 1970, 90 minutes, Black and white.
Matthew Burton, Graham Bond, Peter Colville, Georgina West, Betty Lucas, Judy Mc Burnie (Michael); Judy Morris, Serge Lazareff, Gary Day, Penny Ramsay, Wendy Playfair (Judy); Rina Ionnou, Joe Hasham (Toula).
Directed by: Michael, Peter Weir; Judy, Brian Hannant; Toula, Oliver Howes.

Three to Go was made by the Commonwealth Film Unit, strong during the 1960s and making documentaries for cinema but especially for television. At this stage, the Australian film industry was merely a dream. While there had been a few feature films during the 1960s, and Tim Burstall had made Two Thousand Weeks in 1969, there was still no sign at this stage that an industry would develop so quickly.

Each of the three directors did have a career in the Australian film industry, however, it is Peter Weir who stood out and who was soon to make The Cars That Ate Paris and Picnic at Hanging Rock and develop his career.

The film focuses on three stories about young people: a boy from a rich family, a Greek- Australian girl, a young woman who grew up in the country and needed to leave the town. They are interesting short stories, reflecting the atmosphere of the period.

1. An interesting and entertaining film? The work of Film Australia in the early '70s? The short stories and their success as supports in theatres? On television? The preamble to the '70s film renaissance? The vision of young directors? The short films as discussion starters for groups?

2. The television influence on these short stories? The lack of precedent in the Australian film industry? The work of the directors and their writing of the scripts? In the context of their later work? The quality of production: black and white photography, authentic location photography, acting styles, editing, musical score?

3. The variety of styles with black and white photography, country and city locations? The importance of authentic atmosphere? The documentary style? The importance of Peter Weir's more obviously stylish episode?

4. The atmosphere of the '60s and '70s? Australian society, the parent generation, the young and their decisions, changing values and attitudes, outspokenness? The importance of the period in terms of dropout, change, ambitions? Perennial questions but in the context of social change? The clash of the generations? The film's presenting both sides of the arguments? The questions raised in the Australian context?

5. The three stories seen in the light of subsequent treatments of such themes by the many films of the '70s and '80s?

Judy

1. The authentic country setting, the use of the city of Tamworth: shops, streets, drive-ins, dances, clubs, homes? The home life and work life in the town of Tamworth? The contrast with the outlying farms? The picnic sequence? The capturing of the atmosphere of the New South Wales country town?

2. Judy in the context of Tamworth? Family life, relationship to parents, her age, work, love for Michael? Her hopes – and the desire to move from Tamworth to the city? The clash with the relationship with Michael? The build-up of tension? The family's disapproval? The final talk with Michael at the picnic? Her eventually going to the city?

3. Michael and the background of the farms, tractors, love for Judy, not wanting her to go? The picnic discussion, his glumness, warnings about the city?

4. The sketch of Judy's parents: in themselves, their home life, relationship, upset about Judy wanting to leave, being independent? The typical parental warnings?

5. Judy at work, her friendship and discussions about work in Tamworth, going to the city, infatuation with the men at the office, romanticising? The scenes at the club, the poker machines, the dancing etc.?

6. The detail of the town and its quality of life? The critique of the town as seen through Judy's eyes? The need for the younger generation to stand on their own feet? For the younger generation the country to think about moving to the city to establish a new way of life (despite the warning of the country people against the city types?

Toula

1. The contrast of filming techniques with Judy: the voice-over, the comment, the use of the city, the insertion of the atmosphere of Europe, Greek Orthodox religion? The point of view of the story?

2. The focus on migrants and the use of Greek, the speaking of Greek, the subtitles? The contrast with the audience listening to English? The need felt for translation? Highlighting the migrant language difficulties?

3. The portrait of the Greek families in Sydney: the memories of Greece? The reasons for coming? The grandparent generation and the fond memories? The film's quick introduction to each member of the family? The parent generation, strictness, rules, expectations, criticisms, anger? The anger of the younger generation against the parents?

4. Toula and her being settled in Australia her friends, her being supervised by her parents – especially as regards boyfriends, sexuality? Traditional clothes? Her buying new clothes and the devices for throwing them out the window and changing later? Outings, films? Dances? Her shyness? The encounter with John and the possibility of it blossoming? The meetings with John, the embarrassed kisses etc.? The importance of the Greek Orthodox celebration of Easter? The church celebration with the Easter greeting? Her brother attacking her for her relationship with John? The dilemmas of her loyalty to her family, new possibilities?

5. The story dramatising the dilemma? Audience involvement with Toula's feelings, hopes, feeling restricted?

6. The explanation of Toula's brother and his hopes, cleverness, reacting against his parents, wanting to leave school? The discussion with the delicatessen-owner and his advice about the future and possibilities? Education?

7. John as the presentable young man, the encounter at the dance, Toula's shyness? Meeting him afterwards and worried about her parents? The Easter greetings?

8. The importance of religion – religion as ritual, group belonging, the sense of community? The Greek rituals, icons? The priest? The greeting 'The Lord is risen' and the reply 'He is truly risen'?

9. The quick sketch of the young girl, a young Greek girl and her hopes?

Michael

1. The work of Peter Weir? His insights into youth? His stylistic ability to communicate not only plot but awareness?

2. The structure of his story: the film within the film and its style, issues? The device of the TV panel programme? Michael illustrating the questions and responses of the panel? Michael's home life, conventional work? The world of Graeme and Virginia? Michael being inserted into this world? Meetings, protests, party? The pot-smoking group and their ridicule of Michael? His having to make decisions? The editing and pace?

3. The visual styles for the short story: the use of conventional war material for the film within the film, the ominous battle, the tanks, terrorism and protest?

4. Michael in himself, his wealth, parents, the importance of his mother and her influence, conventional work, stifling atmosphere, monotony? Comparisons with the world of Graeme and Virginia? Responses to the film? Talks with Graeme, protests? The party and his apologies – and ringing his mother? Graeme’s and Virginia's reaction to his phoning? Where was Michael left at the end? His future?

5. Graeme and Virginia in themselves? Graeme Bond's presence and style? Their alternate lifestyle? Manners, clothes, interests? Meetings? Friends? Parties? A viable alternative for Michael?

6. Michael's mother and her middle-class interests? The various aspects of middle class and affluent life – friends, dinners, society manners? The church and the conventional benign attitudes of the minister etc.?

7. The send-up of the panel programmes? The platitudes spoken? The illustrations from Michael's life belying the platitudes? A valid tilt at the media?

8. The validity of the comment on dilemmas to be faced by young people in 1969-70? Seen with the wisdom of hindsight? The film as illustrating the dilemmas of the late '60s?

A TERRIBLE BEAUTY (NIGHT FIGHTERS)

US, 1960, 90 minutes, Black and white.
Robert Mitchum, Anne Heywood, Richard Harris, Cyril Cusack, Dan O’ Herlihy, Niall Mac Ginnis.
Directed by Tay Garnett.

A Terrible Beauty is a film about Irish troubles. This title is taken from Yeats' poem, 'A Terrible Beauty'. The film portrays the background of fighting and the troubles in Ireland and focuses it in a human story, a way in which audiences can understand emotionally the issues in Ireland. Robert Mitchum is at home in this kind of adventure.

Other films on this theme include 'The Gentle Gunman', 1952 with John Mills and Dirk Bogarde and 'Shake Hands with the Devil' with James Cagney of 1959. Direction is by veteran Tay Garnett, a prominent film-maker in the thirties and forties. An interesting emotional view of important troubles of our century.

1. The significance of the title? Is Night Fighters a complimentary description of the I.R.A.? The impact of a film like this today with I.R.A. activities in recent years? What is basic audience attitude towards the I.R.A.?

2. How successful a film was this? As a war adventure? As an exploration of the I.R.A., its cause and impact? How real was the film? In its communication of feeling, and in the truthfulness of the incidents?

3. How were the incidents in this small town a microcosm of the whole I.R.A. and its cause? Did the film communicate the reality of the cause of the I.R.A.? Irish hostility towards England? The desperate attempts to throw off English rule? The importance of allying with the Nazis? Using the German invasion for Irish purposes? How
clearly were the issues presented? The sense of justice of the Irish people? The I.R.A.? The British?

4. Where were audience sympathies during the film? With the Irish or English? With Dermot or with the members of the I.R.A.? How did attitudes and sympathies change during the film? Why?

5. How important was it for the film to focus on the character of Dermott O'Neill? How suitable a hero for the film was he? Was he presented well as a man, as an Irishman? What was his sense of values? Why did he join the I.R.A.? Why did he allow himself to be used for raids and killing? What happened to him after the failure of the raid and his helping of Sean Reilly? Why did he change when he got back to his town? The reality of the I.R.A. and its grandiose ideals and plans? The impersonality of revenge? The killing of women and children? Was the audience sympathetic to Dermot's change later In the film?

6. What did Sean Reilly stand for as an I.R.A. man? His role in the village life, his relationship with Dermot? His going on the raid and his suffering In being wounded?' His arrest and trial? Comradeship and the values of the I.R.A. compared with going to prison? What insight Into the I.R.A. mentality did he give?

7. How real a person was McInnes? The intensity of his hatred of the English? His pride in leading the I.R.A., his wanting to be in the field? His single-handed hatred and ruling of the I.R.A. men? His dislike for Dermot O'Neill? His unwillingness to help Sean Reilly in prison? His eventual moving into action for the impersonal and merciless raid? His dislike for O'Neill and his vengeance on him? What judgement was being made on the I.R.A. via this character? How did he contrast with Ned O’Reilly? the ordinary man at home, non-violent, wanting to live his life, yet roused into action against him when there was need? Old Mr. O'Neill and his attitude towards his sons and the British? The various I.R.A. men like Malone? The young man left on guard? Bravery and fear?

8. How did Jimmy contrast with these people? His pacifist point of view, another way for justice? How sympathetic and reasonable was he? His helping of Dermot at the end? What insight into the Irish Rebellion did this character give?

9. The women in the film: the attitude of Mrs. O'Neill, her hatred of the war etc.? Bella and her devotion to her brothers, the irony of her death? Neeve as a heroine - her support for Dermot, her dislike of the I.R.A. methods, her final helping him and going off with him? The comment that these characters made on Ireland and the I.R.A.?

10. How sympathetically were the British presented? The police? The details of the raiding of the ammunition from the army headquarters? The trial condemning Reilly? The role of the Church in Ireland and the pulpit condemnations of violence? How did this all add to the complexity of the film?

11. How did the film move to a convincing climax Dermot and his drunkenness, the confrontation with McInnes?, the rousing of his conscience, the choices to be made about informing? Was he right to be an informer? What else could he do? The ensuing suffering and having to leave? How was this offered in the film as an ideal?

12. How convincing was the escape? The irony of McInnes's shooting the bike rider? That as a final judgement on him? How happy was the ending, did it seem too contrived? How valuable a film is this in its portrayal of recent political problems?

TO BE OR NOT TO BE

US, 1942, 99 minutes, Black and white.
Jack Benny, Carole Lombard, Robert Stack, Sig Ruman, Felix Bressart, Lionel Attwill.
Directed by Ernst Lubitsch.

A classic morale boosting comedy, very good propaganda from World War II. Written, produced and directed by silent and sound director Ernst Lubitsch. famous for his sophisticated comedies and deft ironic touch, the film is most entertaining as well as having a moral purpose.

The casting of Jack Benny as the would-be hero is a clever use of a popular American comedian. Carole Lombard as the heroine and a young Robert Stack puts in a youthful hero performance. The screen play is a blend of satire, romantic and farcical comedy but put within the situation of the invasion of Poland and the Resistance. The comic touches counter-balance the real war heroism and the dangers for members of the Resistance. At times the film expectedly veers to the explicit propagandising, but generally it achieves its purpose through the very style of the film. It still stands up well as entertainment.

1. The impact of the film in the forties? The atmosphere of the war. the European war, America's involvement? Its role as entertainment, as propaganda? Its impact now?

2. How satisfying and funny a comedy? The elements of the classic espionage film and the satiric touches from the comedy? The romantic complications and the sex farce conventions? How well were they blended with the comic touches and the espionage plot? The basic plot, situations, one-liners, farce, satire, parody? The mockery of pretensions?

3. The black and white photography, the Hollywood sets and the rather Americanised Poland and England? Satisfactory for a 1940's production? interiors and the suggestion of the way of life in Poland in the thirties? The presentation and styles of the stars?

4. The importance of audience knowledge of Poland and its Nazi invasion? The feeling about World War II and its threats, Hitler and his invasions, 1939-40? Patriotism, the rise of the Resistance, the oppression of the Gestapo? The importance of hope in confronting the Nazis? The effect or the collage of hopelessness after the occupation of Warsaw?

5. The atmosphere of the theatre? the conventions of films about theatre and plays? The pretensions and the satire? The title and its ironic use especially for the Lieutenant's leaving during the soliloquy? The humour of using "Hamlet" and the later quotation from "The Merchant of Venice"? Joseph Tura and his style, his vanity, his talent and lack of it? An ordinary bumbling actor, his lack of suspicion? His rising to the occasion? The reputation of his company in Warsaw, the playing of Shakespeare, the plans for a play about the Gestapo? Maria and her love for her husband, her being the star of the company, her charm?

6. The introduction of the romantic complications with the suitor and his flowers? His youth, enthusiasm, pressing his suit, his plea for the marriage to break (and the irony of the war breaking out instead)? The use of the "To Be or Not to Be” soliloquy for his exit and the effect on Joseph? The flowers, the romance? The irony of his sending his message back to Poland by the spy, the communication of the message to Joseph, Joseph’s ironic communicating it to Maria? The complications of this romantic tangle underlying the more serious aspects of the Resistance? Joseph and his pride, the punching of the Lieutenant? The blend of tensions and comedy?

7. Alexander Silitsky and his role as a spy? The bond with the troops in England and the Lieutenant's revealing this to the authorities? His quick arrival in Warsaw? His tempting Maria to be a spy? The expectations of his interview with the Gestapo head? His shrewdness in realising he was tricked? The ugliness of the chase in the theatre and his death? The macabre use by the Gestapo of his dead body and Joseph having the ingenuity to turn the tables by shaving his beard? The mock treatment of the espionage theme and the spy?

8. The theatre troupe and the personalities there? Their continually rising to the occasion? Joseph and his impersonation of the Gestapo commander (and though farcical its not being far from the truth?), his impersonation of Silitsky, his shaving the real Silitsky and continued success? His ability to sustain a part despite his lack of ideas, chatter, stories? The importance of the other impersonations especially of Gestapo and German officers, even of Hitler? The irony of the Gestapo commandant and his continued mistakes and bad timing. telling jokes about Hitler, misinterpreting the situation and blaming Schultz his assistant? The build-up to the final plan for the rescuing of everyone and the use of Hitler? The mockery of Hitler in this kind of comedy in the forties and its impact? How entertaining the various impersonations, rescues?

9. Maria and the complications of her being with Silitsky, her not being able to get out of Gestapo headquarters, Joseph and his impersonations, the mistiming and the complexities of identity? The humour of the ending with Hitler taking her away and the implications of this? Her love for her husband, the romance?

10. The mockery of the Gestapo head - Sig Ruman and the numerous comedies that he made in the thirties and forties? The satiric mockery of the Germanic Gestapo tactics? Their pretentiousness?

11. The build-up to the opera sequence and the success of the escape?

12. The film as part of the war effort, cheering up audiences, the morale-boosting of presenting the Resistance and human values and the need for success and fight for freedom?

TRAPEZE

US, 1956, 105 minutes, Colour.
Burt Lancaster, Tony Curtis, Gina Lollobrigida, Katy Jurado, Thomas Gomez, Sid James.
Directed by Carol Reed.

Trapeze is a serious circus film. There have been a number of circus films, generally spectacular films like The Greatest Show on Earth by Cecil B. de Mille, Circus World with John Wayne and Rita Hayworth and Billy Rose’s Jumbo with Doris Day.

This film is about talent, achievement, accidents, passions and rivalry. Burt Lancaster, in his forties, portrays a trapeze artist who has had an accident. Tony Curtis is the next generation who wants the older man to coach him and teach him his star events. Gina Lollobrigida, of course, is the romantic interest.

The film has some spectacular scenes – but, with Carol Reed as director, tends to be more serious than expected. Reed had begun his career in the UK with such films at Kipps and The Stars Looked Down. In the late 1940s he made the classics The Third Man and The Fallen Idol from Graham Greene stories (and was soon to make Our Man in Havana). He also made gentler films like A Kid for Two Farthings. His career lessened during the 1960s until, unexpectedly, he received an Oscar for his direction of Oliver in 1968.

Burt Lancaster and Tony Curtis were soon to appear together in the satiric drama, Sweet Smell of Success.

1. Was this an enjoyable circus film? Why? It presented itself as a significant human drama. Was it enjoyable here? Successful? Why?

2. Why is the circus world so attractive to audiences? What response do audiences have to the circus itself, the performers, the skill and danger, the humour and glamour? Was this in evidence in this film in its presentation of the circus world? Why?

3. How important is the trapeze for a circus? What does it symbolize and represent in terms of skill and danger and spectacle? How do audiences respond to the trapeze and the artists? Why? How well was this presented in this film, the details of the photography? The background of training, sense of achievement?

4. How was the trapeze used as a symbol in the film? Its meaning to Mike, to Tino, to Lola? To the manager of the circus, to Ringling North? Draw out the implications of the trapeze, its danger and achievement as a symbol.

5. How was Mike the central character? The initial Impact of his fall during the somersault? The effect of his failure on his character? his physical disability? His change of work, the challenge that Tino made, the growing alertness in training Tino? How Tino's success become an obsession? How did he use Tino for his own change in development? Why did Lola’s intervention cause such a change in Mike? His resentment of Lola and her methods, his realization that she loved him, what made him realize that be loved her? His behaviour towards Tino? His decision to stand in and taunt Tino into success? How Important was this development of his character? Was Mike's character well-drawn and interesting?

6. How well was the character of Tino drawn? As an ambitious young man, his background and his father's background of working with Mike? His begging Mike to train him, the details of his training? How was he affected by Lola? How was he used by Lola? The reaction of this on his feelings towards Lola and towards Mike? His anger when Mike stepped in to help him? What made him decide to be successful with the somersault? The effect on him of his success? What did he represent as regards youth and ambition?

7. How interesting was the character of Lola? Her ordinary act and her pushing herself with her companions? Her taking the limelight? Why was she so ambitious to succeed on the trapeze? Her lack of scruples in using people, was her explanation of her background sufficient to explain this? Her playing with Tino's affections, her obsession with Mike, his rejection of her, her realization of love at the end? Was this convincing?

8. What did the minor characters contribute to the film? Rosa and her helping of Mike? Her husband? Otto waiting to take over in the background? The manager and his ambitions and forcefulness? Ringling North and the possibilities of greater achievement in circuses? Sid James's humour as the stake man?

9. Were the human conflicts in the film real? How dramatically were they filmed?

10. Comment on the camera techniques for communicating the world of the circus. Was the ending satisfactory? What future would the main characters have?