MIRACLE ON 34th STREET

US, 1947, 96 minutes, Black and white.
Maureen O’ Hara, John Payne, Edmund Gwenn, Jean Lockhart, Natalie Wood.
Directed by George Seaton.

Miracle on 34th Street was placed on the American National Catholic Register in 2005. It quickly became a film classic – seen on television every Christmas. There were several remakes, one with Marlo Thomas and one with Richard Attenborough as Kris Kringle but they did not have the impact that this original film did.

The film offers a simple story, a genial old man says that he is Kris Kringle and therefore Santa Claus. Maureen O’ Hara portrays a worker at Macy’s in 34th Street, a rational woman who has trained her young daughter (a little Natalie Wood) not to believe in fairy tales. However, when a lawyer, played by John Payne, decides to defend Kris Kringle to save him from going to a mental institution, all kinds of transformations happen. The judge is played by Jean Lockhart.

Edmund Gwenn won an Oscar for best supporting actor for this performance. He is particularly genial – and played this kind of role ever after. It is somewhat disconcerting to see him in some British films, especially by Hitchcock, when he is far more sinister. Maureen O’ Hara and John Payne were an attractive couple and Natalie Wood was to emerge as a strong leading actress.

The film won an Oscar for its screenplay from the story by Valentine Davies and writer-director George Seaton. It won in a year where films like Gentlemen’s Agreement won the major Oscars so this is a tribute to the strength of the screenplay – and the emotional response of the Academy.

I. The film is considered a classic. Why? It has been remade several times. What is the basic appeal of the film: plot, characters, Christmas, themes?

2. The 1940's style of this film's black and white photography, music, stars, New York setting, style of life and way of life?

3. The aim of the film? The role of fantasy and truth in our lives? Humanity and beliefs? Facts, reasons, belief? Was the film successful in its aims via entertainment?

4. The authenticity of the New York business setting and its being transformed? The Initial procession, the shop, Christmas, Santa Claus and the children, questions of money and deals?

5. The film's picture of the commercialisation of Christmas? The values behind the commercialisation, particularly American? The critique of pushing lines for financial purposes only? The shock of directing people to other shops? Public goodwill?

6. How engaging was the character of Kris Kringle? His initial charm, the opening with the shop, identifying himself with Santa Claus, participating in the procession, his style and goodwill? The engaging scenes with the children, especially with the mother of the child who wanted the fire engine? His relationship with the staff? With Doris and Susan? How normal was he, how mad? The what reality underlying his madness?

7. The film's portrayal of Santa Claus and the values of Santa Claus? The influence in Children's lives, adults'? How much of a value was this? How did Kris Kringle see it? Contrasting with Doris and with Susan?

8. The effect on Susan? The way her mother was bringing her up, sceptical, not knowing fairy stories or games? How did she change, for example 'the monkey game'? Her desire for the house, her disillusionment, the fulfilment? The fact that Kris had set Susan and Doris as his goals?

9. The impact on Doris? The American businesswoman type, organizing the procession, her work at Macy's, the background of her divorce, suspicions of men, bringing up Susan very rationally? Was the change credible? Her support of Kris at the end?

10. The effect on Gaily? His wooing of Doris, friendship through Susan, sharing rooms with Kris, working on his court case, his participation in the court case and its effect?

11. Comment on the character of Sawyer, psychology, his effect on various people, especially Kris? His meanness leading to the court case?

12. The film's incidental satire on the judge, his political advisor? The satire on politics and courts?

13. How enjoyable were the court sequences? The focus on Kris, Gaily's defence? The various pressures on all the people, the cross-examinations? The mall, the cross-examination of the prosecutor, child?

14. How appropriate was the happy ending?

15. The impact in the forties, now?

THE MIRACLE OF MORGAN'S CREEK

US, 1944, 99 minutes, Black and white,
Eddie Bracken, Betty Hutton, Diana Lynn, William Demarest, Brian Donlevy.
Directed by Preston Sturges.

The Miracle of Morgan's Creek is considered something of a forty's classic comedy. Preston Sturges was a screen writer in the thirties and moved to writing and directing around 1940 with such films as The Great Mc Ginty and the Lady Eve. This film and Hail the Conquering Hero are considered his best. He was in the tradition of the thirties screwball comedy with an emphasis on fast pace, twist and humorous dialogue, exaggerated situation which poke fun at America.

This film has the background of the war and style of the forties and to some extent appears dated. However it is a good example of forties comedy.

1. The classic status of this comedy? Preston Sturges' reputation and style? The comic performances of the leads?

2. The importance of the war background, a comic look at war, the crispness and pace of the dialogue, the conventions of the screwball comedy, contrived situations and farce?

3. The flashback structure and audience expectations about the miracle? The use of Brian Donlevy and Akim Tamiroff from the Great Mc Ginty as the Governor and his assistant?

4. The extent of morals in the war situation? The reaction of Mr Kockenlocker? The dance, the soldiers and the boys before they went off? Norval as a contrast? Trudy and her night out, the editing of various parties, the driving around, singing? The atmosphere of drinking, the sudden marriage and the pregnancy? The reaction of the town? This kind of moral situation as a basis for comedy then, now?

5. The Kockenlocker family's father as a policeman, widower, only daughters? His shouting at people, his strictness? His reaction to the situation and his tendency towards criminal activity? Trying to persuade Norval to escape? His resignation? Hiding with Trudy and Emily? His final decision to tell the truth and defend Norval?

6. The Betty Hutton heroine, Trudy? Her work in the shop, place in the town, love for Norval? Her wanting to go out, dressing up, happiness of the evening and then the repercussions? Her fear, lack of memory, the visit to the doctor? Emily's advice to use Norval? Her proposing to him and the devious way in which she did it but refusing when she realized she was using him? The discussions with Emily, with Norval? The decision about a false marriage and the farcical elements of its failure? Her response to Norval in gaol, retirement from the town? The hospital sequences and the humour of the sextuplets? A portrait of a war time American girl?


7. Norval as a comic American male? The nice boy around town, with his mother, taking Trudy to the pictures, helping her with the car? His awkwardness, wanting to be in the army? His love for Trudy, reaction to her story, the length that he went to help her especially with the false marriage? The humour where he continually refused to escape? His return, the reaction to the sextuplets?

8. Comment on the portrait of Emily as the precocious teenager with her knowledge and her worldly wise advice?

9. The importance of the various incidents illustrating the character of the town, the American reaction to such situations?

10. The quality of the comedy touches and the dialogue? The humorous situations?

11. The middle American values that were upheld as well as commented on and criticised?

MISSION GALACTICA: THE CYLON ATTACK

US, 1978, 108 minutes, Colour.
Richard Hatch, Dirk Benedict, John Colicos, Lloyd Bridges, Lorne Greene.
Directed by Vince Edwards, Christian Nyby II.

A cinema sequel to 'Battlestar Galactica'. The material, created by Glen A. Larson, was principally a television series, extremely popular in the United States. To capitalise on this television derivative from Star Wars. Two feature films were made, utilising episodes and then released very successfully to theatres. All the television personalities are in the sequel, although the robot dogs, the daggets, have been omitted. John Colicos, beheaded in the original film, here appears as the most evil of villains. Lloyd Bridges has a guest role imitating General Patton and winning battles like him in space. Entertaining space matinee adventure.

1. The popularity of the series, its quality and budget, television audience in view? Audience expectations of content, style, adventures? The effect of Senssuround?

2. The appeal of the special effects? the presentation of space, the elaborate spacecraft, movement in space, space warfare?

3. The conventions of the 'Star Wars' derivatives of the seventies? The battle stars, the planets, the space cities, technology, robots? and the evil robots in domination of the humans? The war situation in the galaxy?

4. The film's history of space, battles, survivals and wandering battle stars? the plight of the humans wandering space for survival, preoccupied with defending themselves? A Saturday matinee way of total life?

5. The Galactica itself and its appearance, Adams and his wisdom, his son and the various fighters, the women, the medical teams, technicians, soldiers? The group of vehicles in his wake? his coping, hesitancy, wisdom, protecting those in his care?

6. The contrast with Pegasus and his unexpected appearance, Lloyd Bridges' style as Commander Cain, looking like and imitating General Patton? The emphasis on his being a legend, his doing legendary things, the encounter with Adams, clashing, his plans, bold aggressive strategies and success? The loyalty of his daughter, his crew? His achieving his mission and going on to immortality and possible
reincarnation as hero?

7. The drawing of the characters as sufficient for this kind of adventure? Apollo and Starbuck as heroes, the various heroines, the ordinary technicians and their control and collaboration with Adams?

8. The presentation of the Cylon empire and its evil and wanting control, robots and their semi-human appearance, the evil human villain as a devil? that his face was filled with evil intent and emotions? Lucifer as his robot henchman? The presentation of the Cylon city and the leader? as a mutant? The skill of the Cylon attacks, their warships, their battle stars? Their continually being foiled? The importance of the commando raid and its knocking out their central control?

9. The heroes and their survival, the execution of the raid, the rescues, the delivery back to the Pegasus, their saving the Pegasus?

10. The final attack, Adams's operation and its success, the planting of the bombs for the explosion and repairing the Galactica, the possibility of the two men being lost in space? A successful operation?

11. The perennial appeal of this kind of space adventure? Its ordinary values of good and bad, black and white?

THE MISSING LINK

France/Belgium, 1980, 95 minutes, Colour.
Directed by Picha.

The Missing Link is an odd film – a French animated story of primitive times. However, the emphasis is on a more ‘adult’ style of comedy, especially with sexual manners. It also has a rock music soundtrack and is meant to be an explanation of the dawn of humanity.

Some audiences might enjoy it for its animation style, its tongue-in-cheek spoofing of prehistoric stories as well as evolutionary theory.

1. An animated film for adults? Its drawing style, characters, layouts? The more adult tone? Style and communication for the theme of pre-history? The serious/comic response from the audience?

2. How well did the film create and continue its whimsical tone? The serious implications in looking at evolution, questions about the origins of humanity, relationship to animals, the development into intelligent creatures? the clever aspects of screenplay, drawing? The parody elements of similar films, of animation styles, of human behaviour? what did the audience leave the theatre with as regards understanding, response, humour?

3. The use of the musical score, the songs? The excerpts and their insertion into the film? The importance of the sound effects?

4. The Past interpreted in the sophisticated style of the present? Contemporary language, contemporary songs, contemporary visual style, visual reference?

5. The presentation of origins of time and development of time? A view of the development of earth? The evolutionary background? the recapitulation of prehistoric ages? Animals and their growth and survival? The emergence of humans from this background? The link between prehistoric animals and contemporary humans? The implications for moral growth and the presentation of good and evil?

6. Theories about the missing link? The animal side of human nature? The types of sub-humans initially presented? The emergence of 0? The dinosaur helper? The intelligent bird who trained 0? The build-up to the development of culture via the animal and bird mentors? The contrast with the undeveloped sub-humans?

7. The humorous picture of animals in human situations? the rats and the human pests, the intelligent birds, the dinosaur, the confrontation with the ants and the emphasis on their military style, the seals, the fish?

8. The presentation of the sub-humans and the parody on human types? Survival, starvation, relationships? Jealousy? The introduction of fire? Sexual intercourse? War?

9. How enjoyable were the adventures of 0? How well did they illustrate aspects of evolution? The history of humans in the recent past compared with the historic past? never changing? Themes of progress? The ironic conclusion with Easter Island?

10. The possibilities of insight for adult audiences via the techniques and styles of animation?

MISSISSIPPI

US, 1935, 80 minutes, Black and white.
Bing Crosby, W.C. Fields, Joan Bennett, Gail Patrick.
Directed by A. Edward Sutherland.

Mississippi was intended as a star vehicle for the popular singer of the time, Lanny Ross. However, it was considered that Bing Crosby was more popular and he was substituted. He is able to sing several Rodgers and Hart songs.

The film was also notable for a performance by W.C. Fields as the owner of a riverboat. Later commentaries note that Fields’ humour seems particularly racist in hindsight.

The film is a period piece, on the Mississippi River and the showboats. Bing Crosby does not seem quite at home in a period piece – especially as he is called on to fight a duel, refuses – but accidentally kills someone.

Gail Patrick is the leading lady but Joan Bennett plays her younger sister who criticises the duelling code and falls in love with Bing Crosby.

The film is brief, has the atmosphere of the 1930s – and there was a version of Showboat, with Irene Dunne and Alan Jones the following year. It is an opportunity to see an early Bing Crosby as well as to see W.C. Fields in action.

1. How good an example of the musicals of the thirties? Black and white photography, Rodgers and Hart score, sets and atmosphere? The impact of this kind of film then and now?

2. The film as a vehicle for Bing Crosby and W.C. Fields? How successful an example for each of these stars?

3. The presentation of American history and its memory? The thirties looking back at the 19th century?

4. The background of the South? The Southern families, the codes of honour, the belles? The critique of the Southern codes of honour? What impact did this have as regards theme and plot?

5. The interest in the Showboat and its way of life and style? The skipper? Utilizing Colonel Steele for entertainment? The gambling and the way of life on the Showboat? Entertainment?

6. How successful is Bing Crosby as the hero? His criticism of the South, his non-violence, his role as Colonel Steele, his love for the heroine, his singing?

7. What are the characteristics of W.C.Fields' comedy? Were they well exemplified here?

8. How attractive was the heroine? A conventional heroine?

9. How good a musical was this? The quality of the music, the staging of the songs and dances? Conventional? A conventional romance? How good an example of the genre?

MIRAGE

US, 1965, 108 minutes, Black and white.
Gregory Peck, Diane Baker, Walter Matthau, Kevin Mc Carthy, Jack Weston, George Kennedy.
Directed by Edward Dmytryk.

Mirage is a thriller based on a novel by Howard Fast and adapted for the screen by Peter Stone (who adapted the very popular mystery thriller, Charade, two years earlier).

This is a star vehicle for Gregory Peck, as an accountant who enters a building and finds himself completely disoriented, thinking that he has amnesia, trying to puzzle what has happened and put the pieces together, and trying to deal with murders happening around him. Diane Baker is his girlfriend and various supporting actors loom ominously and suspiciously including Walter Matthau, Kevin Mc Carthy and George Kennedy.

The film was directed by Edward Dmytryk who began his career in the 1940s with such films as Murder My Sweet but fell foul of the Un American Activities and was named as one of the Hollywood Ten. After the crisis, he went back to Hollywood and made a number of interesting and sometimes spectacular films including The Caine Mutiny, Raintree County and The Young Lions.

1. The tone of the title and its implications? How suitable for this puzzle?

2. The use of black and white photography, the New York backgrounds, the atmosphere of city and offices?

3. What thriller techniques were used? how well? The giving of enough clues? The element of surprise? The lights going out and the beginning of a nightmare? The gradual increasing of flashbacks to full knowledge?

4. How did the screenplay make the audience identify with David? Sharing his lack of knowledge, puzzle, growing memories and flashes? Sympathy for his plight? Sharing his amnesia?

5. The insight into a man with amnesia and his feelings? Discovering the real self that he is unaware of? The capacity for good or for evil? For idealism or crime? The fact that David was used by criminals?

6. The insight into big business and the criticisms of the use of science for crime? The lack of idealism in American capitalism?

7. The character of Cassell? Walter Matthau's style? The light and humorous touch amidst the puzzle? The gradual belief of Cassell in David's story? The sudden pathos of his murder?

8. How interesting as a person was Sheila? Her sudden intrusions into David's life? a convincing woman of mystery? Was she convincing in her turning against the major and the finale with David?

9. How puzzling were the villains? The pursuit? The shootings? The Major? How puzzling were the intrusions of these men, the final explanations? The Major and Josephson as types?

10. The use of chases, murders, risks and dangers?

11. How successful a film of its genre was Mirage?

THE MIDNIGHT MAN


US, 1974, 117 minutes, Colour.
Burt Lancaster, Susan Clark, Cameron Mitchell, Morgan Woodward, Harris Yulin, Robert Quarry, Ed Lauter.
Directed by Roland Kibbee and Burt Lancaster.

The Midnight Man is a complex murder mystery. Burt Lancaster plays a man just out of prison who takes on a job as a security guard at a university. When one of the students is murdered, he becomes an investigator. There is a whole range of suspects and the plotting becomes very complicated.

For those who enjoy murder mysteries as well as seeing Burt Lancaster in his later years and a number of character actors from Universal Studios of the 70s, this is reasonable entertainment. The only other film that Burt Lancaster directed was The Kentuckian in 1955.
1. Why are murder mysteries always interesting? Suspense films? Do audiences like puzzles and surprises? How good a murder mystery was this? The significance and tone of the opening with the robbery and shooting?

2. What particular features of interest were there in this murder mystery? How strongly drawn were the characters and their interaction? How strong was the sense of location?

3. How well did the film utilise its sense of place? The town? The college? The people in it and the things that they did?

4. How appropriate a name for Jim Slade was the Midnight Man? How heroic a person was he? Did he invoke audience sympathy? What were his main good characteristics? What were his limitations? The fact that he was an ex-policeman and an ex-convict? His relationship to the probation officer? The fact that he had always wanted to be a policeman and exercised this kind of duty? Should he have investigated the murder? Why? Did you agree with his principles and with his mode of behaviour?

5. Slade as a friend: how sympathetic was he? his sense of humour? His role during the robbery at the beginning? His injuries? Were you surprised to find the truth about him? How ironic was this? How malicious was he? How much control did he have over the situation? The fact that he would murder his friend? The significance of this?

6. Probation Officer: was she a sympathetic heroine? How good a probation officer was she? Her kind of duty and obligation? Her background as a gangster's wife? Her love of good fun? Her attraction towards Slade? What else did she contribute to the plot of the film? What did she contribute to Slade's investigations? Why didn't we see her going off happily ever after with Slade? Her association with Lamarr?

7. What questions of ethics did the stealing of the tapes involve? The doctor with his system for students helping their points of view? The possibility of their being stolen for blackmail? Comment on the vivid reactions of the students when they heard that they had being stolen? How effective were these interviews? How significant for the film?

8. The importance or the murdered girl? As a character in the film? Her relationship to Arthur? Her relationship to her father? Her reaction to the tapes being stolen? The problem that the was trying to solve? The men that she thought might be her father, especially the artist?

9. What was your reaction to the sheriff? Did he seem a suspicious man? Drama with a sense of duty? The irony of his assistant being in the pay of the criminals?

10. How interestingly did the film show Slade's investigations and their steps?

11. What did the senator and his assistant add to the film? As regards human interest and suspense? Complications of plot? The senator and his relationship to his wife and his daughter? His calling in Slade? The fact that he paid the money?

12. What did the three violent criminals add to the film? Their presence at the initial robbery? Their bashing of Slade? The violence of hie killing all three? Did this add to or subtract from the film? Why?

13. The social comment of the religious maniac? The fact that he was a pervert? The fact that he was a possible murderer?

14. How strongly drawn were the minor characters such as the boyfriend? The roommate? The artist?

15. Was the truth easy to understand and was it well explained in the film? How ironic was this complexity when the film showed Slade watching his friend doing his running?

16. What values did the film stand for and explore? Was it well presented? Did it lapse in violence? Was it overall an enjoyable film?

MIDNIGHT LACE

US, 1960, 110 minutes, Colour.
Doris Day, Rex Harrison, John Gavin, Myrna Loy, Roddy Mc Dowall, Herbert Marshall, Natasha Parry, Hermione Baddely, John Williams, Richard Ney, Anthony Dawson.
Directed by David Miller.

Midnight Lace is a Hitchcockian-style thriller – which may keep one guessing or, if one suspects who the threatening voice on the phone is, some suspense in how the solution will be revealed.

Doris Day, at the time of making her comedies with Rock Hudson and Cary Grant, does this dramatic role of a woman who is persecuted but nobody will believe her. Rex Harrison is suave as usual and John Gavin a bland presence. There is a good part for Myrna Loy as the aunt. A group of character actors fill in the supporting roles.

The film is lavishly produced, especially in costumes and décor.

The film was directed by David Miller who made Billy the Kid with Robert Taylor in the 1940s and a range of films from Love Happy with the Marx Bros to Sudden Fear with Joan Crawford. After Midnight Lace, some of his better films were Back Street with Susan Hayward and the classic western, Lonely Are The Brave with Kirk Douglas and Gena Rowlands.

1. The success of this film within the suspense thriller genre? A glossy and glamorous production? Audience expectations and fulfilment?

2. How well did the film blend the styles of Doris Day, Rex Harrison, John Gavin? The very good supporting cast and their styles in character acting, especially the contribution of Myrna Loy?

3. Hollywood's idea of London: the visual presentation, atmosphere, streets and parks, the sinister overtones, Scotland Yard etc.? The place for such a suspense story?

4. How interesting and enjoyable was the basic mystery? Were sufficient clues given? How plausible? The effect of the final revelation?

5. Audience response to an atmosphere of threat and suspense? Identification through fear?

6. Kit as the heroine? Doris Day and her style in this melodramatic role? The American in London, the happy atmosphere about her? Her love for Tony? The humour of her encounters with Aunt Bea? Her ordinariness, the impact of the accidents, the voices? Her gradually getting more nervous?
Seeking advice? The fog, the bus? Audiences sharing her fear?

7. How much did the audience get involved in the relationship between Kit and Tony, trusting Tony? Brian and his place? work, support? The reaction to Ash and his presence? Kit and the final melodramatic chase?

8. Rex Harrison's very English style as Tony, dapper? His support of his wife? The irony of the truth and his relationship with Peggy?

9. John Gavin and his 'good guy' image countering Rex Harrison? His help and support, especially at the ending?

10. The introduction of Auntie Bea? Type, comedy, dialogue?

11. Inspector Burns and the atmosphere of Scotland Yard, suspicions? Way of handling the case?

12. The contribution of the minor characters as Manning, Malcolm etc.? How did they fill out the atmosphere and make it seem authentic?

13. The focus of suspicion on Ash and the way that he was used?

14. The build-up to the revelation, the truth, Tony and his menace, on Peggy and her presence, the chase and the scaffolding?

15. How successful a suspense thriller of its kind?

THE MERRY WIDOW

US, 1952, 105 minutes, Colour.
Lana Turner, Fernando Lamas, Una Merkel, Richard Haydn, Thomas Gomez, John Abbott, Marcel Dalio, Robert Coote.
Directed by Curtis Bernhardt.

The Merry Widow is based on the popular operetta by Franz Lehar. It was filmed as a drama in 1925 with Mae Murray and John Gilbert. It was filmed by Ernst Lubitsch with Jeanette Mac Donald and Maurice Chevalier in 1934. Una Merkel plays the same role here as she did in the 1934 version.

The film is an MGM star vehicle for Lana Turner. It introduced Fernando Lamas as a singer and actor who was to appear in a number of MGM musicals in the first part of the 50s including some with Esther Williams whom he married.

The film is set in one of those Prisoner of Zenda-type middle European countries with financial difficulties which are to be solved by marriage.

The film has the light touch, the music, Lana Turner’s voice is dubbed, but the cinematography, the style and the fashion make it a lavish entertainment. (It was nominated for Oscars for best art direction, set direction, colour and best costume design.)

1. The tradition of this operetta on the stage, its music, songs, romantic story, period setting? The film tradition with Erich von Stroheim, using it for political tones, Ernst Lubitsch using it for light and ironic comedy? The purpose of this film? message, sheer entertainment in musical form? The film as a Lana Turner vehicle?

2. The conventions of the musical comedy and American operetta? The transition from Europe to American treatment? The musical styles of operetta, the lyrics, the staging and choreography? The orchestration of the music? How successful for those who enjoy The Merry Widow?

3. The use of colour photography, studio and location setting, and decor?

4. The musical comedy operetta plot? The middle-European setting, royalty and the impoverished nobility needing American money? The widow and her status in European society? The emphasis on manners? The emphasis on finance for survival? The atmosphere of pre-World War I Europe?

5. The merry widow herself? Lana Turner's style and glamour? Her status in the country? The appeal of Count Danilo? Her relationship to the King, to the nobility, to Kitty Reilly, her friends? A character study or typical heroine of operetta? The happy ending?

6. Count Danilo as the hero of an operetta? His charm, European manner? His mission for his country? His style of courting, the romance? The importance of the songs for illustrating the plot, the romance?

7. The minor characters: Kitty Reilly and her style of robust comedy, Baron Popov, the King, the Ambassador, the Marquis do Crillon as representing operetta European types? Comedy, intrigue?

8. How attractive were the songs and the way they all work into the plot? integrated, or did the film pause for the songs?

9. Royalty, aristocracy, status? Snobbery? Finance,
intrigues for national support? The light touch of an age which has gone and has the aura of the fairy-tale?

MERRY ANDREW

US, 1958, 103 minutes, Colour.
Danny Kaye, Pier Angeli, Salvatore Baccaloni, Noel Purcell, Robert Coote, Patricia Cutts, Tommy Rall.
Directed by Michael Kidd.

Merry Andrew is light Danny Kaye comedy – rather unlike his many amusing patter films. It is the story of a schoolteacher who has an archaeological quest to find a statue of Pan. At the dig he discovers a family of acrobats including Pier Angeli with whom he falls in love. This provides complications for the circus family as well as for his headmaster and his fiancée of five years. The film is comic, has some pleasant songs, and a rather lower-key Danny Kaye performance. He had made Knock on Wood, White Christmas and The Court Jester and had made a transition to some more serious roles with Me and the Colonel and The Five Pennies. Pier Angeli had appeared as an acrobat with Kirk Douglas in The Story of Three Loves.

The film is based on a story by Paul Gallico who wrote such stories as Lili, The Snow Geese, The Poseidon Adventure. The film was directed by choreographer Michael Kidd (who appeared in It’s Always Fair Weather with Gene Kelly).

1. Did you enjoy this film? Why? How attractive was its comedy, music songs and dance, Danny Kaye's personality and style, the circus background, and the satirical overtones of Italian and English families? Was the film a success in what it set out to do?

2. Could audiences easily identify with Andrew? Did they like him? In comparison with his father and brothers? His seeming failures at teaching? His relationship to the boys? The behaviour of his fiancee, Letitia? The demands made by his father? How nice was Andrew? How did his songs illustrate his pleasant character? The optimism in the presentation of such a hero?

3. How important was the archaeological enterprise for Andrew? For achievement and self-respect? The humour of his organising the circus? His relationship to the circus people? The importance of his stepping in and his immediate success as the clown? The attractiveness of Selina and his relationship to her? How did this all change him for the better! His falling foul of Italian customs and being forced to marry? Selina's allowing him to go? Was this the right choice to make?

4. How enjoyable were the circus sequences? Why are circus sequences always fairly enjoyable? The satire on the Italian family and their emotional responses? The excitement and intensity of their customs, especially the marriage?

5. How did this contrast with the satire on the English schools? The snob value of the schools and the father and his running of it?

6. How satisfactory was the resolution of the whole film? The happiness of the marriage to Selina? The chimpanzee finding the statue? Leticia able to marry Andrew's brother? Was this ending all too cute or was it just right for this film?

7. What did the songs and dances contribute to the film and its atmosphere? The happiness of tone of the film? The patter of Tickity Boo and the square of the hypotenuse? The style of the dance routine in this latter number? Would the film have been different without them?

8, Why do audiences like such blends of humour, romance, song and dance, gentle enough satire? Is this what entertainment is?