MR EMMANUEL

UK, 1944, 94 minutes, Black and white.
Felix Aylmer, Greta Gynt, Walter Rilla, Ursula Jeans.
Directed by Harold French.

Mr Emmanuel is an interesting war propaganda film from Britain in the mid 1940s. Unlike American films, it focuses squarely and explicitly on a Jewish character, the persecution of Jews by the Nazis and the dangers prior to World War II. Based on a novel by Louis Golding and directed by Harold French, the film is a star vehicle for Felix Aylmer. He portrays Isaac Emmanuel, a retired man who befriends some refugees from Germany, especially a suicidal boy and promises to go to Germany to try to find his mother. His visit to Germany highlights the atmosphere of repression, especially when he is arrested and tortured. Aylmer gives a very sympathetic performance. Greta Gynt appears as a British Jewish woman who is the mistress of a Nazi official (with a sequence where the official takes her to a ball and tries to make the Nazi heirarchy acknowledge her presence).

The film is an appeal for awareness about Nazism, Hitler, the persecution of the Jews. In retrospect it stands up quite well as a British melodrama with a strong topical message.

1. A film of the 40s: British war propaganda, anti-Nazi, sympathy for the Jews? A bold film in the 1940s? Its impact now?

2. Brevity, black and white photography, sets? The cast? The musical score?

3. The title, the focus on Isaac Emmanuel, the sympathetic style and performance of Felix Aylmer?

4. Mr Emmanuel: his 50 years in England, the Jewish migrant, content in England? His retirement, the watch, the discussions with the neighbour? His puzzle about retirement and what to do? The visit to the Coopers, the meeting of the boys, the friendship with Bruno, his sympathy and pity, the birthday celebration, saving Bruno's life, the promise? His decision to go to Germany, the warnings against it? Arrival, finding accommodation, the welcome? His attempts to find Bruno's mother and their being thwarted? Meeting the professor selling goods on the street and wanting to be anonymous? The hostility towards him as a Jew? His going to the police. explaining things clearly, his being in bed and arrested? the imprisonment, the time, the torture? The beatings? Not explaining the charge to him? His suddenly being released? His going to the club to see Elsie, her phone call, his asking her to get the information, the car with the message, his going to the house, finding Bruno's mother, the confrontation with her, her option to stay with her husband? His return to England, meeting Bruno, the decision to tell him that his mother was dead? The portrait of an individual, a man of conviction, of
courage and sympathy, suffering for his beliefs, trying to do what was right?


5. The Coopers and their sympathy, looking after the boys, providing them with a home? Sending them to the school? Their concern about Bruno, Mr Emmanuel?

6. Elsie, her background in Magnolia Street, singing at the nightclub, her relationship with the officer? Her being Jewish? His taking her to the party, being snubbed by the German officials, their change of attitude? Her persuading the
officer to help Mr Emmanuel? The phone call, giving him the information, her regrets about her life, her good wishes to her family but yet her decision to stay in Germany?


7. Bruno and the boys, refugees, not knowing what happened to their parents? Bruno and his depression, the birthday party, the attempting to kill himself? Mr Emmanuel saving him, getting the promise from him to stay alive? His hopes,
the return, his settling into the British school, playing soccer, accepting the fact that his mother was dead?

8. The school principal, accommodating the refugees, making them a part of school life?

9. Germany, the professor and his trying to be anonymous, arrested? The Gestapo and their tactics, interrogations?

10. The people in the house, supporting Mr Emmanuel, the shock at the arrest? The contrast with the man at the office and his refusing to speak to Jews?

11. The sub-plot of the other assassination, the accused, trying to frame Mr Emmanuel, the propaganda in the papers?

12. A short melodrama with a strong message (relevant decades after its time)?

THE MOONSPINNERS

US, 1964, 118 minutes, Colour.
Hayley Mills, Peter Mc Enery, Eli Wallach, Pola Negri, Joan Greenwood, Sheila Hancock, Irene Papas, John Le Mesurier, Andre Morell.
Directed by James Neilson.

The Moonspinners is a popular Disney film from the early 60s, a star vehicle for Hayley Mills as she turned 18. She had been very successful in such Disney films as Pollyanna (for which she won an honorary Oscar), The Parent Trap, In Search of the Castaways, Summer Magic. She was 1ater to make That Darn Cat.

The film is a romantic thriller (in the light Hitchcock vein). It has the advantages of Cretan locations which are used well. The plot, both in its melodrama and its romance, is fairly predictable. However, James Neilson, the director of several Disney movies, keeps the pace moving and there are chases, climaxes, threats. The cast is particularly strong, Eli Wallach as the villain, Irene Pappas as his sister, the owner of the inn on Crete, Peter McEnery(later in Disney's Fighting Prince of Donegal) is the romantic lead, Joan Greenwood is Hayley Mills' aunt. In supporting roles are John Le Mesurier and Sheila Hancock as the British consul and his wife as well as veteran star of the silent screen, Pola Negri, as Madam Hubib. The film is colourful and enjoyable although Hayley Mills shows herself to be the 50s type heroine, always seeming to be in peril. However, she herself gives a much stronger impression of being tough.

1. Entertaining Walt Disney romantic adventure? In the Hitchcock touch? Vehicle for Hayley Mills? Her popularity as a youngster, as a young adult?

2. The use of the locations, the island of Crete, the village, the churches, windmills, the sea? The musical score and its flavour?

3. The title, the myth about the bay of dolphins, the Inn in London and on Crete?

4. Crete and its landscapes, the people, the customs? The contrast with the English and their demands, tourists?

5. Nikki and Fran, travelling in the bus, Nikki sick? Going to the hotel and their being turned away? Fran's very English behaviour, demanding a room? The meeting with Mark and Nikki attracted? Stratos and his hostility? Sofia and her hostility but change of heart? Alexis and his friendship? The happy sequences in the Inn, the wedding festivities, the dancing? The plan for the picnic, Nikki going to the church, finding Mark and his being injured, the firs aid? Caught by Stratos, hidden in the windmill? Rescued by Alexis and Mark? With Mark in the hills, Stratos and his accomplice and their trying to kill Mark? The fights? Nikki and her anxiety, wanting to hear the truth? Going to the ruins, Mark's story? Found by the consul, going to his home, his wife, her help, her drinking and the truth? Going in the hearse, the plan, the escape, taking the boat to the yacht? Madame Hubib and the story? The final confrontation, the happy ending and the romance?

6. Mark, the attractive young Englishman, at dinner, dancing? The clashes with Stratos? His being shot, in the church, needing Nikki's help, her rescuing him? The clashes with Stratos, going to the windmill, helping Alexis free Nikki? The fights, the ruins? His telling the story of the robbery and his being blamed? Recovering in the Consul's house, not telling the truth? In the hearse, getting out, going to the boat, the final fight with Stratos, the jewels, Madame Habib, his being vindicated and the happy ending?

7. Stratos, the villain, in England, sending money to Sofie? His following astrology? The bay of dolphins? His helper, not wanting any visitors, hostility towards Nikki and Fran? Hunting in the night, shooting Mark? Going out on the boat, checking the jewels? Finding Nikki, putting her in the windmill? The clashes with Mark, going on the boat, with Madame Habib, with the Consul? His comeuppance?

8. Sofia, her clash with the visitors, her change of heart? Her confronting Stratos? Alexis, his help?

9. Fran, the Englishwoman abroad, her concerns, the happy ending?

10. Madame Habib, the yacht, her wealth, her cheetah, the high style exaggeration of her manner and way of life? Bewildered by Nicki, helping Mark?

11. The Consul, his manner, his wife and her drinking, double dealing?

12. Popular ingredients for Disney action romance?

MAN'S CASTLE

US, 1933, 75 minutes, Black and white.
Spencer Tracy, Loretta Young, Marjorie Rambeau, Glenda Farrell, Walter Connolly, Dickie Moore.
Directed by Frank Borzage.

Man's Castle is a film of the depression, highlighting New York City and the people who have to live in shanty towns, out ofwork, despairing and hungry, having to take demeaning jobs to survive. The film is also a star vehicle for Spencer Tracey at the beginning of his Hollywood career. Never a matinee idol star, he comes across strongly on screen and was soon to move to MGM and win Oscars for Captains Courageous and Boy's Town in 1937 and 1938 and be a star for the next 30 years. Loretta Young also stars at the beginning of her career, a very attractive performance. She was again to be a screen star for the next 20 years and then move to television (but making telemovies in the 80s). The strong supporting cast includes Marjory Rambeaux, Glenda Farrell as a tough, Jean Harlow-like singer and Walter Connolly as a minister. The film is directed by Frank Borzage noted for his Americana and his strong presentation of feeling and sentiment.

1. Impact of the film in the 30s, during the depression? Later decades? Relevance?

2. Black and white photography, New York settings, the city, the shanty town? Musical Score? The strong cast at the beginning of their careers?

3. the title and its irony? The American dream? The American home, family?

4. The focus on Trina, on the park bench, the clash with Bill, his seeming a toff? Her hunger, his taking her to eat? His tough and wise cracking wisdom? Her background, her feeling suicidal, her strong will to live? The lack of payment for the food and Bill's performance? Her dependence on him, going to the shanty town? The relationship with him? The devoted wife, tolerant, grateful? The meals, listening to his put downs? Frank and his unwelcome advances? Flossie and her drinking? Her desire to have the stove, walking along the streets? The gift of the stove? Bill and his wanting to be on the move? Her wanting to settle? Her pregnancy, telling Bill? His behaviour with the singer, Trina sensing this? Her allowing Bill to go? His decision to marry her, the wedding ceremony? The gift of the dress? The hold-up, her response? Bill's needing to go, Flossie helping? Their decision to go together, on the train? to what future?

5. Spencer Tracey as Bill? His seeming well off, sitting in the park, treatment of Trina, the meal? His speech in the restaurant about the poor? The irony of his suit advertising the coffee house? Living in shanty town, taking up with Trina?
Their life together? His put downs, looking at the sky? His jobs, clashes with Frank? Going to the theatre and serving the summons on the singer? Looking in her window ? on stilts? The affair? Signing the baseball as Babe Ruth for the boy? Hearing of Trina's pregnancy? The marriage? The decision to join in the robbery with Frank after despising him? His off hand manner, the shooting? The minister and his being shot, the confrontation? His being allowed to escape?

6. Flossie, her drinking, clashes with Frank? With the minister, the dandelion wine and his helping her? Friendship? The decision to help Trina, shooting Frank?

7. Frank, scrounging, attracted to Trina, his advances? clashes with Bill? The plan for the robbery? The carrying out of the robbery, his warning the police, coming to Trina? Flossie shooting him?

8. The minister, his poverty, quoting the Bible, developing the flowers? Security guard, the confrontation with Bill and letting him go?

9. The world of the depression, the rich in New York, the restaurants, the theatres? The contrast with the poor, the shanty town and surviving, the demeaning jobs? The glimpse of the boy with his wanting to get Babe Ruth's signature on the ball? evoking the atmosphere and feelings of the depression?

MAMBO KINGS

US, 1992, 104 minutes, Colour.
Armand Assante, Antonio Banderas, Cathy Moriarty, Desi Arnaz Jr.
Directed by Arne Glimcher.

Mambo Kings is based on the first part of the Pulitzer Prize-winning novel, The Mambo Kings play Songs of Love, by Oscar Hijuelos. It was adapted by Cuban writer, Cynthia Cidre. The director is Arne Glimche (gallery director and film producer making his first feature).

The film is an interesting and entertaining tail of two Cuban brothers, very strongly bonded, who leave Cuba and go to America in 1952 with hopes of becoming the Mambo Kings. The film is colourful, often flamboyant portrait of migrants who make good, even to the I Love Lucy show. However, their lives are changed by the loss of home, different cultures and the inability to cope. The performances are excellent. Armand Assante has seldom been better as the exuberant Cesar. Antonio Banderas (Spanish star of many films including those by Pedro Almodovar) is more subtle as the melancholic Nestor. The supporting cast performs well. Desi Arnaz jnr portrays his father. There is a great deal of lively Hispanic mambo music.

1. The adaptation of part of the novel for the screen? The reputation of the novel? The film version, narrower in scope? More straight forward narrative focusing on the brothers?

2. The themes of migration to the US, the strong Hispanic migration of the later part of the 20th century? the 50s, Cuba in pre-Castro days? The American dream, New York and show business and music? The reality and the fantasy?

3. The title, the performances by the brothers and their making music, their estimate of themselves? True, false?

4. The Cuban background, the sequences in Havana and the Cuban countryside, the clubs? The journey from Florida to New York by bus? New York, Manhattan, apartments, clubs? Hollywood and Los Angeles, television studios?

5. The musical score, the songs, the main theme song Maria of my Soul? Its recurring throughout the film?

6. The prologue, Cesar and his flamboyance, attack on Maria, the fight, the slitting of his throat? Maria and her reasoning with him? Taking Nestor away, the motives for going to New York? His bond with Nestor and wanting to protect him? Not telling him the truth about Maria and her marriage and saving his life?

7. The exuberant bus trip, the joy, chatting with the travellers? The sexual advances by Cesar? Nestor and his reflections, composing his music? The arrival in New York,
relatives, the meal, rushing out to play the Mambo music?

8. The introduction to music in New York? The clubs, the patrons? The contrast with the clubs in Cuba? The performers, the bands, the music style? The introduction to the characters, descriptions? Cesar and his wanting to play, moving up, being allowed, making a hit? The sudden assassination and everybody clearing? The police and the
interrogations? His encounter with Lanna, her manner, style? The beginning of the affair?

9. At work, the relations, giving them jobs, the meat works? The fellow workers and their making music? Making a group and performing, auditions?

10. Cesar and Lana, her devotion to him, his comment on her appearance and her own self-estimation? Her understanding him and trying to hold on to him? Cesar and the family, work? The music hopes, going for interviews, Evelina and her son? Success? The auditions and training? Playing in the clubs? The businessman and promoter, his challenge to Cesar, Cesar and his defiant answer? Their being banned? Birthday parties, small celebrations? Being disheartened? Cesar and his enthusiasm, the rest of the group wanting to leave?

11. Nestor and his not wanting to come to New York, quieter, trying to settle in? His dreams and memories of Maria, her coming out of the water, the idealising of the past? The many versions of the song? His composition, playing? His not wanting to antagonise the producer? Going along with Cesar, playing the parties? The chance encounter with Delores? Meeting, talking? Taking her dancing and her attraction to Cesar and vice versa? His being in love with her, the outings in the park? The sexual encounter, her pregnancy? The clash with Cesar and his announcement of the wedding? The marriage, the birth? His loving Delores but still dreaming about Maria, calling her name? His growing melancholy?

12. Desi Arnaz coming to the club, his producer? Meeting with Cesar and Nestor? The celebratory mood? Coming home for the meal, in the neighbourhood, the crowd outside to admire him? The contract, going to Los Angeles? The I Love Lucy show, the comedy of the program, performing their music? The money?

13. Nestor and his neglect of Delores? His bitterness? The sexual encounter in Los Angeles and Cesar reaction? His going secretly to see the producer, building up the possibilities of playing in better places, the performance in the Palladium? His changing? Delores and her hurt, his talking with Lanna, talking with Delores ~ seeing the relationship with his brother, the dependence, his life manipulated by Cesar? The confrontation with Cesar and the truth? Cesar overriding him, their playing? the farewell, the car crash and Nestor's death?

4. Cesar and his vigour, his needing his brother, doing his best for him, dreaming his dreams, forcing him to comply? Success and then his death? Cesar as burnt out, refusing to play, with his nephew?

15. Cesar and the family, the little boy, with Delores? The request to sing Nestor's songs? Delores asking him to sing? The background of their relationship, the sensual dance when they first met, his devotion to her but not intruding in Nestor's marriage? Her devotion to Nestor, the attraction to Cesar? The contrast with Lana and her living with Cesar's fidelity and infidelity?

16. The Cuban background, the settling in New York? The types in New York society, people attending nightclubs (and the exuberance of the music and the conga lines)? The entrepreneur producer and his girlfriend and the cinematic collage of his influence changing the brothers lives?

17. The Hispanic flavour of the film mirroring the changes in American society in the latter part of the 20th century?

MISSISSIPPI BURNING

US, 1988, 128 minutes, Colour.
Gene Hackman, Willem Dafoe, Frances McDormand?, Brad Dourif, R. Lee Ermey, Pruitt Taylor Vance, Stephen Tobolowsky, Michael Rooker, Kevin Dunn.
Directed by Alan Parker.

Mississippi Burning is a hard-hitting film about American civil rights. It is set in 1964 after some Ku Klux Klan murders. The film recreates vividly the atmosphere of racist bigotry. There was some attack on the film as not being authentic: the FBI not so interested in civil rights at this time. Whatever the accuracy, the film makes no extra claims for the FBI. The audience cannot but be involved and horrified at the violence, the cover-ups and the extraordinary prejudice of white supremacists.

The acting is first-rate. Gene Hackman won an Oscar nomination for his role. William Dafoe is the Kennedy era idealist. Brad Dourif and Frances McDormand? are excellent in supporting roles, McDormand? winning an Oscar nomination. Direction is by Alan Parker, who made such striking films as Midnight Express, Fame, Angel Heart.

1. The Oscar nominations, the awards? The quality of the film? The hard-hitting message? Impact for 1988?

2. The work of Alan Parker? His vision? Power and style? The strong cast?

3. The Mississippi locations:? the roads, the town, the black centres, the jail, shops and offices? Authentic? Period? The contribution of the pounding score and its atmosphere?

4. The title of the film:, Mississippi and the south, isolated, defiant, its traditions. Its having four "i's" but. not being able to see! Shots, the war, the Ku Klux Klan, the burning crosses, the torched homes and churches? The symbol of the fire and its visualisation?

5. The prologue and the three young civil rights workers, the night, the chase, their being halted, shot? Black and white workers? Civil rights, the reaction of the rednecks and their violence?

6. The case and the involvement of the FBI (historical or not? The attitudes of J. Edgar Hoover and his criticisms of the civil rights? The emphasis on procedures and tactics? The background of civil rights in 1963-64, the attitudes of the south? The role of the media? People's attitudes and their being interviewed and the racist statements they made? Ignorance? The influence of the Ku Klux Klan?

7. The arrival of Anderson and Ward: into the town, their arrival, the reaction of the town, the mixed welcome, setting up their headquarters, trying to see the sheriff and his being busy, Pell and his defiance, reaction of the people, the intervention of the mayor, getting about their business, the Klan and its opposition, the quality of the investigations?

8. The two different approaches: Rupert and his background as sheriff in Mississippi, his know-how, experience with people, looking around, identifying with them, the personal touch, not afraid? Communication with blacks, whites? Going into the shops, talking with the hairdresser and with Mrs Pell? The contrast with Ward and his tie and collar, direct interrogation, setting up an elaborate headquarters in the theatre, bringing in the extra agents, going into the black section of the restaurant and sitting down, getting more agents to comb the river, the swamp? Going by the book? His emphasis on FBI routines? The clash between the two? Admiration or not? Friendship or not?

9. The consequences of the boy in the restaurant and his fear, his being taken and beaten? The burning of the churches, the houses? The family beaten, the boy who observed and identifying the Klan with his head In a bag? Fear of the blacks, the funerals, willingness to talk? The whites and their spurning the group? Rupert and his going to the club and having a drink, toughing it out with the police, defying them?

10. The attitude of the white police, the meetings and the address? The sheriff and his role in the town, as head of the Klan, his order, the media coverage, rally and the speeches and the attacks on blacks, Jews? The Klan and the burning crosses, the stones in the windows, the hoods and the violence, the attempt at lynching, the individuals in the town, their jobs, being identified and their going to trial and suspended sentence?

11. The ordinary citizens and their being interviewed, their prejudice and bigotry?

12. The sheriff, his shrewdness, his warnings, his involvement, his absence from the killing, his finally going free?

13. Clinton Pell and his smile, his work, his role in the Klan, at home, his impositions on his wife, at work, at his drinking places and with his friends, at the rally, thwarting the investigation? At the trial and his complacency? His wife and beating her? Peterson threatening him? The arrest and jail? The typical redneck?

14. Mrs Pell and her hairdressing work, her friend and her loud and humorous style? At home, her husband's alibi? Rupert meeting her, pleasant, talking, at home, knowing her husband's deeds, knowing Peterson's intent? A nice person, at home in the town, the high school husband? Her friendship with the black woman, fondling the black baby? Wanting to be a mother herself? her decision to tell the truth about her husband? His beating her, in hospital? Thinking she did the right thing? Her final talk with Peterson, wanting him not to send a postcard?

15. Ward as a man of the Kennedy era, direct, reacting to the situation, relying on agents, elaborate headquarters and intelligence? His clashing with Peterson? Finally getting the information? His assistant, Bird? His frustrations, the searching of the river? The information and the finding of the bodies? H1s grief at the funerals? His causing violence to the blacks and its effect on him? His change of heart, allowing Peterson his way? The threats, the fake lynching of Lester, the standover tactics, the trial?

16. Peterson and his style, his contacts, the violent methods, standover tactics, the imitation lynching? Winning?

17. The rednecks and the final summary of their violence and their sentences? The man who hanged himself? The film's asking who was responsible?

18. The emotions of the '80s? Remembering the past? The changes? Human nature?

MILLER'S CROSSING

US, 1990, 115 minutes, Colour.
Albert Finney, Gabriel Byrne, Marcia Gay Harden, John Turturro, Jon Polito, Steve Buscemi, Mike Starr, Michael Jeter.
Directed by Joel Coen.

Miller's Crossing is an excellent gangster film from the talented Coen Brothers. Director and co-writer Joel Coen and his brother Ethan, co-writer and producer, worked on small budget horror films like The Evil Dead before making their first feature the thriller, Blood Simple. With the excellent reception of Blood Simple, they changed style with the manic comedy, Raising Arizona, with Nicholas Cage and Holly Hunter. Miller's Crossing is their third, most ambitious film.

The casting is off-beat for an American gangster film: Irish actor Gabriel Byrne (Gothic, Defence of the Realm, Siesta) as well as Albert Finney (celebrated actor from Saturday Night and Sunday Morning to Murder on the Orient Express and many films). The supporting American cast includes John Turturro (The Sicilian, Do the Right Thing, Five Corners) and Jon Polito (The Freshman). The film introduces Marcia Gay Harden.

The period set in 1929 is excellently recreated, an anonymous American city. The atmosphere of the gangsters, prohibition, the ordinary way of life in a corrupt town are vividly presented as well as the clashes between the political gangster bosses with their gambling interests and their code of violence. As with other Coen films, the screenplay and the use of words is highly significant the screenplay is particularly fluent with strong actors voicing the striking words e.g. the opening with Jon Polito's speech about ethics).

There is a grim atmosphere about the film, a presentation of evil characters without much sympathy but making them interesting (as Martin Scorsese did with his more contemporary gangster film, Goodfellas). An arresting film.

1. Impact of the film, its acclaim? The work of the Coens? Their working with the gangster conventions and tradition? Their vision of gangster films and gangsters?

2. 1929, the American city, the inner neighbourhoods, gambling, homes and hotels, the countryside? The sombre and metallic colouring and tone? Atmosphere? Score?

3. The title, the focus on Miller's Crossing, a place of crises and truth, of violence? of ethics?

4. The credibility of the plot and characters? Blend of the serious and the humorous? The tones of mythical treatment of gangsters? The more realistic and unsympathetic treatment? Gangsters, political bosses, police and officials, power and greed, ethical codes, violence, friendships, loyalties and betrayals?

5. Albert Finney as Leo: his place in the city, his appearance and style, wealth, the boss, his gambling, the exercise of political power, holding the police an politicians his clash with John Caspar, rivalry? The bond with Tom and his advice? Confidence in Tom, his own self-confidence, self reliance? Behaviour and talk, clash with Caspar, the questions about Bernard and his double dealing? The lies, the deals, his love for Verna and her betrayal of him? Trusting Tom? The shootout at his house at night ant his outwitting the attackers? The politicians changing their loyalties? Tom telling him the truth, his angers? The setup for the gang war? The media reports? The threats, his ultimately winning? The reconciliation with Tom? And his marrying Verna?

6. The contrast with Gabriel Byrne's Tom: silent, a listener, a loner? Shrewdness? The big picture? His advice, response to Caspar? His concerning himself with Bernie? The style of his own life, grim and quiet, a gangster philosopher, his relationship with Verna, sexual relationship? The effect on him, her and her concern for Bernie? Going to see Bernie, giving him advice? The shootouts, the deals? Telling the truth about Verna to Leo? The clash, how deliberate his setting it up, going to Caspar, listening, playing the games? The clashes with the Dane, questions about his boyfriend, the private detective and the murders? Setting up of his defection? The commission to kill Bernie, going to Miller's Crossing, the effect, audience uncertainty as to what he would do, Bernie's pleas, letting him go? The clash with the Dane, the Dane making him search Miller's Crossing, the dead body and the irony of its being the boyfriend? Playing Caspar out with the Dane? Bernie and his manic visit, double dealing? Playing Bernie off? The death of the Dane, the death of Caspar, his killing Bernie? Reassuring Verna? The reactions of the gangs. the bosses, the media? Leo? Tom's motivations, Leo marrying Verna? Tom's future?

7. Verna as the gangsters' Moll, in the clubs, relating to Leo, liaison with Tom, her concern about her brother, the pleas? The concealing of the truth? Involved in the business? Her concern about Bernie and his death, Tom's promise? Her decision to marry Leo?

8. Casper and his initial talk about ethics, his speeches, the money, the boss, the clash with Leo, relying on the Dane and his gangsters, phone calls, his naivety? Believing Tom? The commission to kill Bernie? The dilemma as to who to believe? His speeches to Tom, the killing of the Dane? The corpse at the crossing? The setup and Bernie's killing him? The rivalry, having the politicians in his pay? Rival gangs?

9. Bernie as a gambler, information, small-time, shrewd and slippery? Payoffs, deals? The Dane's boyfriend? Verna's devotion to him? Being protected, Tom's advice, the catalyst for the action? His melodramatic plea not to be killed, his reaction against. this later? Sense of pride? Staying hidden, coming out to confront Tom, wanting money, his final ruthlessness and pride, the setup, his killing Casper, the suddenness of his own murder?

10. The Dane as the hitman, advising Casper, his boyfriend, relationships, the double deals, going to the crossing, realising the truth, trying to setup Tom, being out-witted?

11. The police chief, the politicians, sitting in audience with Leo or Johnny Casper? The shoot outs in the streets, the cars, the sieges, the double dealings with the truth? Echoes of Chicago shoot outs in a small city?

12. The gamblers, the wealthy of the city, corruption?

13. The portrait of hitmen and gangsters, their codes, detectives, private detectives following people, being killed, corpses in the woods?

14. The mood of the film, its attention to detail, the dramatic ironies? The sequences involving children and their being so striking? the dead man in the alley, the hairpiece, the children and moods?

15. An intelligent gangster drama, the blend of the stylised and the realistic, insight into human nature?

MAYERLING

France, 1936, 96 minutes, Black and white.
Charles Boyer, Danielle Darrieux, Jean Dax, Gabrielle Dorziat.
Directed by Anatole Litvak.

Mayerling was a very successful French romantic feature of 1936. Charles Boyer had already achieved eminence on the American screen after a career in France. He returned to France for this film and it gave a further boost to his international career. The young Danielle Darrieux is Marie.

The film was stylishly made by Anatole Litvak. Litvak was to go to the U.S. and make such films as Bette Davis's The Sisters, All This And Heaven Too.

The film recreates the atmosphere of the Austro-Hungarian? empire, the strong rule of the Emperor Franz Josef, the atmosphere of revolution and unrest in 19th century. It shows the Archduke Rudolf and his differences from his father, his wanting to live a more ordinary life, his arranged marriage, falling in love with the young countess Marie, the romance and the ultimate tragedy with the suicide in the hunting lodge at Mayerling in 1889.

The film echoed some of the interests of the period with the questions about the abdication of Edward VIII of England. The story was remade with the same title, quite lavishly in 1968, with Omar Sharif and Catherine Deneuve as the lovers and James Mason and Ava Gardner as the Emperor and Empress. The director was Terence Young.

1. Interesting and enjoyable romantic drama? History and fact? Interpretation and memory?

2. Black and white photography, locations and sets? The atmosphere of Vienna and the Empire? The musical score, use of the classics, Tchaikovsky and Strauss? The superposition techniques for the Archduke's memory during the ballet? Editing and pace?

3. The title, the focus and Mayerling and the tragedy?

4. The presentation of the Austral Hungarian empire, the Emperor Franz Josef and his long reign, his power, politics, ambitions? His distant relationship with his son? The arranged marriage? His head of council? and the questions of student revolutions, subversive papers? The place of the Emperors? The arranged marriage? Her accepting her status and state? This background for understanding the Archduke?

5. Charles Boyer and his style and presence as Rudolph? His mixing with Szepes and the revolutionaries? In the taverns? His easygoing way of life, women? The spies? Marinka and her betraying him for money? The arranged marriage? His going through with it? The arrest and his association with the editor? The passing of time, five years, his wedding anniversary, the tavern and the toast? His wandering the city? A glimpse of Marie, with her at the carnival, the handsome stranger, attracted by her simplicity? Playing at the carnival? The opera, his being attracted to her? The beginning of the relationship? Falling in love, the contrast with is ordinary life? The possibility of an annulment? Her being taken away? His desolate reaction, drunkenness? Her meeting him again, his change of heart? The plans, going ahead, the interaction with his father? The ball, leading the dance? Going to Mayerling, his love for Marie, her death, his suicide?

6. Marie, young, her family, at the carnival, attracted by the stranger, at the opera, discovering the truth? Swept off her feet? The romantic? interludes? Society and its reactions? The separation, her speaking sternly to him? Her love, the ball, the dance, going to Mayerling, her death?

7. Taffe and the head of council, his spies, antirevolutionary, arrest of Szepes and Rudolf? The emperor's reliance on him? The picture of the spies, their work? Rudolf and his trying to elude them?

8. Szepes, friendship with Rudolf, the revolutionary paper, the arrests?

9. The women at court, the Hapsburgh cousins, flirtations and romance, theatre, intrigues? Marie's family and their attitude towards the relationship? Double standards?

10. The drinking friends, the tavern life, gypsies and the singers, the spies?

11. The picture of the 19th century? The pressures on royalty? Ultimate tragedy?

MASS APPEAL

US, 1984, 99 minutes, Colour.
Jack Lemmon, Zeljko Ivanek, Charles Durning, Louise Latham.
Directed by Glenn Jordan.

Mass Appeal is a screen adaptation by Bill C. Davis of his successful stage play. The film is also a star vehicle for Jack Lemmon as Father Tim Farley. He is well supported by Zeljko Ivanek as the young deacon.


Charles Durning is very good as the overbearing head of the seminary. Louise Latham gives a sympathetic performance as the housekeeper. The score by Bill Conti blends ecclesiastical melodies with a contemporary score. Direction is by Glenn Jordan, best known for his telemovies including In The Matter of Karen Ann Quinlan, Les Miserables.

A young jogger, Mark Dolson, asks questions during the dialogue sermon of parish priest, Fr Farley. In fact, he is a seminarian almost at the end of his training. The staff find him abrasive. When two seminarians are suddenly expelled for a friendship judged to be too close, he angrily attacks Monsignor Burke, the seminary rector.

Fr Farley pleads for fairness for Mark. Monsignor Burke asks him to take on the deacon in his parish to train him for a month and test his suitability for priesthood. Coached by Fr Farley for his first sermon, Mark falls back into his aggressive style and alienates the parishioners.

However, Fr Farley likes Mark's passion and tries to help him to a greater maturity. The young man has an effect on Fr Farley who is dependent on his parishioners liking him, who drinks too much and uses white lies to get out of doing what he doesn't want to do. They talk frankly to each other about their lives and their families.

Fr Farley gives Mark another chance at a sermon which is more heartfelt and is well received by the congregation. It annoys Monsignor Burke who expels Mark from the seminary. A drunken Fr Farley tells Monsignor Burke off and, while he tries to get support from the parishioners, he fails. Mark and Fr Farley talk things through. Fr Farley speaks with great feeling about his own priesthood at Mass and in support of Mark against Monsignor Burke. He enlists the people's support for Mark.

Mass Appeal was a popular play of the early 1980s. Written by Bill C. Davis, it rang true echoing the changes in the American church after the Second Vatican Council. The film presents a picture of the Catholic Church in the United States in the 1970s and 1980s. It highlights the changes in the church since the Second Vatican Council, different styles of liturgy, seminary training, relationship with the laity. It also highlights the atmosphere of bureaucracy, the pressures (even to personal blackmail) for administration and decision making and in a greater openness in many clergy. The focus is on the challenge to a passionate young deacon for conforming with the established church. There is also the challenge to the priest who relies on his popularity with his parishioners to take a stance on principle.

The movie's dialogue as well as the representation of a priest's life is authentic. The issues are serious, the writing is often humorous and employs Jack Lemmon's skills and comic timing. The film is entertaining on a surface level. It is also a film of meaning and depth below the surface with the clashes between the more authoritarian, ecclesiastical clergy and the younger, sometimes brasher, seminarians and priests.

Jack Lemmon has been able to assume a wide range of both comic and serious roles during a long career. His portrayal of Fr Farley is realistic and credible. He is a good man with painful memories of family clashes. He has fought the dislike of his congregation to win them over. He has, in mid-life, settled into a wisecracking, benign and, sometimes alcoholic, parish priest. He is matched by the intensity and singlemindedness of Zeljko Ivanek's portrayal of Mark Dolson.

Charles Durning is the bullying rector and Louise Latham brings some light relief as everybody's picture of a nice but anxious housekeeper.

1. An interesting drama? Entertaining comedy? Strong delineation of characters? Portrait of the Catholic Church in America? Power struggles? Principle? Impact for American audiences? Elsewhere?

2. The retaining of the strong dialogue, opening out of scenes?

3. The American city, the world of the Catholic Church: church, presbytery, seminary? The focus on a particular world?

4. The impact for Catholic audiences? Non Catholic? Non-religious? For Catholic audiences, authentic, familiar?

5. The authentic atmosphere of the film and its searching for accuracy: details of church life, liturgy, the priesthood, clerical language, Catholic references, contemporary issues, controversies, seminary life? Behaviour and struggles? Comparisons with films about clergy of earlier decades? The 1980s and changes in the Catholic Church? Contemporary issues of freedom, principle, truth, morality? Particular questions as the ordination of women?

6. The musical score, hymns, the religious style, mood?


7. The quality of Jack Lemmon's performance? As a man, as a priest? Effective and moving? Portrait of a man: serious, quips and smart style? The opening Mass, dialogue sermons, his showmanship? The question of women's ordination, inviting questions, his flip answers? Reliance on the church's teaching? The reaction to mark's interruptions? Mark’s direct challenge to his own views? His relationship with his parishioners? Being in the parish ten years, friends, gifts of wine, visits? Margaret and her help in the presbytery, understanding his moods? Monsignor Burke and friendship, exercise of power and authority, the trip to Yugoslavia with his sister, the photos, his pretending to be interested, opting out of meals? His not telling the truth but Monsignor Burke challenging him to do this finally? His responsibilities as a consultor for the seminary? Going to meetings? Talking with the seminarians, the problem case and the homosexual relationship? The possibility of the seminarians keeping their vows? Meeting Mark at the seminary? The treatment of the two seminarians and their being dismissed? Mark's anger at the authorities, the review of his case? His defence of Mark? Monsignor Burke, holding it over him and making him take on Mark as apprentice? The interview with Mark in the car? Trying to make an appointment? The practice homily? Mark and his antagonism towards the parishioners, their coats and blue rinse? The insistence on the use of 'We'? Mark's sermon and his anger, Tim's response, searching for the reason of his anger? His listening to Mark's life story, his family, leaving home? The story about the fish and their being boiled, the catfish? Mark's desire to suffer and to help? Setting up the sermon, the cards and reactions? Margaret and her siding with Mark? Tom, and the clergy and their listening to the homilies, complaints? The importance of the sick call, Tim's compassion, his cliches? His discussion with Mark about what priests should say and not say? His theory about grief and people feeling sad? The talk in the park, the anger and memories of his mother, her remarriage, his cutting his mother off and not answering her letters? Her death without a reconciliation? Monsignor Burke insisting Mark visit him, the discussion about the background of his life, sexual experimentation? Mark's return, Tim's sense that he had failed? The confrontation with Tom about Mark's leaving? His decision to speak to the parishioners about Mark, the Mass and his failure, his turning his protest into a flip ending? His telling white lies, avoiding the truth, avoiding visits from parishioners in need (telling the people they had come on the wrong day)? Ills drinking, his anger at Monsignor Burke? Mark packing? The Mass, his inability to go, on, change, his appeal to the parishioners? A stance on principle? His age, experience, his work as a pastor, his sermons and series, his popularity and his relying on it, his remembering of the initial hostilities? His being challenged and failing? Failure and change?

8. The parishes and the church, the parishioners? Their reaction to liturgy, sermons? Their dismay at Mark's sermon? Complaints and reports? The parish priest and his adaptation to them? The highlighting of the need for change? (And the working within the traditional model and, the need to change within that model?)

9. Mark and his running, going to the church, questions about women's ordination, challenging Tim for his own personal viewpoint? At the seminary, the reaction of the staff about his courses, questioning? His wanting to be a priest? Leaving home? his wanderings, sexual experimentation, his decision for celibacy, for commitment? His being seen as passionate? His angry intrusion and abusing Monsignor Burke about the two seminarians being dismissed after discovering their empty rooms? His criticism of Monsignor Burke as a homophobic autocrat? His own social work? The diaconate day, his sister and her affair and his advice? His being entrusted to Father Farley? His resistance? Going? The sermon practice, the hints about coughs? His sermon and their coughs, his anger? His being challenged about his disdain for the parishioners? The story about the fish and it being a symbol of his attitude towards people, seeing them as victimisers? His need for compassion? The varied responses, people who saw the point? People who stayed with the story? The sick call and his discussion with Tim about compassion and being silent? His hearing Tim's story about his mother? His talking about his own past? The visit to Monsignor Burke, his bluntness, his satisfaction with the visit and then, realising the failure? His response to Tim's failure at the sermon? Tim being drunk, trying to save him from Monsignor Burke? His decision to move to another seminary? His response to Tim at the end? A future in the priesthood? The type of priest he would be?

10. The world of seminaries, changing style, background of seminarians, enclosed and open, homosexual relationships, vows of celibacy? Authorities and bureaucracy? The virtue of loyalty? ?Manipulation? Justice for seminarians, for orders. for dismissal?

11. Monsignor Burke as a Monsignor, Rector of the seminary, his being an ecclesiastical type? Mark's criticism of him as a homophobic autocrat? His sister and the travels? Photos? Running the seminary, the board, decision-making, minimal consultation? His listening to the sermons? His anger, his hold over Tim? His threatening to move him? Tim's response to him? His being the villain of the film?

12. Margaret and her work as housekeeper, stances, disappointment in Tim? Final support?

13. The parishioners and their reaction to the sermons? their comments afterwards, their power over Tim, his reliance on popularity, reports to authorities?

14. The background of Catholic families, in the parish, the Dalsons, Tim's regret about his own family?

15. The film's presentation of priesthood, the tradition about the male priesthood, questions about ordination of women, change in the church, change in the traditional mode? The film as a mirror of the Catholic Church in the '80s?

THE MAN IN GREY

UK, 1943, 116 minutes, Black and white.
James Mason, Margaret Lockwood, Phyllis Calvert, Stewart Granger, Martita Hunt, Norah Swinburne.
Directed by Leslie Arliss.

The Man in Grey was the first of the costume melodramas produced at Gainsborough studios during the early and mid 40s. It was a Regency melodrama, highlighting the clash of personalities and wills, arranged marriages, love affairs, violence and murder. It was done with the impeccable taste of British film-making of the 40s - with full blooded melodrama.

The stars of this film were to appear in many of these dramas in the coming years. The Man in Grey really launched their careers. The cast was led by Phyllis Calvert (Fanny by Gaslight, Madonna of the Seven Moons), Margaret Lockwood (The Wicked Lady, Hungry Hill, Jassy), James Mason (Fanny by Gaslight, The Wicked Lady) and Stewart Granger (The Magic Bow, Saraband for Dead Lovers). The film was co-written and directed by Leslie Arliss who wrote a number of these films. The film is heightened in its presentation of characters and interactions and has the ingredients for what would in later decades be a miniseries.

1. Entertaining of its kind. The impact of this kind of melodrama? Period, the Regency? The Gainsborough films of the 40s?

2. The cast? Recreation of a period?

3. The framework in the 40s: black and white photography? light and shadow? The contrast with the early 19th century, with light and darkness, compositions? Score?

4. The title and its focus? The women as the central characters but the title? service, at the auction...?

5. Peter and the meeting, Peter's mistake, bid, their friendship, interest in the past, their identities? The souvenirs of the Regency period? Their return, meeting, destiny to be with each other and fulfilling in happiness the unhappiness of the past?

6. Phyllis Calvert as Clarissa: as a girl at the finishing school, her family background, behaviour at school, popular among the girls, interactions? The headmistress and her prim style, demanding? The staff? Manners, education? for what? Hester's arrival and her being nice to her, staying back from the outing, their becoming friends? The honesty and warning? The gypsy foretelling her future and to beware of women friends? The gossip in the school? Her hopes, coming out? The man in grey and the encounter, the arranged marriage, no love between them? Their separate life styles? The absence of Clarissa's son? Going to the theatre and meeting Hokeby? Seeing him in the performance of Othello? Hester as Desdemona? Her seeking them out? Taking Hester home, wanting her to be the tutor, the arrangement for her to be her companion? Sharing experiences? Going to the races? Finding Hokeby as the busker? His coming to be the librarian? The infatuation, the affair? The gypsy reading her palm again? Her taking Hester's advice and pouring out her heart to her? Leaving her husband, his reaction, her friends, the Prince of Wales and Mrs Fitzherbert? The farewell to Hokeby on the ship? Her returning home, her illness, Hester opening the windows, her getting pneumonia and dying? The loyalty of her maid, of the black boy? His getting her revenge?

7. Margaret Lockwood as Hester: the contrast with Clarissa, arriving at the school, class differences, poverty, resentment? Her ambitions? Her work, the girls mocking her? Friendship with Clarissa despite herself, the needlework keepsake? Her angers? with the director of the school? The gypsy and the fortunetelling? refusing to tell her fortune? Her warning Clarissa? Leaving the school, as Desdemona in the theatre? Her explanation of her life and the man in grey telling her the truth: leaving her husband, her ambitions, prostitution? working with Hokeby, the clash with him? Returning with Clarissa, timing her entries, becoming Clarissa's companion? her continued scheming, insinuating herself, the affair, the passionate liaison? Seeking out Hokeby to be librarian, manouvering Clarissa and Hokeby together? Her plans, their going awry? Her decision to kill Clarissa? The irony of the black boy seeing her the confrontation by the man in grey, her death?

8. James Mason as the man in grey: his style, arrogance, reputation, gambling? The meeting with Clarissa, the arranged marriage? Separate life styles and dwellings? His son? Business, society, breeding horses, the races? The influence of the Prince of Wales and Mrs Fitzherbert? The attraction towards Hester, seeing through her, the passionate affair? His respect for her? His demanding respect for himself? Anger with Clarissa, the challenge to Hokeby and fighting him, being stopped by the Prince of Wales? The discovery of the truth, his killing Hester?

9. Stewart Granger as Hokeby, acting as Othello, acting as a busker, the attraction towards Clarissa, with her and the gypsy and the fortune telling, coming as librarian as he thought Clarissa wanted it, the clashes with Hester, her love, the affair, the decision to leave, his story of Jamaica and the loss of his property, returning the fare to Clarissa?

10. The atmosphere of the school, the young ladies, the type of education, good manners, the head mistress and her prim style?

11. Clarissa's family, the expectations at the period, arranged marriages, fortunes, children?

12. The world of the servants, the kitchen, the black boy and his loyalty to Clarissa, serving her in death? The truth and the revenge?

13. The Prince of Wales, his liaison with Mrs Fitzherbert, her values, decisions, support of Clarissa?

14. A drama of manners and morals, intrigue, class and wealth, position, ambitions, violence? Popular appeal for entertainment?

MAN HUNT

US, 1941, 105 minutes, Black and white.
Walter Pidgeon, Joan Bennett, George Sanders, John Carradine, Roddy McDowell?.
Directed by Fritz Lang.

Man Hunt is an exciting thriller based on Geoffrey Household's contemporary story, Rogue Male. (The film was remade as a telemovie with the original title in the 1970s. It starred Peter O'Toole and was directed by Clive Donner.)

This film was directed by Fritz Lang, one of the many thrillers that he made at the time of World War 11 (e.g. Ministry of Fear). Lang had a significant role in the American film industry with his strong European background and influence on the German cinema between the wars. He had been approached by Goebbles to be the official filmmaker for the Third Reich. Instead he went to Hollywood.

The film seems slightly far fetched for the beginning of the War, an English hunter and the opportunity to assassinate Hitler. However, as the war went on, it did not seem so unreal.

Walter Pidgeon has a good role as the hunter. Joan Bennett has more of a cameo role as a sympathetic London prostitute. George Sanders is, as ever a suave articulate villain.

1. Impact of the thriller? Topical? Hitler and World War ll? The consequences of the assassination of Hitler?

2. Black and white photography, light and darkness, shadows? The studios for locations? The background of Fritz Lang, his talent, political perspective?

3. The title? the original title of the novel? The reference to hunting?

4. Thorndike and his Canadian background, reputation as a hunter, having Hitler in his sights, the bullet? Firing? The fight with the guards? The capture by Quive? Smith? The interrogation, the brutality of the torture The document to be signed? Thorndike’s arguments on freewill? The suicide set-up? Thorndike’s escape, getting the ship back to London, the friendship of the boy? Making contacts in London?

5. Thorndike and the girl, the meeting, relationship, using her, her help? Getting in contact with his friends? Her going to visit the upper-crust people? Her death? Mr Jones and his pursuit of Thorndike? Quive-Smith? and his coming to London, Thorndyke's escape? The use of hunting techniques, the luring of the prey, Thorndike being trapped? The clash, the sign, hunting skills, the arrow and the death of Quive-Smith?

6. The portrait of the prostitute (gently done, 40s style)? In London, her help; her relationship with Thorndike, her decision to help him, going to the aristocracy? Her murder?

7. Quive-Smith? and George Sanders style? The skill in hunting? The Nazi background, his speeches on Nazi philosophy? Supermen and supremacy? The suave style but the brutality of his interrogation, torture? The planes, discussions with the authorities? The phone call to England? Going to England, trying to spring the trap on Thorndike. being defeated by his own plans? Out-witted?

8. Mr Jones, Nazi spy, being Thorndike, travelling to England, trying to track Thorndike, the death of the girl?

9. The boy and his help on the boat, concealing Thorndike, the dangers?

10. The British perspective of the story? Britain and World War II? Relationship with the Nazi regime? The War?

11. Thorndike and his subsequent career, parachuting into Europe, using his skills?

12. A blend of exciting thriller and W.W.11 propaganda?