MESSAGE TO MY DAUGHTER

US, 1973, 75 minutes, Colour.
Martin Sheen, Bonnie Bedelia, Kitty Wynn.
Directed by Robert Michael Lewis.

A touching telemovie from the early seventies. It focuses on a teenager, played by Kitty Winn, who is confused but listens to tape recordings made by her long dead mother. The mother is portrayed by Bonnie Bedelia, the father by Martin Sheen.

The film folk echoes the atmosphere of the seventies, difficulties in family life, teenage confusions, the need for role models and for support from parents. The casting is strong, giving the telemovie an above average impact.

1.Quality telemovie? For home audiences? Theme, treatment? Family?

2.The reflection of the styles of the seventies - with the memories of the fifties? The transitions? Generations, parents and children?

3.The title and its focus, on the mother, concern for her daughter? Death? The plausibility? The treatment?

4.The structure of the film: the flashback, technique, the parallels of the generations?

5.The portrait of Miranda, her bitterness? The drive, hospital, her father, anger? The gift, her leaving, the travelling? Listening? The ups and downs? The old woman, the two who attacked her, passes, picking her up, lifts? The utility and her repeating the words? The ring or not? The cemetery? Her anger, transition to understanding, the gift of the tapes, her gratitude?

6.Janet - young, boys and sex, her parents, leaving? The question of the abortion? Johnny, marriage, anger, her parents, illness, fighting John, the reconciliation, happy with Miranda? The pathos of her death?

7.The message, its tone? Her reflections, love, her experience of life, the parallels? The past, relationships? Her father, the question of the abortion? Her death.

8.John, relationship with his wife, tough? The novelist? The reason for not giving the tapes? Memories of the past? Writing, cinema, options? Love and marriage? Writing, fighting? Not being the father? Love, concern? Marriage and love for his wife?

9.The parents, strictness? The phone call, the visit - sadness?

10.The gallery of people on the trip, styles, characters, glimpses?

11.The emotional impact of the film and its themes? Focuses on identity, family and roots?

MERCI POUR LE CHOCOLAT (NIGHTCAP)

France, 1999, 99 minutes, Colour.
Isabelle Huppert, Jacques Dutronc, Anna Mouglalis, Michel Robin.
Directed by Claude Chabrol.

Merci Pour le Chocolat (Nightcap) is a thriller by Claude Chabrol, a veteran of over forty years of film-making. Beginning as a New Wave critic and writer, he began making films in the late `50s and continued through the `60s and `70s as a master of suspense thrillers and character studies. During the `80s and `90s he had mixed success - but produced many excellent films including this one.

Isabel Huppert appears for Chabrol for the sixth time (such films as Violet Nozieres, Madame Bovary, The Ceremony, The Story of a Woman). The film was written by Chabrol's wife Aurore, and the musical score composed by his son.

The film pays homage to Hitchcock and reinforces Chabrol's belief that for the wide audience the psychological thriller is the best way of being a moral fable. Drawing elements from an American novel by Charlotte Cornwall, Chabrol has given us a portrait of perversity (his definition of someone who is good but using the good for evil becomes totally evil). Isabel Huppert is excellent as the wife who sees herself as worth little but who fulfils everyone's needs, is always helping. However, inside she wants to dominate - and this leads to cruelty and destruction.

The film is beautifully made on Lake Geneva, has a very strong cast and, with two of its characters concert pianists, has a wide range of classical music to supplement the score.

1. An entertaining and interesting psychological thriller? A moral fable? A study of evil - in seemingly ordinary situations?

2. The Swiss settings, the lake at Geneva, the mansions - a world of affluence? The musical score, the range of classical music, the background score?

3. The title and its irony? The background of the chocolate factory, its success and traditions, its economic needs at the end of the 20th century? Mika and her role as the heiress (an adopted child) and her power control in the company? The use of drinking chocolate throughout the film? Her malice turning towards her stepson and poisoning him? The homage to Hitchcock's Suspicion - with poisoned drinks at night, their being carried upstairs, and the dangerous driving on coastal roads?

4. The opening with the wedding - and the gossip? Mika and her husband marrying again? The background of a second marriage, the son, the death of the wife? The comparison with the gossip by the two women and their children at lunch? The introduction of the connection between the families - and the story of the possibilities of the babies being changed at birth, Alex and his coming and getting the wrong child, the explanation by the Pollet family?

5. Truth and lies? The truth about the children? The truth about the artificial conception? The wishes of parents about their children? Parents and step-parents and stepchildren? The curiosity on the part of the children and what it can lead to?
6. Mika and Isabel Huppert's screen presence? Enigmatic? Doing good, contemplating evil and doing evil? The wedding, the memories of her marrying at the age of 18? The divorce? Living together and remarriage? Her continued patronage of Alex? The household and her wealth? Seeing her at the board meeting, her listening to the old man, yet ridiculing him? Her decision about what charities to support - and eliminating pain? Promising to discuss with him, yet mocking him? The indications of a desire for power? At home, her love for her husband, her continued care for her stepson, fussing about him, giving him the chocolate to drink?

7. Andre and his background, marrying Mika, the ceremony, his concern about Guillaume? The background of the divorce, the expectations of the chocolate factory family? His role as a pianist and international success? His marrying his wife, the birth of the child - and the confusion? Her death? His response to Jeanne, the possibility of her being his daughter, interest in the music, discussions, training? His pleasure in having her in the house? Performance? Correcting Jeanne? His suspicions of his wife, Guillaume and Jeanne going for the sleeping pills? His phone call? His probing of her evil?

8. Jeanne and her mother, her boyfriend and the playing tennis, the sexual liaison? Poised and assured? The story of the possible change at birth? Listening to it, acting on it by going to visit Andre and Mika? Impressions, straightforwardness, with Guillaume, the good impression? Mika deliberately dropping the chocolate - or not? Jeanne's suspicions, taking the pullover to be analysed by her boyfriend? The results? Her second visit, warning Guillaume about his stepmother? Mika's proposition and the visit to her mother? Their discussion about Jeanne, Mika's philanthropy? Her always being reassuring about the birth exchange? Ringing Jeanne's mother, inviting Jeanne to live in? Jeanne's response, her mother's response? The relationship between the two, her mother telling her the truth about the artificial insemination and the response of her father? Her anger, going to the house, the day of playing the piano with Andre? The meal, helping with the wash-up, the drugged coffee? The drive and the crash?

9. Guillaume, neglected, ineffectual? His response to the wedding, to Mika, to his father? Suspicions of Jeanne? Her telling him and warning him? His believing her? His not drinking the chocolate, going to his room, Mika buying the videos? Changing the coffee cups? Going with Jeanne, the crash?

10. The background of the two different families, the possibility of the mix-up at birth, the possibilities of deceptions? The role of lies, truth? The role of goodness and evil? Perversity and the corrupting of good into destructive evil?

THE MEN'S CLUB

US, 1986, 100 minutes, Colour.
Roy Scheider, Frank Langella, Harvey Keitel, Treat Williams, Richard Jordan, David Dukes, Craig Wasson, Stockard Channing, Jennifer Jason Leigh.
Directed by Peter Medak.

The Men's Club is an attempt at psycho-drama for entertainment. It focuses on a group of seven men in San Francisco, their backgrounds, their attitudes towards their spouses, towards their careers, and shows them getting together for interaction. The interaction degenerates into clashes, their reverting to childish behaviour, most of them eventually going to spend the night at a brothel.

The language is strong, there are many monologues revealing the psychological states of the speakers. The film has a very good cast - which tends to give some credibility to the speeches and to the behaviour. However, it is very hard for most audiences to identify with the men, in the camaraderie, in their crude talk and behaviour, in their antagonism towards their wives. The film is a very strong portrait of the battle of the sexes - and the exploitation of women by men: at home and in the brothels.

The film was directed by Peter Medak, a director whose career has varied over many decades with such interesting films as Negatives, The Ruling Class, The Krays, as well as many telemovies.

1.Impact of the film? Plot, characters, behaviour? The battle of the sexes? The look into the ugly side of male behaviour and sexuality?

2.The film based on a novel by Leonard Michaels and his scripting the film? The psychological background, dramatisation of behaviour? Exploitation, authenticity?

3.The Californian background, the worlds of the various men? Domestic, career? Ordinary men, workers, professionals? Seeing themselves as special or not? At home? The brothel? Audiences identifying with them, their situations?

4.The introductions with the monologues, the introduction of the cast, the strength of the cast? The idea of the club? The men getting together, motivations and expectations of the club?

5.The gathering at the home? The stories and the revelation about relationships, treatment of women? The bonds developing between the men? The range of clashes? Growth in understanding, buddies? The masculine emphases of the stories? Attitudes towards women? Sexuality? The behaviour degenerating - raiding the fridge, the darts, the yells? Repression? The creation of mess? The wife arriving home, her reaction, her disappearance from the scene - and the critique of the men?

6.Going to the brothel, the House of Affection? The madam and her running of the brothel, the contracts with the clientele? Expenses? The women in the brothel, their position, their acting, glamour, pandering to the men? The men's needs? The arrival, the reaction? Surveying the women, choices? The different attitudes? The women as offering company, companionship, listening? Sexual encounters? The men hurt, the women hurt? The kinky behaviour? Love? The revelation of truth about the men, the shame, the phone calls, the pretences? The build-up to the finale and the wedding?

7.The picturing of women: subservient, marriage relationships, family? Women servicing men? Sex, seduction? Dominance, co-operation? Tension, compliance? The women not understanding the men? The finale with the gun, the madam and her decisions? Money? The world of fantasy?

8.Cavanaugh, Roy Scheider's screen presence and style, the initial story, his sports background, getting older, promiscuity, his fans, relationship with Philip? Relationship with Sarah, the possibility of divorce? In the club, the yahoo behaviour? To the brothel, with the women, his defiance, the phone call, his fears? The finale and running on the bridge?
Philip, his relationship with Hannah, the domestic background and ordinariness? Psychology? Long friendship with Cavanaugh? Going to the club, professional attitude? Being caught up in the behaviour? Going to the brothel, his hesitation, with the women, the pretended phone call to his wife? The clash with Cavanaugh?
Solly, loud, his relationships, part of the club, stories? Friendly? To the brothel, meeting the girl, his needs, his trying to understand himself, his memories? With the girl, her not understanding, the proposal of marriage, the wedding ceremony?
Harold Canterbury, going home, his wife walking out on him, going professionally to the doctor, his tension? At the club, professional, proper, unbending? Joining in the unrepressed behaviour? At the brothel, with the prostitute, the painting and the colours? His breaking loose? Paul, the working man, the outsider and observer, friendship with Solly, trying to keep pace? The brothel, his wife, being hesitant, sitting with the women for companionship, again getting caught up in the behaviour?
Terry, the doctor, professional, easygoing, the club, his power of storytelling, the revelations about himself? At the brothel, the encounter with the prostitute? His not being affected so much by the behaviour of the club?
Kramer, host to the club, his relationship with the men, his becoming involved, the raiding of the fridge, allowing the mess in his home? His wife coming home, chastened, his not going out?

9.The glimpses of the women: Hannah and her relationship with Philip, at home? Her presence in his mind as he went to the club, the brothel? Sarah, unseen, and her relationship with Cavanaugh, the possibility of the divorce? Kramer's wife, her coming home, her work with the clubs, the destruction of the house, her anger, her demands that things be cleaned up?

10.How authentic this presentation of male behaviour? Male psychology? Male needs? And the critique of their chauvinist behaviour and attitudes?

MEN AT WORK

US, 1990, 98 minutes, Colour.
Emilio Estevez, Charlie Sheen, Leslie Hope, Keith David.
Directed by Emilio Estevez.

Men at Work was written, directed and stars Emilio Estevez. (He had done the same for his message action film of 1986, Wisdom.) He co-stars with his brother Charlie Sheen (who had appeared in Wisdom and who co-starred in Young Guns).

The film is designed as a comedy with a message. The film is about the '80s to '90s theme of the environment and disposal of waste. The villain is an industrialist who is unscrupulous and corrupts politicians and the police. He is also presented as a well-dressed idiot. His thugs are presented also as offhandedly callous but figures of fun.

The heroes are the two garbage men who have ambitions to set up a surf shop. With their lackadaisical ways, they are caught up in a murder and political corruption - and acquit themselves, of course, with great ingenuity and heroism (but not without fear). Estevez and Sheen work genially together.

Estevez must me a fan of Alfred Hitchcock because there are many echoes of Rear Window and The Trouble With Harry.

1.The title, expectations? Comic story, crime story, political and social issues?

2.California locations, the city, the beachfront, apartments, industrial plants? The authentic look of the locations? Giving a sense of realism? The musical score and the range of songs?

3.Comic book style, farce and comedy, the Hitchcock echoes?

4.The theme of chemical waste? The threat to the environment with the dumping of the drums in the Pacific? Max, watching with binoculars on the beach, the well-dressed comic villain? The threat from Jack and taping him? Corrupt politics? Max's threats, Jack taping him? The comic thugs but their brutality? Police chief and corruption? The murder of Jack? The wrong tape? Max and his getting the thugs to threaten Susan? With the machine at the end? The showdown and his comeuppance? His getting rid of people as waste? His finally being immersed in the waste?

5.The theme of ecology, toxic waste in the ocean, garbage and waste, money, the environment?

6.The theme of garbage, ordinary garbage and disposal, waste, collection, information in people's garbage, dumping ground for corpses, rubbish and garbage as humiliation and practical joke material?

7.Carl and James, their friendship, working together, hopes for the surf shop, their friends, harassed by the police, their boss and his complaints, sending his brother-in-law to supervise them, surfing, noise and the clatter, becoming involved in serious issues?

8.James waking up on the beach, the joker, his temper, friendship with Carl, driving back into the rival truck (and the various revenges of the balloon in the glove box, the balloon and the refuse in the lockers - and the practical jokers getting their comeuppance)? His philosophy of life, antagonism towards Louie, his French fries? Working with Carl, not wanting him to shoot, wanting to go to the police? Finding Jack in the drum? Siding with Louie? Watching the apartment, watching Susan? Wheeling the corpse around, the pizza man seeing him, his being abducted? James on guard? Moving the body around? Stopped by the police, stripping them for their revenge? Finding Carl and Susan, the truck with no brakes, hanging on the back of the disposal truck with Carl, holding people to ransom with the air gun, the chaos at the dump, heroism and fight, the resolution?

9.Carl as serious, the echoes of Rear Window as he watched everybody with his binoculars? Information as regards Susan? His airgun shot to Jack Berger's ad? Working with James, the clatter, discussing his break-up with his girlfriend? Placating Louie? Shooting Berger after his attack on Susan? His fear, going over to see Susan, knocked over, his suave manner and the lies, her flirting with him, going out, on the beach, the car exploding, being taken by the thugs, put in the drums with the waste, getting out, saving Susan, heroism in the final fight?

10.Louie, his brother-in-law the boss, his being serious, Vietnam memories, tough, race attitudes, his French fries, antagonism towards the police, not wanting to go about the body, taking the pizza man captive and imagining him as Viet Cong, the pursuit of the enemy, the fights?

11.Jack, his corruption, taping Max, changing his mind, relationship with Susan, the tape, the murder? Daryl Larsen acting as the corpse - in the drum, with the hat on as a drunk, with the police, in the car, with the Nixon mask, being carried everywhere?

12.Susan, toughness in the campaign, her style, watched by Carl, attractive, flirting with Carl, going out, the kissing, the explosion, slapping him twice for his prying on her and lying, in the drum, rescued, sharing in the final heroics?

13.The two garbage men following, their rivalry, the practical jokes, destroying the brakes, and the final revenge?

14.The picture of the police, poking fun at the police, the gay overtones, the humiliation?

15.How well did the film work as serious comedy?

MEMORIAL DAY

US, 1983, 120 minutes, Colour.
Mike Farrell, Shelley Fabares, Keith Michell, Bonnie Bedelia, Robert Walden, Edward Herrmann, Danny Glover.
Directed by Joseph Sargent.

Memorial Day is a very moving film about the Vietnam war and its aftermath. It was directed by Joseph Sergeant.

Mike Farrell, who acted as executive consultant for the film, gives a very moving performance as a lawyer who wants to forget his experience in Vietnam, especially the killing of children during an ambush. A 12-year reunion makes him face the realities of the past, his inability to help a buddy who was relying on him and who commits suicide. It makes him break out of himself and eventually tell the story as well as reconcile the family to the memory of their dead son. In this way, the suicide acts as a giver of life to those who stay alive, asking his friend to explain the reality to his son.

There is a good supporting cast led by Edward Herman, Shelley Fabares and Danny Glover (before he was famous). Robert Walden gives a powerful performance as the suicide.

There are many moving sequences, heightened emotions, a revelation on Memorial Day with different reactions from listeners to sympathy, to embarrassment, to fear and upset, to unwillingness to listen to these Vietnam war stories.

A film helpful to understanding the experience of those who fought in the war.

1.The impact of the Vietnam war on the United States? The aftermath? This film as a therapeutic psychodrama?

2.Los Angeles, the families, buddies' reunions, the workplace, the Texas sequences? Authentic America?

3.The title and its significance, Memorial Day as a public holiday beginning the summer, a celebration of freedom? Matt's revelation on that day? The assessment of the Vietnam war? Reactions? Willingness to listen or not, questions of blame, questions of avoidance?

4.Matt Walker at his lawyers' meetings, friendship with Ned, the deals, at work, ordinary life?

5.Going to the reunion, the jovial meeting, the horseplay, the 12 years, the drinking, talking and memories? Willie in his chair? The jovial buddy? The significance of the meeting for Tom Gibbs, his wanting to talk to Matt, his depression, the memories remaining, the place, the kids, the violence? The effect of the talk, Matt's reaction, wanting to distance himself, adjusting and forgetting? Tom's inability to forget, his grief, depression? Looking out at the Pacific?

6.Matt going home, relationship with Elly, unable to talk about Vietnam, the strain on their marriage? The kids, her work, his using her work as an excuse? His own legal work, friendship with Ned, ethical questions? His unwillingness to talk, accusing his wife of wanting to be a therapist? Friendships, Gay's questions? Elly feeling that he was a stranger in the house?

7.Tom's urgent phone call, Matt too busy? Eventually trying to find him, discovering him dead? The letter, going through his things? The police and their questions? Matt's offhandedness, distancing himself? The effect at work and at home? Ned trying to help? Ringing Cass but hanging up?

8.His slowness to read the letter, looking at the photos? The letter and the explanation, Tom asking him to go to his son? His going to visit Cass, her initial rejection, her explaining the background of their marriage, Tom's wanting to go to Vietnam, the effect of the experience, absence without leave? Her remarriage, inability to handle her son? Going to see Willie and Willie urging him to tell the truth? Going to Tom's parents, their unwillingness to hear the truth? The father going into town? The mother letting him stay? Meeting Marsh, Marsh doing his chores, the fact that Marsh had met his father, knew the story, deeply regretted the way that he had rejected his father? The shrewdness of Marsh in understanding what had gone on, what was being said and not said? The effect of this encounter on himself? (And the way that it was filmed with Marsh doing his work?) The build-up to Matt on Memorial Day, the picnic, his decision to tell the story, the attention to detail, emotional, power, the questions of responsibility and the consequences? The variety of reactions - Elly grateful to be listening, Ned and his constant support, Gay having asked the questions and listening? The others reacting, walking out, not wanting to spoil the picnic, questions of shifting the blame?

9.The legal case, the Hispanic man and his giving the truth, their not being able to save him from deportation? Discussions with Ruskin, his betraying them? Ned and his integrity and wanting to leave the case? Matt and the meetings, bashing Ruskin, resigning?

10.The funeral and those present, a reconciliation at the grave of Tom? His return, reconciliation with Elly, a new beginning?

11.The sketch of Willie, his injuries, memories, coping and advice?

12.Cass, the experience of marriage, her child, telling her son that her father was dead and a hero, wanting to forget, going to the funeral?

13.The parents and the image of their son, Marsh and what he had been told, the fact that he had met his father, the fact that his father wanted Matt to go and explain further?

14.The war and its impact, adjusting, forgetting, the need to express the deep and violent experiences?

15.The significance of Tom's death, bringing Matt to life, going to Marsh, going to the family, reconciling people at his grave, enabling them to have a new life?

GODZILLA

Japan, 1984, 87 minutes, Colour.
Raymond Burr.
Directed by Kohji Hashimoto, R.J. Kizer.

Godzilla - 1985 had a marvellous trailer: it highlighted Godzilla anonymously as the great dynamic star of the mid-'50s (almost paralleling the experience and career of James Dean). It then blazoned the fact that the monster was returning.

The return is a Saturday matinee affair - Japanese- American co-production with execrable dubbing for the Japanese characters. There is an American cast, looking stern, led by Raymond Burr as a reporter who had experienced Godzilla's first attack.

The film relies, naturally, on special effects - and these do not compare well to American versions of monster films. Godzilla emerges from a volcano, attacks ships, goes on the rampage (with heavy music beats) trampling down Tokyo and destroying buildings galore. There is, naturally, a hero, a heroine - who somehow or other seem to be involved in everything from reporting to scientific investigation. The scientists are also trying to work out how to combat Godzilla. There are special stunts and rescues - a bit reminiscent of the helicopter rescue in Towering Inferno.

The film highlights the Japanese popular mentality - of a national monster which is able to rise and terrorise Japan.

What is of interest for the 1985 audience is the focus on nuclear weapons. The film highlights the fact that the major powers have missiles, that they can be turned onto Godzilla - but with dire consequences for fallout and radiation. A dead Japanese officer has set the process on train. There is to-ing and fro-ing between Washington, Moscow and Tokyo with the politicians having to make decisions. Ultimately the Americans have to fire a missile to explode the missile moving towards Tokyo for the destruction of Godzilla.

While the material and treatment are matinee style, the screenwriters have taken the aspect of the contemporary nightmare - the helpful use and the destructive use of nuclear weapons and made it a focus of their thriller.

The film is of negligible entertainment value - of interest for political and nuclear themes.

GODSPELL

US, 1973, 100 minutes.
Victor Garber, Lynne Thigpen.
Directed by David Greene

New York City. A group of ordinary people are going about their daily work but are feeling frustrated: office workers, diner waiters, taxi drivers... They all hear a sound of music which seems to reach only them. They follow the call, especially when a strange character appears to tempt them away from their day-to-day lives.

They all gather and change into odd clothes which have a carnival style. As they walk and dance to one of the city fountains, they sing, 'Prepare ye, the way of the Lord.' Another young man arrives and goes through a baptism ritual in the fountain.

The troupe then sing, dance and joke their way through the Gospel stories, the baptised young man taking the role of Jesus, the others going from role to role and performing as a chorus. They tell parables, listen to the Beatitudes, re-enact miracles. Finally, they come to the arrest of Jesus and re-enact his passion. Finally, Jesus appears as the risen Lord.

The range of songs includes Turn Back, O Man, Bless the Lord, Long Live God.

Godspell took the English-speaking world by storm in the late 60s and early 70s. It was performed everywhere, not only in theatres, but, later, in schools. It was part of the reaction to the 'God is Dead' movement in the US during the mid-60s. The questioning of the place of God in the world led, amongst other spiritual quests, to charismatic renewal and to a Jesus Movement. At the same time audiences were also flocking to theatres to see Jesus Christ, Superstar. The movie versions of Jesus Christ Superstar and Godspell both appeared in 1973.
While the movie version of Superstar was well reviewed and received, Godspell was compared unfavourably with the theatre experience. The movie could not compete with the immediacy of the theatre experience. As so much time has passed, Godspell is worth a look for its inventiveness in interpreting the Gospels, drawing on so many aspects of the American musical tradition as well as vaudeville (and its contemporary musical, Hair). The style is very much of its period - but can be now viewed as historical rather than dated.

By setting the musical in New York City with workers abandoning their jobs as Jesus' disciples did and following a Gospel road, Godspell situates its Jesus-figure in a contemporary world. Jesus is not alien to modern problems in a modern world. Of the performers, Victor Garber (Jesus) had a very successful stage career and appeared in several movies (First Wives Club); Lynne Thigpen had a long career as a character performer in a great number of movies.

1. Did you enjoy this film? Was it a joyful film? Why? Were the ideas effective: the use of the Gospel with the clown and joy overtones? Does this correspond to the basic ideas of the Christian message?

2. Was Godspell relevant and religious? Did it capture the spirit of Jesus Christ and its implications? Did it present these in a way that made sense of the message, communicated it well and related it to our modern needs? How? Where was the film most successful in being relevant and religious?

3. Comment on the style, the use of clowns representing people, representing Biblical characters and Biblical stories: the vaudeville routines - song and dance, revival meetings, minstrel shows, use of silent films etc.? Which did you like best? Why?

4. Comment on the use of New York as a background for the film? The use of a modern city with all its problems, the style of the city, the place where people need to be redeemed. The choosing of the Disciples from the city: a model, office workers, artists, labourers etc., ridding themselves of worldly possessions, putting on clothes of poverty etc.?

5. Did the people who were chosen have personalities of their own? What happened to them when they responded to the call? How were their lives transformed?

6. The nature of clowns' humour and simplicity: not being self-conscious; folly, fools for the sake of others, etc.? Why are they good images for Christ and Christians?

7. How effective was the use of New York localities? Times Square and its lights, the toy shop, Coney Island, the Lincoln Centre, Museum, sports park, Grant's tomb, tug boats, the Statue of Liberty, the Brooklyn Bridge, the pool, etc.?

8. How funny was the film? Why?

9. Which features did you like best - the sermons, the parables? Why were the parables effective? Did they get across the meaning that Jesus gave them in their time? How?

10. Did the personality of Jesus come across? What image of Jesus did the film give? What image of Judas? Were the betrayal and the passion portrayed well? Movingly? How did the mood of the film change from humour to seriousness with the Passion of Christ?

11. Comment on each of the songs; via the music and song the message is principally communicated. Prepare Ye the Way of the Lord, Save the People, Day by Day, Learn your Lessons Well, Bless the Lord, It's All for the Best, All Good Gifts, You are the Light of the World, Turn Back -Oh Man, Alas for You, By My Side, On the Willows, and the Finale.

12. Did the film make Christianity credible?

THE GODSEND

UK, 1980, 90 minutes, Colour.
Malcolm Stoddard, Cyd Hayman, Angela Pleasence, Patrick Barr, Wilhelmina Green, Joanne Boorman.
Directed by Gabrielle Beaumont.

The Godsend is an effective grim little thriller in the vein of Rosemary's Baby and The Omen genres. It focuses on a mysterious pregnant young woman who gives birth and leaves her malevolent child to wreak havoc on an ordinary family in England. The film relies on atmosphere and touches of violence rather than gory special effects - and is the better for it. There is a competent English cast with Angela Pleasence as the mysterious pregnant girl.

1. The irony of the title? The highlighting of good and evil - who sent Bonnie to Kate and Alan? The malevolence of the godsend?

2. Audience response to this kind of occult chiller? Eerie atmosphere, nightmare aspects, the presence of supernatural evil? The influence of the Exorcist trend? The tradition of English horror films? The use of suggestion, atmosphere, touches of violence? A successful example of its kind?

3. The effectiveness of the British setting? The countryside. London? Kate and her television celebrity way of life? Alan and his drawing work? The picture of family life with which audiences could identify? The plausibility of the plot and the encounter with the young woman. the birth of the child and the mother's disappearance. the adoption of the child? The musical score for atmosphere?

4. The film's quick delineation of Kate and Alan? Credible characters? Detail of their way of life. style? The bond between the two? The children and Kate's retirement to look after them? Bonnie and her presence in the family and its disintegration?

5. Angela Pleasence and her appearance and manner as the strange young woman? Her insinuating way? Her imposing on the family and their accepting her? The mystery of the birth and her disappearance? The quick pace and mystery of the birth and the audience caught up in it? Their agreeing with Kate and Alan to adopt the child?

6. Bonnie and the irony of her name? The sweet baby? The plausibility of adoption? The ugly deaths of the two boys? The violence attempted on Lucy? The passing of the years and Bonnie's malevolent presence? Kate's doting on her? Alan and his illness? Kate and her miscarriage?

7. Bonnie as coming between husband and wife? The return to the city? Alan trying to protect Lucy? The violence and Lucy's death? Alan's attempt to kill Bonnie? The theme of her being a cuckoo in the nest?

8. The irony of the return of the pregnant woman and Alan seeing her? His rushing to warn the mother? His failure - and the ominous presence of Bonnies in the world?

9. A satisfying fable of malevolent evil in the world via the eerie thriller?

THE GODDESS

US, 1958, 105 minutes, Black and white.
Kim Stanley, Lloyd Bridges, Steve Hill, Betty Lou Holland, Elizabeth Wilson.
Directed by John Cromwell.

The Goddess is impressive serious drama showing the pressures on an actress and her response to ambition and the pressures of life. It is grim realism at its best, '50s style. Directed by veteran John Cromwell, the film features Kim Stanley who has made only rare appearances on the screen, e.g. in her Oscar-nominated role in Seance On A Wet Afternoon, 1964. The Goddess is well worth viewing for a study in human behaviour and psychology as well as revealing something of the temperament and pressures of theatre life.

1. The meaning of the title, expectations, irony?

2. The value of the structure of the film: a portrait, glimpses? Was this enough for insight into the character and the themes?

3. The value of black and white photography, realistic locations, realism, the South, Hollywood etc.?

4. How important for the film's impact was the dialogue? The monologues, commentary, sharp sayings?

5. The quality of the incidents chosen to portray the Goddess? The incidents as symbols for her life and its meaning?

6. The value of Kim Stanley's performance: in each stage of her life and portrait?

7. Part One: The build-up of the atmosphere of the '30s, the '30s style, the little girl with her mother, her loneliness, calculating and shrewd? The picture of her aunt and uncle, her mother's story, the truth? Her mother wanting a good time and her daughter hearing it? The refusal of the aunt and uncle? The transition of her mother to religious person from goodtime girl? Was the change credible? The impact of all this on Emily growing up? School and her asserting of herself? Boys and outings? An easy date? Incapable of love?

8. Part Two: Emily growing up like her mother, wanting a good time, the atmosphere of war? Had she changed from her adolescence? The impact of her family? Why did she wish to help John Tower? How much sympathy, selfishness? How much love? The effect of falling in love on her? The marriage and the talk about the truth? The souring of the marriage? John's isolation? Her relationship with her daughter and the repetition of her mother's words about a good time? Why did the marriage break down?

9. Part Three: The fact that a divorce had happened, her second marriage? Dutch and her relationship to him? Two empty lives combining? Dutch as a character and his impact on Emily? Her drinking, her work in the studios, her publicity seeking? How did she become a star, was this credible? Her decisions about her career? Her wanting Dutch, yet her career, and the breakdown of the marriage? The silent judgment and support of her mother? Her mental breakdown, her religious phase? The disillusionment of Emily with everything? Her fussiness with her friends? What achievement had she by this stage of her life? What did she know, what could she do? The meaning of her life?

10. What did the film have to say about environment and its effect on people? Their reactions to their heritage and environment, growing resentment and the blighting of lives?

11. The impact of the minor characters in the film: the mother, aunt and uncle, John Tower, Dutch, the studio people, the secretary? How well defined were these characters?

12. The exploration of themes: ambition, drive, the effect of ambition on lives and on others?

13. How much insight and wisdom in the film? The insight Into the portrait of a woman?

GYPSY GIRL (SKY WEST AND CROOKED)

UK, 1965, 102 minutes, Colour.
Hayley Mills, Ian Mc Shane, Laurence Naismith, Geoffrey Bayldon, Annette Crosbie.
Directed by John Mills.

Gypsy Girl (Sky West And Crooked) is quite an attractive film, directed by John Mills. The film was rather a family affair for the screenplay was written by Mary Hayley Bell, Mills' wife. Hayley Mills appears in the central role. The film is one of those charming provincial English glimpses of special characters, a girl who is quiet, somewhat retarded and who must blossom out. She does so when she meets a gypsy portrayed by Ian Mc Shane. The film is full of local colour and atmosphere and is quite attractive. The film also has serious tones underlying it.

1. For what audience was this film made? Why was it made? Entertainment? A moral?

2. How enjoyable was the film? How did Hayley Mills' personality contribute to the enjoyment? The use of colour, music, song, location photography, old~ English traditions of a village?

3. How well could an audience identify with Bridle? How attractive a personality was she? In her relationship to her family? Her mother? In what she did in the village, in her suffering, in the unreal world in which she lived? In her response to what was pretty in life? What was the purpose of her life? A suffering figure? The insight of someone who is slightly mad?

4. How well portrayed was the village and its life? The children themselves? The vicar and his lack of a flock? The vicar and his influence on people? His wife? Dacres and his influence on the village? Bridle's mother, the irnpact of the burying of the animals in the cemetery? The doctor and his protest, the wives etc.? How real was all this?

5. The importance of death in the film, graves and cemeteries? Bridle's flowers on Julian's grave. The reality of Julian's death? Bridle's forgetting of this and yet her devotion to Julian. The impact of Dacres on Bridle? Did he have any right to frighten her and tell her the truth? The result of his telling the truth? The gunshot and Bridle's fear?

6. How important was the theme of fear in the film? How afraid was Bridle? How afraid was Dacres? How afraid was Bridie's mother? The impact of so much death in the film? Julian's, Bridie's mother, the animals and the cemetery? What atmosphere of death did the film have and what did the atmosphere contribute?

7. How attractive a hero was Roibin? The outsider, the gypsy background, people's suspicions of gypsies, his devotion to Bridle and his love for her? The impulse to save her, his wanting to keep her, what impact did his caring for her have on him? The relationship between the two and the growing of love? The threat of being an outsider and having to leave Bridie?

8. What insight into the gypsy life did the film give? The villagers' suspicions of gypsies? The gypsies' fear of the villagers? The reaction at the end when the message was falsified?

9. The importance of the vicar for the film? His confrontation of the villagers? His confrontation of Bridle about the burying of the animals? His visit to Bridle's mother? His intervention then in helping Bridle to find Roibin? The humour of his bicycle ride? (The relationship to Romeo and Juliet and the friar helping the lovers?)

10. How emotional was this film? Bridie as an emotional person and needing love and care? Her upset at losing Roibin and the impact this had on the film?

11. How happy was the ending when she found him again? What future would she have with him? Would they marry happily?

12. How real a film was this? How happy a film? How contrived? Did this matter? What insight into people did the film offer?