GIRLFRIENDS

US, 1978, 88 Minutes, Colour.
Melanie Mayron, Eli Wallach, Bob Balaban, Adam Cohen, Anita Skinner, Christopher Guest, Viveca Lindfors.
Directed by Claudia Weill.

Girlfriends is engaging short story, a group of vignettes about a talented but insecure girl, her hopes, loves, many mistakes and her capacity for friendship. Akin to wry Woody Allen situations (Jewish humour included; though some of the dialogue -admittedly people do say corny things -is the kind he cleverly parodies). Written and directed by Claudia Weill, the film offers a feminine sensibility and appreciation of problems as well as friendships, joy, selfishness and hurt, and her awkward heroine is observed well and empathetically portrayed with vigour by Melanie Mayron, who is in turn funny, exasperating, tender. Inconclusive, as all slices of life, but offering insightful angles on contemporary living.

1. An interesting, entertaining and attractive film? A great success in the United States and elsewhere in 1978? Why? Content, style, themes, a woman's film about women? Its humanity?

2. The feminine point of view in the screenplay, in the direction in the central performances? How particularly a feminine point of view, insight? Where did sympathies lie - as regards women, as regards the men?

3. The brevity of the film, its episodic nature and style? The episodes illustrating one another and put together movingly? The quality of the screenplay, the dialogue? The New York and United States atmosphere? The New York locations - houses and apartments, streets, galleries? Interiors and exteriors? The score and its mood?

4. The impact of the credits and the selection of photos of Susan and Ann? What did they suggest? The bonds of friendship, girlfriends? The introduction to the two characters by the discussion about the photos after Ann woke up. Ann presenting her poem for Susan's criticism? Busyness, irritation with one another, sharing? The prospect of Martin and Ann's marrying him? Susan's realisation this but it not striking her as real? Their particular jobs, success? The quality of the bond between the two? The way they complemented each other? Mutual hurt? Susan interpreting Ann's marriage as a betrayal? The presentation of the build-up to the wedding, the wedding itself and Susan's probing, her speech while painting the wall red and the implications of this? The various visits and the tensions between the two, the slide show, the gift, the later meal and the taking of photographs and Ann's bad mood? Ann's ringing and finding Cel? Her visit and the encounter with Cel? The argument between the two as regards their selfishness? Ann's decision not to be at the show? Their being together at the end and their joking and drinking - and the background to the abortion? Martin finally arriving again and the end with Susan's face? What had happened between the initial credit photos and the ending?

5. How credible a character was Susan? Melanie Mayron and her performance and style? The vitality of her presence? As a young girl, American background, Jewish background? Her skill and talent as a photographer, her feminine point of view? The photos of Ann, her professional photos and their acceptance and the discussion about these for the magazine, and their being clipped? Her work for the rabbi? Her friendship with Ann and her need for it? The quality of her love and the experience of betrayal? The way the wedding was filmed? A confused girl, her living alone? The party and her various manoeuvres to get away from people she didn't like, the encounter with Eric and spending the night with him and then leaving, the comments of the taxi driver? Why could she not cope?

6. Her career and its importance? The various jobs she had, the hopes? The encounter with her various friends, especially the people involved in photography and the galleries? The encounter with the bland editor and his comment on her pictures? Her return to the rabbi and her ability to discuss things with him? Her work in the gallery? The build-up to the interview with the specialist photographer and his allowing himself to be interviewed by her, his recommendation and comment that she had funny pictures? The success of the opening? The possibility of a successful career - how fulfilling?

7. The presence of the rabbi and his influence in her life? The taking of the photos and making the Jewish boy laugh with the jokes? The various helps? The discussions, the intimacy and the date? Her joyful reaction and Ann's comment? Her visit to him and his going to the football and her reaction? Disappointment? His presence at the exhibition and comments? What did she learn from him? By her experience and the disillusionment? A good character sketch of the rabbi eg. his warmth, support of her, friendship as regards jokes, pictures, the invitation of Marcel Marceau? His encounter with his son and wife and the football?

8. The character of Eric and his importance in the film? His presence at the party and the small talk, his spending the night with Susan? Her leaving and his reaction? His later call, arrival, casual telephoning with his loss of cards, eating? The bond between the two? The liaison, sexual relationship, living together and the quality of their relationship? The discussion about the mumps and his telephone call? Their outings together? Watching television, especially his love for football? The clash eg. the making of the potato salad? The discussion about the two apartments? The future? His presence at the opening of the exhibition? Susan's love for him, the possibility of a future together? How well did they relate, know each other, understand each other?

9. How attractive a character was Ann? How objectively did we see her, through Susan's eyes? Their sharing the flat together, sharing discussions about the poetry? Tensions? Ann's revelation that she would marry? The discussion of whether she loved Martin or not? The wedding and her joy? The honeymoon, the slides, the gift? Her writing, irritability? Having the. baby and her joy? Going back to school? Susan's visits and their tension, especially over the meal during the winter? Her visit to Susan's flat and the discussion about Cel? Their fights, the discussions about selfishness? The sharing of the truth about the abortion? Her decision to be by herself and not go to the opening? The being together and playing games? Martin's return? How well would Ann and Martin cope?

10. The character of Cel and her importance in the film? Her being picked up, Susan meeting her after the fight with Ann? Their discussions, dancing, Cel revealing her life, sharing the flat? The sexual encounter and Susan's rebuttal? Cells manners? Ann's visit? Susan's reaction to her disappointment with the rabbi and asking Cel to go? What happened? How credible a character was Cel?

11. Seeing Susan at her various jobs, the various discussions with friends and their joy, jealousy? Her enjoying her friends? Her loneliness and her telephone calls for going out etc.?

12. The build-up to the exhibition after the imposition she made on the photographer? The gallery director and her style and affectedness, her son? Their encouragement of Susan? The build-up to the layout of the exhibition? Her comments on Susan's irresponsibility? The discussion about being a professional? Her success?

13. Glimpses and a portrait of a person rather than a study? The inconclusive ending? Audience empathy and understanding for Susan and her life? The human values explored and portrayed?

GIRL CRAZY

US, 1943, 99 minutes, Black and White.
Judy Garland, Mickey Rooney, Guy Kibbee, Gil Stratton, Robert E. Strickland, Rags Ragland, June Allyson, Nancy Walker, Tommy Dorsey and his band.
Directed by Norman Taurog.

Girl Crazy is one of several films starring Judy Garland and Mickey Rooney, a very popular teaming in the early '40s. Direction is by Norman Taurog, veteran director from the '30s who worked right into the '60s with many comedies, especially with Martin and Lewis and Elvis Presley. The films are very conventional, the rich boy out in the country, the attractive girl. There is clash of values, rivals in romance, a happy meeting of romantic attitudes and then putting on the big show. The films were popular for attitudes during World War Two and for entertainment first. As regards highlighting the golden years of Hollywood, they show many of the presuppositions about entertainment of the time.

There is the world of the affluent and the world of the poor. There are emphases on true love despite everything. The emphasis is on traditional values especially of hard work and of honest values. True love also has its way compared with formalities and prim and properness. The important thing is saving the day with the big show - which gives rise to many song and dance numbers. This film is distinguished by many Gershwin numbers including 'Embraceable You' and 'But Not For Me' sung very well by Judy Garland. In themselves these films are not particularly memorable but they take an important place in showing the M.G.M. film-making of the '30s and '40s, the star system, the particular talent of Rooney and Garland.

UNA GIORNATA PARTICOLARE (A SPECIAL DAY)

Italy/Canada, 1977, 105 minutes, Colour.
Sophia Loren, Marcello Mastroianni, John Vernon.
Directed by Ettore Scola.

A Special Day is a drama principally concerning two people, but set on the Special Day for Italy when Hitler visited and Rome went wild with enthusiasm. Sophia Loren (superb as a slow-witted, busy housewife with six children and devoted to Mussolini) teams again with Marcello Mastroianni (a homosexual radio announcer about to be deported). The special day shows the encounter of these two very different people and the sparks of compassion and love that can be lit. Within this framework of politics which led to downfall (helped by the initial newsreel footage and continued radio coverage during the day), the personal drama of the encounter between Antonietta, and Gabriele, takes place. Confined to mainly two rooms in an apartment block, the encounter is convincing because of the feeling and the excellent performances by Sophia Loren and Marcello Mastroianni. National and personal dramas intertwine skilfully and we are offered insight into human nature in a particular national and political context. The film confirms Sophia Loren's position as a great actress in her graceful middle-age.

1. The quality of the film? Critical praise? Enjoyable? The reaction of an Italian audience, pro-Fascist audience?

2. The significance of the title, its ambiguity as regards the social aspects of that special day in Rome, the special day for Antonietta and Gabriele?

3. The importance of the structure of the film and its being confined to one day, the theatrical device of confinement of place, time, two main characters, reliance on dialogue? How well could audiences be involved with characters and themes through the structure?

4. The importance of the opening: the lengthy newsreel, the amount of detail given, the re-creation of the times via the newsreel, Hitler and Mussolini, the atmosphere, the political tone, the expectations of Italy and their response to Hitler? How well did this open out the situation for the special day, enabling the drama of Gabriele and Antonietta to be played without specific reference except for the radio?

5. The importance of the political situation of the 30s, the status of the Fascists and Mussolini and public support, public fevered support? Relationship with Germany, approval of the Nazi regime? Hitler as guest? His train trip almost as a pilgrimage? Fascist values? Ironically portrayed as they affected Gabriele?

6. How was this political atmosphere an important context for the personal special day? The importance of the uniforms of Antonietta's family, the fact that everybody was going to the rally, the crowds, the concierge and her saluting everyone, Antonietta's scrap book? Fascism and support from Mussolini as the taken-for-granted atmosphere? Antonietta's husband remarked of the pride in the future when people looked back at that day? The irony for the audience because of the history of Fascism and World War II?

7. How effective was the use of the radio, to highlight the passing of time, the time of the day, the progress of the rally? The ironies in relationship with Antonietta and Gabriele?

8. The importance of the setting of the apartment block? The long panning and craning shots at the beginning to give the atmosphere of the apartment, the courtyard, the roof? Angle shots to show the two apartments in relationship to one another? People's views? Distanced views?

9. The character of the concierge and what she represented? Her political attitudes, her giving the salute to the crowds going to the rally, her snooping, her visits to Antonietta, her outbursts against Gabriele? The film's critique of her attitudes?

10. The importance of the portrait of the family: Antonietta and her immediate impression, her husband and his attitudes - boorish, proud? The number of children and waking them up? The attention to detail of the apartment, the facilities, the children themselves, the breakfast, the atmosphere of joviality and yet friction?

11. How was Antonietta the centre of the film? The impression made by Sophia Loren and her style of performance? As a Roman woman, as mother and wife, as housekeeper? Her being tired? Her dress and appearance? Her not going to the rally but her pride in Mussolini, Fascism and her scrap-book? Her ignorance? As a symbol of ordinary indoctrinated people?

12. The film showing her in her housework at detail and the impression that this made? Reality and authenticity? The importance of Rosmunda and her talking, her flight? Creating an occasion for the encounter with Gabriele?

13. The introduction to Gabriele via our gazing at him through the window with Antonietta? The transition to his apartment, indications of himself and his moods, addressing the envelopes and his frustration and anger? His despair, the gun? The impact of Antonietta's visit and the irony when the truth was known about him? His awkwardness, courtesy, tenderness? His explanations about his friend? The humour of the rumba dancing - and the music being overpowered by the political songs? His offer of the gift of The Three Musketeers? These details and the revelation of the character of each?

14. How credible was Antonietta's attraction, her resistance? Her lies to herself? Her reaction when Gabriele returned the visit, brought the book? Her concealing him from the concierge?


15. The motives for Gabriele's visit: his talking, his hiding from the concierge, his grinding the coffee and spilling it (and Antonietta making herself up to be attractive), his having a look at all the details of her home, her scrapbook? The importance of their talk, personal, political implications, especially victimization? Her inability to understand him, her sharing the concierge's reactions? His convincing her by his personality?

16. The dramatic build-up to the sequence on the roof-top, the kiss and her involvement, his lack of involvement? His condemnation of her hypocrisy? Matters of morals, adultery, homosexuality, double standards? Antonietta's reaction?

17. How well did we get to know Gabriele? Was his homosexuality convincingly communicated? Its repercussions for his personality, relationships, his work, place in the Fascist State? The importance of his radio work and of his being dismissed and the reasons given? The critique of Fascist authority? The story of his friend and his deportation? Their return to his apartment, the bonds between them?

18. The dramatic importance of the love-making sequence? Its place in the film, Antonietta and this experience, as not being usual in her marriage? The effect on her? Tenderness and appreciation? Her explanation of her husband's affairs? Gabriele indicating that it would not change him even though it was a moment of tenderness and importance for him? How would this sustain him later during his deportation? The effect on Antonietta as she returned to her family?

19. The change of mood as the people returned from the rally, the family chatter, Antonietta wandering the house, looking at The Three Musketeers, watching Gabriele from the window? What had been the significance of her special day?

20. The contrast with Gabriele, the men who came to get him, his packing, covering the painting, his leaving and Antonietta watching him go down the stairs? What had been the significance of his day?

21. How was this a microcosm of Europe in the 20th century? The social situation, the personal world, the interaction of both? The sadness of the experience of life?

GIGI

US, 1958, 115 minutes, Colour.
Leslie Caron, Maurice Chevalier, Louis Jourdan, Hermione Gingold.
Directed by Vincente Minnelli.

Gigi is an attractive Lerner and Loewe musical, based on a story by French novelist Collette. It won the Oscar for the best film of 1958 and an Oscar for its director Vincente Minnelli. Minnelli had been prominent in Hollywood since the mid-40s, noted for his musicals such as Meet Me In St. Louis and other musicals with his then wife Judy Garland, An American in Paris and The Bandwagon. Minnelli was also noted for colourful melodramas such as The Bad and the Beautiful, Some Came Running, Home from the Hill, Two Weeks in Another Town. Minnelli was not to make so many films in the 60s and rarely in the 70s, eg. On A Clear Day You Can See Forever and A Matter of Time with Ingrid Bergman and his daughter Liza.

Leslie Caron, who was introduced in An American in Paris and was a very effective dancer, is very attractive in the leading role. She is supported by Louis Jourdan and Maurice Chevalier. (Two years later they were also to appear in similar styles of roles in Can Can). Beautifully photographed in Cinemascope, the film is noted for its sets, period re-creation and costumes. The Lerner and Loewe score was adapted for the screen and takes its place among their other successful musicals: Paint Your Wagon, Brigadoon, Camelot, The Little Prince, and, of course, My Fair Lady.

1. The entertainment value of this film? Its multiple awards including eleven Oscars? Its reputation and its justification?

2. The quality of the entertainment and enjoyment? In the 50s, now? Its charm?

3. The contribution of colour, Panavision, Paris sets, interiors, Paris exteriors as the Bois du Bologne? Cecil Beaton's costumes and production design?

4. The quality of the Lerner & Loewe score? Of the music, the lyrics? Their illustration of character, themes: Thank Heaven for Little Girls, It's a Bore, Gaston's Suspicious Song, I Remember It Well, The Night They Invented Champagne, The Maxime's Gossip Song, Gigi? The use of the background themes throughout the film: the development from Thank Heaven for Little Girls, Remember It Well, the Gigi theme?

5. The importance of the stars, the authentic French atmosphere, song, dance, comedy, suave hero etc.?

6. The importance of the origins of the novel by Colette, French memories of 1900, a French approach to manners and morality? A comedy of manners at the turn of the century? The gentility of the old world? An important atmosphere for characters and themes?

7. Honore as chorus, Maurice Chevalier and his style, his introduction and narrative throughout the film, his own particular French values, his explanation of himself as a bachelor, with romance? His liaisons and romantic memories? His bond with Mamita? The irony and humour of the song I Remember It Well? His relationship with Gaston, his advice and help? The Maxime's sequences with his eye on the girls and the parties? His presence for the happy ending? His contribution to the atmosphere of the film and audience response.

8. The focus on Gigi and the film's attitude towards her? Audience response to Leslie Caron and her style, as a young girl, changing as a woman? To Gigi within her environment and to family, France, expectations? The presuppositions of the world in which she lived? Her being singled out as a girl playing at the beginning, her relationship with her grandmother and her grandmother's training of her, her mother neglecting her and only being heard in her singing? The importance of Aunt Alicia and her training of Gigi to be a courtesan? The spontaneity of her friendship with Gaston? The details of her training by Aunt Alicia, the pandering to male pleasure, cigars, coffee, being entirely subordinate and subservient? Gigi and her gauche response to the lessons? Her awkwardness, drinking too much wine, laughing? The spontaneity of her outings with Gaston, the skating, the seaside? The Night They Invented Champagne? The transition and her growing up, her being manipulated by her family, her being taken out for buying dresses? The putting to her of the choice to become Gaston's mistress and her blunt comment on what this meant? Her being hurt? The reasons for her change? The awkwardness of the outing at Maxime's and her studied behaviour? Her unhappiness and the joy of Gaston's proposal? How strong a delineation of the character of such a girl? The themes of her growing up, her place in society, love and marriage, freedom?

9. The character of Mamita as belonging to this world, the contrast with Alicia? Their memories of affairs, Mamita and her almost marrying Ohonore and her rejection of his infidelity? Her humour, her preparing Gigi for Gaston, and yet her bewilderment and old-fashioned attitudes? Alicia and her living with her memories, her snobbish elegance?

10. Gaston as hero. a rich young man, his emphasis on being bored, his wealth and his business? The irony of the presentation of his affair, his suspicions at the skating rink, at Maxime's and his Suspicious song? The melodrama of the would-be suicide and the ironic comments by Alicia and the others? His spontaneity with Gigi, the outings, the holidays, The Night They Invented Champagne? His not being aware of the change? The proposition and his presuppositions about it, the humiliation for Gigi, the failure of Maxime's, his walking through Paris and making a decision, the happiness of the ending?

11. The minor characters eg. Manuel and his assisting of Ohonore? People in society?

12. The kind of world that was presented, its surface, its depth or lack of it? The values and manners that it stood by? Individuals within this world? A world of wealth and gaiety and superficiality? Highlighting the need for values and sincerity?

THE GIFT OF LOVE

US, 1978, 96 minutes, Colour.
Marie Osmond, Timothy Bottoms, Bethel Leslie, June Lockhart, David Wayne.
Directed by Don Chaffey.

The Gift of Love is one of those pleasing romantic telemovies with a Christmas setting that is often shown at that season. It also marked the acting debut of Marie Osmond, the popular television entertainer. Timothy Bottoms serves as the hero for this romance set in New York early this century. The sentimental touch is there as indicated by the title and the title song. However, there is comment on arranged marriages and their lack of love and the need for true love for a marriage bond. June Lockhart gives good support as Aunt Constance. The ending of the film takes its cue from 0. Henry's story The Gift of the Magi. David Wayne acts as host, introducing and ending the film and pointing its Christmas message of love.

1. The role of the telemovie - home entertainment, social comment, stirring audiences for reflection? How well did this telemovie combine these elements?

2. The film as a vehicle for Marie Osmond? Her presence, charm? The supporting cast? The period aspects of the film, New York, costume, manners? The film as a piece of Americana interpreting and remembering the past? David Wayne and his role as host?

3. The significance of the title and its focus on love, love as a gift, the title song, its reference to Beth's father? Its use throughout the film and repetition, Rudi and his liking for the song?

4. Themes of arranged marriages and the presence and absence of love? The parallel of Beth's arranged marriage in America with Rudi's in Europe? Americans and the European tradition? The emphasis on America and freedom? Audience identification with the characters and the them? The importance of Beth's parents and their runaway marriage and its love as a criterion for the film?

5. Marie Osmond's presence as Beth, American sweet, American strong? Her role in the household, relationship with aunt and uncle and gratitude towards them, her being trained for the wealthy American class and its manners and style? Her friend Mary and the down-to-earth friendship and shared enjoyment? Beth's attitude towards the arranged marriage. wanting to please her aunt and uncle? Agnes and her dominance? Her fiance and his seemingly weak character, interest in ornithology, going into the arrangement and his formality at its announcement? The hurt for both of them? The difficulties? Beth trying to remain faithful to the arrangement? The background of combining fortunes, social life and entertainment?

6. The ironies of the skating sequence,, Mary and her boyfriend, the encounter of Rudi and Beth,, the skating and the pretence, the fall? The clash of personalities? The ironies of the dance, Beth and her being the belle of the ball? Their further clash? The cab ride home? Rudi discovering the truth about Beth, the clash? The change into friendship,, the pledge to each other.. falling in love? Their meetings - the humour of the skating with Beth's fiance.. with the service to the migrants? The feeling of the relationship between the two? A genuine gift of love?

7. Rudi and his personality, the migrant, Swiss background, working? Saving money for the family, the arranged marriage? His pursuit of Beth, genuine feeling for her, sharing his experiences with her? The decision to leave? The pain, his leaving the ship?

8. Beth's aunt and her fussing, snobbery, training Beth? The uncle and his stern approach to her mother, to herself? Going out without permission and his rebuke, his strict rules? His expelling her from the house and the bolting of the door? Agnes and her arrangements, her fussing about her brother. financial agreements?

9. Beth's fiance and his personality, weakness, skill at ornithology? His awareness of the situation,, his allowing Beth to break the engagement, his encouraging her to leave?

10. Mary and her friendship with Beth, her flirting, the Swiss boy and his flirting and enjoying it? Mary's mother and the making of the dress? The staff at home,, the butler and his observations. dancing at the ball, taking responsibility for Beth? Their all being sacked? Their presence at the home, their participation in the marriage and its celebration?

11. The culmination of the breaking of the engagement, Beth's decision to leave the house, hurrying to the wharf, Rudi leaving the ship, the meeting and the preparation for the marriage?

12. The wedding celebrations? The exchange of deer symbols and the overtones of 0. Henry's story The Gift of The Magi? The Gift of Love?

13. The Christmas setting, the Christmas message? Audience entertainment, experiencing people's ordinary lives, difficulties, love? A satisfying telemovie?

THE GIFT OF LIFE

US, 1984, 96 minutes, Colour.
Susan Dey, Paul Le Mat, Cassie Yates, Edward Herrmann.
Directed by Jerry London.

The Gift of Life is an impressive American telemovie tackling a difficult ethical and moral subject: surrogate motherhood. The film focuses on an ordinary woman, mother of two children, working. She hears an appeal for surrogate mothers - to provide children for couples attempting to have their own children but unable to. She becomes part of a programme - fairly quickly, without thinking through the consequences. After some reluctance, her husband agrees. However, she was not ready for the hostility that people exhibited against her. It makes her ask all kinds of questions about the issue.

The film presents both sides of the ethical argument: there are strong stances against surrogate motherhood from moral and legal points of view. Towards the end of the film, the human element is brought in, the emotional argument.

Susan Dey is good as the mother. Paul le Mat is her husband, who has mixed feelings about the situation. Edward Herrmann is good as the doctor in charge of the programme.

One of many films that the Americans make so well dramatising contemporary moral issues.

1. The impact of the film as entertainment? As dramatising a contemporary ethical issue? The points of view? Leaving audiences to make conclusions?

2. The telemovie style: the ordinary American family, the American The ordinary life of Joely? Her experiences? The medical sequences? The birth of the child? The emotional sequences? Musical score? Style familiar to the television-watching audience?

3. The title and its focus? On Joely's attitudes? The needs of the childless couple? Surrogate motherhood as an example of the giving of life to child, to parents?

4. The focus on Joely? Ordinary wife and mother? Her relationship to her daughters, to her husband? At work? Louise? Her hearing about the programme, her interest being roused? The letter, the visit to Dr. Quinn? The motivation? Emotional? Her husband and his hesitation? The money? The discussions of the issues? Her decision not to tell people? Telling Louise and experiencing her negative reaction? The negative reaction of her family (despite the couple who had been trying to have a child and who interpreted it as God's will)? The hostility of the manager at the cafe? Her being demoted? The hostility of the couple who wanted another waitress? Her being fired? The media criticism? The repercussions on her husband's company? The attitudes of people in general towards this issue - understanding, misunderstanding? The encounters with Dr. Herrmann? The possibility of her being used? The hesitation on the part of the father as regards decisions and the health of the baby? The nature of the contract, the conditions? Her gradually realising the implications of what she had done? The anger and the accident? The dilemma about the birth? Inducing the birth or caesarean? The birth, her reaction? The decision to keep the baby? The legal case? The support of her parents? The background to the children and their fear of being given away? The encounter with the adoptive mother? The talk, sharing the experience, her decision to sign the papers? Her husband's bewilderment, his signing? The final sequences with the child, its name, feeding it? Handing it over? Her decision, the repercussions, the consequences for her life? Audience understanding of the character?

5. The sketch of Joely's husband - ordinary young husband, father, his work, relationship with his wife's family, financial support, expanding his firm? His decision, wariness? His reaction to people's hostility? To seeing his wife on the media? The problem of the difficult birth? His joy in keeping the child? His finally signing? The audience sharing his bewilderment about the implications of the issue?

6. Dr. Quinn and his programme, his concern for childless couples? The attacks on his selling babies and making money? His concern? Go-between between the parents? Laboratory methods? Artificial insemination? The effect on Joely - temperature, finding the right time for insemination? Being with her during the pregnancy? Go-between - with questions about the baby's health, tests? Gifts from the parents? His reaction to the induced birth? His final dilemma - and his story about losing his wife and children? Compensation for his work and Joely's reaction?

7. Louise and her negative reaction? Friendship? Her making explicit the arguments against the surrogate motherhood? The repercussions for the baby's health, responsibility? Mother-love? Nine months of nurturing a child and then giving it away? Moral issues? As made clear by Joely's parents - and her father's strong reaction against her? The childless couple accepting their childlessness as God's will?

8. The media questions, the interviews with the mothers - and their various motivations? Their health, giving life? Financial support? The hostility of some of the interviewers? The ~.couple in the diner? The manager of the diner and his harshness?

9. The audience finally seeing the adoptive parents with Joely? The wife and her ordinariness, saving the money, various jobs? The gift of the dress? Her love for the child? Finally meeting with the father - his background as a fireman? His giving the name to the child?. Joely's final comment about the adoptive mother as the true mother?

10. Film as a way of dramatising complex ethical issues: the dramatising of both sides, the articulating of the various arguments? The strength and validity of the various arguments? Moral viewpoint? Leaving the audience to share the emotions and analyse reasons?

THE GIFT

US, 1979, 100 minutes, Colour.
Glenn Ford, Julie Harris, Gary Frank.
Directed by Don Taylor.

The Gift is a pleasing telemovie with a Christmas touch. It is set in 1951 and echoes the times, especially in the New York atmosphere, the Korean war, the songs of the time as well as the language and the interests. It is the story of Peter Devlin who is a sailor coming home to a poor working class family in New York at Christmas time. There is a confrontation with his father Billy, who has lost a leg, drinks and is very bitter. Glenn Ford is very good in this role and is supported by Julie Harris as his wife. There are some predictable encounters but the film has vigour and some deft touches. Direction is by Don Taylor who directed many telemovies as well as features e.g. At This Time, The Final Countdown. The screenplay is written by writer Pete Hamill from his own novel.

1. An entertaining and moving telemovie? The significance of the title and its highlighting of relationships within the Dev1in family? The Christmas touch?

2. The impact of the telemovie: brevity, swift delineation of character and situations? Commercial pauses within drama and interactions? The strength of this telemovie and its portrayal of characters and issues?

3. The colour photography, the re-creation of New York in the early '50s? The importance of sets and decor? The songs and their use throughout the film? Popular songs of the time - the lyrics corresponding to the drama of the film?

4. The basic story and audience identification with the characters: Peter and his return home, his absence after three months, his age, ambitions, love for Kathleen and his disappointment? The lack of communication with his father? His love for his mother? The relationship with his two brothers - and dissuading his brother from using a gun for robberies? The clash with Kathleen and her boyfriend at the party? His friends, drinking, singing? Trying to get a gun and throwing it away? The importance of the visit to his father at the factory, seeing his father's friends? His disappointment in relating to his father? The American Legion tribute and his discovery about his father's past? The final fight and the reconciliation with his fat-her? The gift of the Christmas tree? His return home with his father and his mother's satisfaction? The possibility of building a future?

6. Glenn Ford's portrait of Billy Dev1in - Irish New York, ageing and cantankerous, fearful of communicating with his son, ridiculing his ambitions to be an artist, his relationship with his wife, his work and his drinking, round the bars, Hail fellow well met? The importance of the American Legion honour and his enjoyment of it, the slides of his successful sports career and his breaking up the showing of the slides? The encounter with his son, the fight, the reconciliation? A good portrait of a man who loved his son but was unable to express it?

7. Julie Harris' sensitivity as Mrs Dev1in? Her support for her husband, love for her sons? Enjoyment of the American Legion night? The Christmas tree and the lack of money? Her putting up with her husband and making excuses, memories of the past? Her satisfaction at the end with the reconciliation of father and son?

8. The portrait of the younger brothers - their hopes, possibilities, doomed to stay within their own area, lack of support from their father, temptation to get a gun and rob?

9. Kathleen and her writing letters to Pete, her turning away from him, her new boyfriend and her disbelief? The anxiety of her mother? Peter's drinking and going to Kathleen's house? The fight at the party and Kathleen's discovery that her boyfriend had a gun?

10. The range of Pete's friends - the young men at the pool parlours, cafes? The girlfriend who invited him to the party? The strength of these minor characters indicating interrelationships and the way of life in that area of New York?

11. The focus on crises for Peter on his return home - his anticipated joy, his wanting to relate to his father more than anything else, the fight with Kathleen, his drinking, the gun and violence, the fight-t and his reconciliation?

12. How memorable a portrayal of an American family - how authentic the love and clashes? Audiences identifying with the characters-and the situations and understanding them?

GIDEON'S TRUMPET

US, 1980, 103 minutes, Colour.
Henry Fonda, Jose Ferrer, John Houseman, Fay Wray, Dean Jagger, Sam Jaffe, William Prince.
Directed by Robert Collins.

Gideon's Trumpet is a well-made and interesting telemovie. It is one of Henry Fonda's last films, coming just prior to his Oscar-winning On Golden Pond. At the end of his career, Fonda was playing American men of integrity - as he had done at the beginning (one thinks of his Tom Joad in The Grapes of Wrath) and throughout his career). He is supported by a strong cast, especially Jose Ferrer as lawyer Abe Fortas. John Houseman leads an interesting supporting cast of veterans as the American judiciary. The film is set in the '60s and shows one ordinary, semi-literate man challenging the American justice system and prevailing. Fonda is excellent as an old man and as the ordinary American hero.

1. An enjoyable and interesting telemovie? Piece of Americana?

2. The impact of the film on television: portrait of human beings, human values? A portrait of courage and character? Authentic? The background of Florida, the small town? Prison? Legal and justice issues? The judiciary and their meetings, consultations, knowledge of the law, application? The hearings? The impact of this for a home audience? Americans? universal audience?

3. Production values, the re-creation of the '60s? Florida, the detail of the town, prison? The importance of the star cast? The strength of the film and its feeling?

4. The focus on the film as a true story: authentic, an individual and his rights? The American system? The constitution and its protection? The repercussions of questions about the constitution, criticism of precedents? American freedom?

5. Henry Fonda in the central role? The impact of his total career and what he brought to this character? Clarence Gideon as an American symbol - personified by the American symbol Henry Fonda? The focus on Gideon as an old man, his place in the town, arrest, being victimised, his place in the court, request for legal aid, his cross-questioning, the attitude of the judge? The heavy sentence because of previous convictions? The support of his landlady? Jail - and the familiar sequences of fingerprinting, photographs, clothes, showers etc.? The humiliation for the old man? The build-up of information about his life - strengths, weaknesses? Gambling? Not drinking? Friendships in the jail, black and white? The detail of prison life? Work in the library? Reading, study, writing letters? His growing knowledge? The answers from the Justices? The results and the acclaim? The new trial? The lawyer and the strong stance to the judge? The cross-examination and the revelation of the truth? The verdict? The achievement? The possibility for retrials of so many prisoners?

6. The dramatising of the first trial: the arrest, the evidence, the lies, attitude of the judge, prejudice, the denial of legal aid and the consequences?

7. The incidental characters: the landlady, the young man and his lies, the owner, the taxi-driver - and their answers at the second trial? The lawyer and his friendship with Gideon, his skill in eliciting the truth and asking the right questions? Indicating the processes of legal procedures?

8. The Justices: the President and his receiving of the letter, considerations, the board meeting, the precedent with names and dates, pros and cons? The meeting of the judiciary and the consideration of the case?

9. Abe Fortas and his staff, the investigation, legal knowledge, precedents, his behaviour during the hearing and his presentation of his points? The contrast with the Florida lawyer foundering? The letters from Fortas to Gideon?

10. Audience interest in and fascination by legal procedures, dramatising of court cases? The importance of this court case for American justice? The principle of the individual and his freedom to standby the constitution and for it to support him?

GIDEON OF SCOTLAND YARD

UK, 1958, 91 Minutes, Colour.
Jack Hawkins, Diane Foster, Anna Lee, Cyril Cusack, Andrew Ray, James Hayter, Anna Massey, Derek Bond, Frank Lawton, John Loder.
Directed by John Ford.

Gideon of Scotland Yard is an interesting police story. Interesting in the 50s, it now seems somewhat dated since we have become so used to police stories and television series. John Ford, the veteran American director of so many westerns and action films, made this film in England. The incidents in Gideon's day are not particularly outstanding but are well portrayed. Jack Hawkins makes a convincing lead. This was the period when John Ford make such films as The Last Hurrah and The Horse Soldiers.

1. The emphasis of the title, the original tile of Gideon's Day Day? How enjoyable, interesting, a blend of fiction and documentary about the British police?

2. The film reflecting the mid-50s, the presentation of the police and their work, public opinion about the police and their work? The style of Scotland Yard in the 50s? The presentation of police in films and television of the 70s? The presentation of Scotland Yard? What are the main differences in presentation and audience response?

3. How authentic was the London of the film? Use of colour, locations, English character actors, the presentation of work situations, the courts, the policemen's families etc.?

4. The film was directed by John Ford, a veteran American director, especially of westerns. His insight into London and the police? An American view of the English police? Was this evident?

5. How sympathetically were the police presented, the importance of presenting the families, the detail of wife, children, fiancees? The humanity of the dialogue? The intertwining of personal life and routine and home details with the demands of work?

6. How was the film a case-book for police work in the 50s: comment on the interest in the cases, the crimes, the excitement, danger, the routine work? The nature of the demands made on the police, the role of the unexpected?

7. How well delineated were the characters of Kate, Sally, Simon as a member of the family and as a young policeman?

8. The presentation of the characters of the other police, the chiefs and the officials, the men in the office, the men in the street, the men open to corruption? The valour and the courage of the ordinary policeman?

9. The significance of Kirby, the situation of his taking bribes, the tangles, the significance of his death?

10. The presentation of the court case and Gideon's role in this?

11. The impact of the Dellafield case, its background, the two involved, dangers, etc.?

12. The episode of the maniac killer and the potential life and death danger in police work?

13. The contrast with the Society robberies, murders?

14. How well presented was the character of Inspector Gideon, as a man, as a policeman?

15. The insight into police work, a tribute to the police, public respect for them and their work?

GIANT

US, 1956, 197 minutes, Colour.
Elizabeth Taylor, Rock Hudson, James Dean, Jane Withers, Chill Wills, Mercedes Mc Cambridge, Carroll Baker, Dennis Hopper, Rod Taylor, Earl Holliman, Sal Mineo.
Directed by George Stevens.

Giant has become something of a classic film of the 50s. It won the Oscar for 1956 for George Stevens as Best Director. He had also won in 1951 for A Place in the Sun. (Ironically, each of these films was not named the best film of the year. Rather it was American in Paris - 1951, Around the World in Eighty Days -1956). Giant comes from a large novel by Edna Ferber, the author of Showboat. It covers a wide range of the history of the state of Texas. It is a long and sprawling drama but sustains the interest and has very good photography showing something of the vastness of Texas and its cattle industry. Rock Hudson gives one of the best performances of his career as the dramatic hero. Elizabeth Taylor matches him well in the leading role. The film was also significant as James Dean's last film. In the supporting cast are such people as Carroll Baker and Dennis Hopper, very young. Mercedes Mc Cambridge gives a rather strident performance as Rock Hudson's sister. All in all, Giant is good Hollywood filmmaking and very interesting as a piece of Americana.

1. An impressive film? Why? Length, scope and quality? How enjoyable was it? How valuable are films like this as the portrayal of the growing of a state? Texas, its history, people, customs, the changing generations?

2. How did the film open up the picture of America of the 20s? The gentility of the Lynton household? How has America changed during the decades which followed, for the better? The way the film grows old in its point of view -looking at things freshly in the 20s and gradually looking at things through older (and wiser) eyes?

3. The atmosphere created with Bic and Leslie's courtship? The background of the household the Texas styles and Maryland? The English rival for Leslie's hand? The Lynton family. parents and sister? What was the bond of love between Bic and Leslie?

4. What did the honeymoon and the train indicate about what was to come? The vast sprawl and landscapes of Texas? The desert and the ranches? The contrast with Maryland? The insight into the big country in this way?

5. Luz: why her hostile reaction to Leslie? Her ruling of the household and rivalry? How much did she dominate Bic? His love for her and reaction to her? The melodrama of her death with the horse? The significance of her death for the plot? What insight into Texans came through her?

6. How well portrayed was the detail of ranch life? The wealth and expanse of the house? Yet the hard work and its style? Neighbours and gatherings and parties and customs? Within the home the questions of breakfast household duties. horse riding etc.? The atmosphere of cattle life and ranching and its hardships? The men who work on the farm?

7. How well did the film portray the family life of the Benedicts? Their growing love and the children growing up on the ranch? The humanizing element in the film?

8. The significance and impact of Jett Rink? The personality and style of James Dean? His grudges against Bic? His grievances and skulking around the property? Luz as his benefactor? His hard work and his ambition? The bitterness that he held and its results later?

9. How important were clashes and confrontations in this ranching life? At home, policy on the ranch. Bic and Jett?

10. The importance of the Mexican background for the film? The villages and their needs? Leslie's response to them? Bic’s racism? The doctor? Angel?

11. What did Uncle Bawley contribute to the film and its atmosphere?

12. The significance of the sequences of returning to Maryland? The Texas children in more civilized surroundings? The humour of the Thanksgiving turkey? The wedding and renewal of the love between Leslie and Bic?

13. on the social and state level, the changes in Texas with the discovery of oil? The conservative cattle men versus the exploitive oil men? How well and clearly was this brought out in the film?

14. Jett and his search for oil - admiration for his hard work? His change of personality and policy? The vindication of his hopes and ambitions? What happened to Jett? With his wealth?

15. How important was the picture of the next generation? Jordan and his ambitions to be a doctor? was he right? As differing from Bic and disappointing him? Bic trying to rule his children's lives? The thematic significance of Jordan's marriage to Juana? The subsequent humiliation? Luz the second? As a wilful girl? With admirers? Her fascination with Jett?

16. What did the film have to say about plans and their fulfilment?

17. The significance of the ageing of Bic and Leslie? The performance of Rock Hudson and Elizabeth Taylor as older people? Convincing? The significance of the changes in their styles of life and in society? The Depression, the War?

18. Why was Luz so fascinated by Jett? Her humiliation of her parents in going in the parade? Why did she become disillusioned with him? Jett and the party? As a symbol of his exploitive lavishness? of his throwing out of Juana? Of the conflict between himself and Bic? The dramatic tension of the dinner and the speeches? And his slumping over the table? The fight between himself and Bic? What comment was being made on Jett?