THE DAM BUSTERS

UK, 1955, 102 minutes, Black and White.
Richard Todd, Michael Redgrave, Basil Sidney, Ursula Jeans, George Baker.
Directed by Michael Anderson.

The Dam Busters was produced in the period of war tribute films in the early and mid 50's. These films are very patriotic in tone and generally give a picture of the English as stiff upper-lip heroes. The Dam Busters is no exception. It is based on similarly-written popular books of the time. The Dam Busters by Paul Brickhill and Enemy Coast Below by Guy Gibson, the leader of the expedition (played by Richard Todd). The Dam Busters is better than average for this kind of film. It gains special interest because it focuses on one operation and shows it from its inception to completion. The theoretician's and the practical man's contribution are both presented and the audience is shown quite clearly the nature and importance of the mission and how it is the thing to be accomplished.

Michael Redgrave's performance as Barnes Wallis, the engineer of the bomb to burst the Ruhr dams, is humane and gives a human dimension to the heroics of the film. Direction is by Michael Anderson who has made such films as Around the World in Eighty Days and The Shoes of the Fisherman.

1. An effective war film?

2. How strong and how valid was the sense of pride and patriotism behind it?

3. What kind of man was Barnes Wallis? How much of an idealist? How much of a scientific theoretician?

4. What is the place of men like Wallis in the war effort? Should they be encouraged or do they live in grandiose (and possibly dangerous) worlds of their own? (Devoting their complete living, thinking, breathing to the creation of bigger and more effective bombs.)

5. How forward-thinking are government and ministry officials when it comes to a new idea, a new invention? Are they too cautious?

6. Was Guy Gibson's personality developed well in this film, or was he a cardboard hero - e.g., Trigger, his dog, his efficiency and popularity with his men, his visit to the theatre, his sympathy for Wallis?

7. How well did the film show that long training and detailed preparation were necessary for missions like this?

8. Did you understand the general principles of how the bombs were to break the dam walls?

9. How effective and interesting were the scenes of the actual dam bursting and the tension of Wallis and the officials waiting for news?

10. What did you think of the damage done to these dams? Was it necessary? Why? Did it affect only the industrial side of the German war effort, or the civilians as well?

DAISY MILLER

US, 1974, 92 minutes, Colour.
Cybill Shepherd, Barry Brown, Cloris Leachman, Mildred Natwick, Eileen Brennan.
Directed by Peter Bogdanovich.

Daisy Miller is a film of the 19th century. Henry James' world is one of surface sensitivity and turbulent depths. He uses Europe to explore his American characters. Will they respond to the experience and culture of the old world or will brash naivety and innocence prevail? Peter Bogdanovich's film is a cinematic equivalent of James' novella. The beauty of Switzerland and Italy are presented, the sophisticated society of these countries and the American clashes and coping. Cybill Shepherd's Daisy is beautiful and loquacious, coquettish yet sweet, a charming visitor, unacquainted with local customs. The hero, in love with her, is an American opposite, guided by dithery mothers or worldly-wise aunts. Cybill Shepherd appeared in Bogdanovich's Last Picture Show and At Long Last Love.

1. How enjoyable was this film? It aimed at delighting audiences. How successful was it? It also had a message. What message and was it clear?

2. The film was based on a short story. How was this a cinema equivalent of a short story? What techniques did it use - two locations, conversation scenes, few events? How well did the film capture the 19th century spirit and visualise it? Its use of places - the beauty of Switzerland and the beauty of Rome, the elegance and society of Rome? The use of colour and reliance on it?

3. Comedy of manners and an emphasis on the visualisation of 19th century manners? The interest in the people, and their behaviour? The atmosphere of romance, and the contrast of romance with love? Romance in these settings? Henry James was strong on the contrast between innocence and experience, between Americans and Europeans. In this film, he relied on Americans from America and Americans with European experience. How did he show the difference? What contrast was there? Who was innocent Daisy or Frederick? Who had the experience? What is the value of innocence? How necessary is experience?

4. How attractive a person was Daisy? Cybill Shepherd's beauty and style? Daisy as an innocent American abroad? Yet her slyness and her wanting to be within society - a form of experience? How naive was Daisy - in her chattering about life in America. in her attitude to Frederick. in her attitudes to Americans abroad? How snobbish was Daisy, contrasting her home-life with wanting to be in society? How obvious was it that Daisy was an American? That America was a new world compared with Europe? How charming was Daisy? Why could men be infatuated by her? Her style of flirting? Her incessant chatter? The style of her chatter and changing topics of conversation? Her capricious way of behaving? How attractive was this? Was Daisy a sufficiently strong heroine for the film?

5. Was Frederick an attractive hero? His reticence and style? His American background, yet tempered by European education and experience? The contrast with Daisy? Frederick and his manners and surface gentility? As a gentleman in his behaviour with Daisy? Why was he infatuated by her? Did he see her faults? Was his infatuation love? Or was he blind to the real Daisy? His being influenced by his aunt? His reaction to the Miller family? His awareness of Daisy's behaviour in Roman society? How upset was he by Daisy's being courted by Giovanelli? His regret at the end? What had Frederick learnt by his encounter with Daisy?

6. How did much of the film's strength rely on the sequences between Daisy and Frederick? Their conversations? The nuances of their relating to one another? Sympathy with Daisy and yet suspicion of her? Sympathy with Frederick and yet fear that he would be over-infatuated? Where was the dramatic strength in these sequences?

7. How did Daisy emerge from her family? As a reflection of her mother? As little different really from Randolph? Comment on the characterisation of Mrs. Miller - her incessant chatter, her place in society, preoccupation with health, the style of her European tour, her continual worry about Randolph, absentmindedness as she grew old? Would Daisy become like this? Comment on the characterisation of Randolph - the first character we meet,, bored with Europe. pining for America, contrasting things unfavourably with America,, practical jokes, an imagination,, his relationship with Daisy? Was Daisy just as mischievous and a practical joker as Randolph? How did the Millers contrast with Frederick's aunt? Why was she so snobbish? The vice of American experience in Europe? Her aristocratic snobbery? The sequence in the baths and the games of chess, flowers floating on the water, afternoon tea? How ironic was this sequence in poking fun at American snobbery? The aunt's comments on Daisy's behaviour in Roman society? Her warning of Frederick? Her having the final say?

8. The importance of Mrs. walker in the film? Again the picture of American experience in Europe? Her possessive attitude towards Frederick? Her snobbery similar to the aunt's? Her standards of behaviour? Her cutting Daisy at social events? Was Mrs. Walker a sufficient contrast to Daisy? In terms of innocence and experience,. who was to be preferred? Why?

9. The picture of society in Rome - was it attractive? Or was it too artificial? As a picture of 19th century society?

10. How interesting was Mr. Giovanelli as a character? An enigmatic character? His devotion to Daisy? As a contrast to Frederick? As a possible suitor and husband for Daisy? Was this possible? How infatuated was he? How was he led on by Daisy's flirtation?

11. How sympathetic were you with Daisy by the time she had the fever? The importance of the sequence in the Colosseum and the clash between Frederick and Giovanelli? Had you made judgements on Daisy? The music was Verdi's La Donna e Mobile and the implication of Daisy's fickleness. What was the effect of learning she was dead?

12. Was it possible to believe that Daisy had died? What was your emotional response to this? The effect on the whole film? The effect on the Millers -Mrs. Miller's sorrow. Randolph quiet? The effect on Giovanelli and his conversation with Frederick? The effect on Frederick and a phase of his life had ended?

13. How much insight into human character and behaviour did the film offer? It was a short story and not trying for depth. How much depth was there in this short story?

DOUBLE AGENT

US, 1987, 100 minutes, Colour.
Michael Mc Kean, Lloyd Bochner, John Putch.
Directed by Mike Vejar.

Double Agent is a Disney telemovie with emphasis on espionage and the ordinary citizen becoming involved in undercover work. Michael McKean? is Jason, the top American spy, as well as his twin brother Warren, an expert vet. When Jason disappears, the agency asks Warren to take his place, assuring him that nothing can go wrong. Of course, it does - and Warren comes out tops. The film is aimed at a young audience ~ but tolerant adults would enjoy sitting through it with their children. John Putch is the comic relief as the would be spy, Abercrombie, and Lloyd Bochner is the control. It is a lively action adventure - with a climax of mishaps, chases and accidents.

1. Entertaining Disney spy thriller? Comedy touches? For the whole family?

2. Stunts and special effects, the world of spies, the city and warehouses, the contrast with restaurants, homes and laboratories? Car chases? Musical score?

3. The theme of twins taking each others place as double agents?

4. Jason, his work, cover, contact with Scorpion, the exchange of documents? The KGB in pursuit? Igor and the fight? Jason's disappearance? His reputation, the capital control wanting Warren to take his place? The truth about his disappearance and the ransom?

5. The contrast with Warren, swimmer, holding his breath - and family life, easy home scenes? Children? Melville and her being cantankerous - and her father soothing her problems? His loving wife? (His wife at work, Harriet and her insinuations, the wife never suspicious about her husband's emergencies until the end, believing Melville's explanation, meeting the control, thinking she had won the lottery - and going to Paris)? The contrast with the easy scenes at home. the meals. after all the exciting incidents. Warren having to become normal?

6. The control. his persuading Warren to take Jason’s place? His interventions? Abercrombie as the back-up.- as the waiter, as the clown, as the worker? His quote in classes - and getting everything mixed up? His role in the final chase and overcoming of the villains?

7. The Scorpion, her concealed identity, sell-out? Memories of Madrid? Warning Jason, Igor pursuing him. the fight? The two KGB spies in her pay? The confrontation, Warren escaping, the adventures - and her going into the bay?

8. Warren, the dangers, assuming his brother's identity? Contact lenses, car? The restaurant and the fight? Surveillance of him at home? Meredith and her boyfriend and hurrying them to the fun park? Adventures in the fun park? The final setup, the confrontation, hanging in the warehouse? Warren coming through with flying colours? The prospect of the trip to Paris?

9. Popular ingredients of special agent stories - adapted for the family audience, the humorous aspects, the heroics - without too much blood shed?

DERANGED

US, 1974, 82 minutes, Colour.
Roberts Blossom.
Directed by Jeff Gilling and Alan Ormsby.

Deranged is a brief shocker from American International Pictures, during the 60s and 70s the main studio for producing this kind of small budget horror/shocker drama. The film was written and co-directed by Allan Ormsby (writer of such horror thrillers as the remake of Cat People by Paul Schrader). The film is said to be based on a true story. A commentator appears throughout the film, earnestly giving the audience information about central character. his relationship with his mother, his behaviour and murders as well as his psychological state. In fact, the film is based on the Wisconsin murders of the 50s on which such films as Alfred Hitchcock's Psycho were based. The parallels with Psycho are very clear.

The film is also the basis for Tobe Hooper's The Texas Chainsaw Massacre. (Subsequent sequels to Psycho also rely on the story, especially Psycho 4, The Beginning.) The film is direct in its presentation of shock, and is effective because of its seeming naturalism, along with the commentary. However, the success of the film depends on Robert Blossoms's interpretation of the deranged Ezra. He gives an excellent performance, fully persuading the audience that this character is real, that his relationship with his mother is profound, that her influence beyond death is effective, so that he becomes another personality, incorporating hers. It is a variation on paranoid schizophrenia with criminal behaviour.

The film also shows the isolated background of farming communities who would not think that such events could happen in their midst. The film also comments on the relationship between men and women, presenting quite a jaundiced view of women from Ezra's puritanical and demanding mother, to the fat widow who throws herself at Ezra, to the prostitute waitress at the diner. The film offers quite a deal of material for reflection, especially on the psychology of serial killers and the background of such cases. However, the average audience would probably find the plot quite distasteful and the naturalistic/violent sequences of death and Ezra bringing the corpses into his home, quite disturbing.

1. Impact of the film? As thriller, as shocker, as horror? The psychological case book in film?

2. The film based on a true story? How authentic did it seem? Plausible? The role of the commentator, his screen presence and appearance, manner of speaking? His explanations of Ezra's behaviour, psychology? Realistic, heightening the horror? His moving in and out of the sequences?

3. The locations, the isolated communities of the past? Farm and town Community? The houses? The bleak atmosphere? The hunting sequences, the town and the diner? The musical score?

4. Ezra's house, his mother's room? The way Ezra kept his house? After her death, his bringing her corpse to the house, his work in setting up the corpse at the table? The other murders? Bringing Mary to the house and the house of horror?

5. Ezra and his mother? Her dominance, illness, 12 years? His devotion to her? Her puritanical attitudes? Women as filthy, his not marrying? Her death and his grief?

6. The schizophrenia, taking on the personality of his mother? Talking as his mother? Bringing her back, setting her up? Talking to her as if alive? His going about his ordinary work normally, the support of the neighbours?

7. His quiet behaviour, yet his sexual drives - his magazines? His wanting company for his mother? Hearing of the death of the teacher - and his bringing her back?

8. Ezra as well behaved, polite? Yet absent? Not noticing what was going on?

9. The neighbour setting him up with the widow? His visit, politeness? Her behaviour, talking to her dead husband? The seance and his attending? Her own madness, her husband talking through her, urging her to have sexual relations with Ezra? Her coming on so strongly? Her death and his taking her to the house? The other killings and the growing number of women in the house?

10. The neighbours, their son, hunting? His going to the shop, the son's fiance, her being pleasant? His abduction? Her escape, running in the woods? The men and their traps, her being caught? Her death?

11. Mary, the diner, her attraction to the men? the old man and his lewd comments? Ezra and the attraction, his drinking, taking Mary home? to fix the tyre? Imprisoning her in the house? Her fear, her decision to play along with him? The horror of the violence?

12. The discovery of the truth? The neighbours going to Ezra's house? His being in a demented state? The neighbours burning down the house?

13. The background of rural communities, inbred families, madness and violence? The serial killers? The fascination of serial killers on film writers and film makers? This story, based on reality, has the basis for psycho and other stories?

DEJA VU

UK, 1985, 90 minutes, Colour.
Jaclyn Smith, Nigel Terry, Claire Bloom, Shelley Winters.
Directed by Anthony Richmond.

Deja Vu is a romantic ghost story in the vein of Somewhere in Time. However, the film is a star vehicle for Jaclyn Smith (after her success as one of Charley's Angels). It was directed by her then photographer husband, Anthony Richmond. She has a very strong supporting cast including Claire Bloom as her protective mother, Nigel Terry very strong as her fiance in both eras, Shelley Winters as a medium. The film is lush and romantic, a story of the eighties with mysterious memories and reincarnations from the 30s. It might not be plausible in plot, but it is a lushly entertaining romance while it is on the screen.

1. Popularity of romantic ghost stories? Re-incarnation?

2. British production, the city of London in the 30s and in the 80s, the British countryside? The musical score ~ and the ballet?

3. The title, the sense of the past, reincarnation, the experience of Maggie and Greg?

4. Maggie and Greg and their relationship, watching the movie, the fascination with Brooke? Their love, Greg working on his writing, screen project? Arguing with the producers and publishers? Their work together, separation? The effect of writing the movie on Greg? Going back into the past? The confrontation between Maggie and Greg? Greg and his suffering? Maggie and her being possessed, her death?

5. Greg and his fascination with the past, obsession? Going to Brookes friend, her role as a medium? The session with the medium, hypnosis, going back into the past? Learning about Brooke, her work, social atmosphere, her mother? Greg becoming Michael and in love with her? Brooke's career, his severity as a director, their dancing together, the affair? The presence of Eleanor and her disapproval?

6. Brooke, her life, career, in love with Michael, the ballet, escaping from the clutches of her mother? Her mother and her control, the house on fire, their death?

7. Eleanor in the background, coming more to the fore, possessive for her daughter? Supervising her daughter, hounding Greg? The ultimate confrontation, always winning, the fire, her shock at Brooke's presence? The house consumed by fire? Her possessing Maggie and being destroyed again?

8. Greg and the effect of the experience, the danger, the confrontation of Eleanor his grief, and seeing the Maggie look alike at the end?

9. The medium, her knowledge of Brooke, her friendship with Greg, helping him to rediscover the past? The final confrontation?

10. The blend of romance, glamour, possession, reincarnation, ghosts? In the lush magazine style?

DEAD MEN DON'T WEAR PLAID

US, 1982, 88 minutes, Black and white.
Steve Martin, Rachel Ward, Carl Reiner, Reni Santoni.
Directed by Carl Reiner.

Dead Men Don't Wear Plaid (Steve Martin explains during the film that he doesn't understand the meaning of this phrase - although attributing it to Philip Marlowe) is an entertaining spoof of the private eye films of yesteryear. It takes all the conventions, the black and white photography, the voice-over technique and the almost cliche situations. However, it makes them quite funny in themselves. It might be compared with other spoofs of the '70s including The Blackbird and The Cheap Detective. However, the singular aspect that makes this film successful is its insertion of eighteen of the stars of yesteryear as characters in the film. Excerpts from their films are cunningly inserted - and even made to look as if the stars are in the film by the use of doubles. The dialogue is adapted to the images of the original and in many cases is very funny - for instance Alan Ladd eating cookies in Steve Martin's kitchen in his assassination scene from This Gun For Hire.

Steve Martin shows an engaging comic capacity, less frantic than in his The Jerk. It echoes his more serious role in Pennies From Heaven. Rachel Ward is a very attractive heroine. Carl Reiner, the co-writer and director, enjoys himself as a Nazi villain and Reni Santoni, who appeared as the Carl Reiner figure in his Enter Laughing, is a South American policeman. Reiner has directed such comedies as Oh God, The One And Only, The Jerk. A fairly successful spoof and an enjoyable tribute to the old stars.

1. The film presupposing audience enjoyment of films? Knowledge of them? of the genres and conventions? The drawing of response to private eye films? The appreciating of film culture? Affection, recognition? Gentle parody?

2. An '80s re-look at the private eye films and their traditions? Their perennial appeal? A slice of Americana? The foibles and fun of the conventions? The idea of using the stars of the past? How well did it work? Technically, thematically? Relying on the stars and their images – and sending them up? Adapting the dialogue to the visuals of the past films? The use of 'in' jokes - for example Lana Turner and the reference to Schwabs? Charles Laughton and The Hunchback of Notre Dame? A pleasing retrospect of the stars? The difference between the tone of the '80s (especially in innuendo) and the similarities with the past?

3. Black and white photography, the gritty tone suggesting the mid-'40s? The use of so many films from the mid and late forties? The credits and the rain sequence? The opening with the suggestion of Maltese Falcon? The references to Philip Marlowe and Bogart inserted as Marlowe? The integration of the past with the present? The use of a Miklos Rosza score with its variety of moods and echoes of old styles?

4. The blend of the serious with the flip? The tribute to Dashiell Hammett and Raymond Chandler with Marlowe and the private eyes? The parody of the femme-fatale? Romance? The innuendo and phallic symbols? The use of the Nazi war criminals and South America?

5. Steve Martin and his comic style? Delivery, straight man, deadpan? Romantic? Verbal and visual humour? Impersonations - especially the women? A genial hero? The character of Rigby Reardon and the parallel to Philip Marlowe? His predicaments, attempts at suave handling of situations? Mistakes? His love for Juliet? Disappointment with her? His character developed by the interaction with the old film clips?

6. Juliet as the femme fatale, the echoes of the Maltese Falcon, the glamour, her relationship with her father, wanting to be involved in the work, spying? Falling in love with Rigby - but the posters in his house with Marlowe's warnings against loving clients? Her involvement in the violence - and her being punched? The point about 'cleaning woman' and her using it at the end? Her seeming to betray Rigby and her disappointment at his phone call? Her rescuing him at the end?

7. Carl Reiner as the supercilious butler - in the Erich von Stroheim manner? The Nazi criminal? His plan, his mocking Reardon? The jokes about cheese? His henchmen?

8. Carlos and the eager South American policeman? His advice, worry about the pyjamas, the rescue?

9. The insertion of the old action films:

(a) Alan Ladd and his shooting from This Gun For Hire (and Juliet removing the bullets from Rigby's arm)?

(b) Ray Milland and his alcoholism in The Lost Weekend - and finding the note in the sugar bowl?

(c) Burt Lancaster in The Killers and his being shot?

(d) Barbara Stanwyck and her hysterical phone call from Sorry, Wrong Number?

(e) Veronica Lake in The Glass Key and her being made to be a vamp?

(f) Bette Davis and the stale bread and old turkey routine and her being throttled in Deception?

(g) Lana Turner as a sexpot from Johnny Eager and The Postman Always Rings Twice?

(h) Edward Arnold as the severe businessman, the joke about the dog and its droppings? (Arnold in Johnny Eager)

(i) Kirk Douglas as the tough in I Walk Alone and his violence?

(j) Fred Mac Murray in Double indemnity, the name of his character from the film, the sexual innuendo with his spying on blondes in the supermarket, the send-up of Martin looking like Barbara Stanwyck in this film?

(k) Cary Grant and the innuendo taking his scene from Suspicion and putting him in the train with Reardon?

(1) Ingrid Bergman from Notorious as the hostess at the party?

(m) Charles Laughton from The Bribe and the discussion in the South American bar?

(n) Joan Crawford from Humoresque on the phone leading to Juliet's disillusionment with Rigby?

(o) James Cagney from White Heat with the prison sequence, Rigby disguised as his mother for the interview, the escape and his putting Rigby in the boot of the car?

(p) Ava Gardner from The Killers and The Bribe and the importance of her character in the new film, her singing in the nightclub, the contact with the characters in the film, her reappearance in South America, the interview with Rigby?

(q) Vincent Price, from The Bribe, as the final villain?

10. How enjoyable a cinematic spoof of so much that cinema audiences love?

THE DARK MAN

UK, 1950, 91 minutes, Black and white.
Maxwell Reed, Edward Underdown, Natasha Parry, Barbara Murray, William Hartnell.
Directed by Jeffrey Dell.

The Dark Man is a brief and efficient British thriller of 1950. It was written and directed by Jeffrey Dell, collaborated with the Boulting Bros, director of Carlton Browne of the F.O. Edward Underdown was a British star of this kind of movie of the period and has a supporting cast of actors and actresses who appeared in these small budget films. It is a police investigation, Maxwell Reed as a murderer, coastal settings most effectively filmed in black and white.

1. entertaining thriller? Police investigation?

2. Black and white photography, the coastal settings? The town? The musical score?

3. The title, the focus? The crimes? The investigations, the pursuit and the confrontation?

4. Jack Viner: Scotland Yard, skills in investigation, collaboration with colleagues? The meeting with Molly Lester, the attraction? Protecting her? Their discussions, meals, falling in love? His investigation of the case, relationship with the local police? Questioning witnesses? Return to-London? The dangers for Molly, his return? The information about the dark man? The pursuit on the beach, the light house? The danger with the children in their house? His pursuit, the final confrontation?

5. The dark man, sinister, the taxi ride? The murder and the robbery? Killing the taxi driver? Molly as witness? His taking a room? Stalking Molly? His skill in pretending he had the flu, going out to attack Molly? Not killing her? His confrontation, the taxi, the flowers? On the beach and his sinister presence? The final confrontation, the pursuit, the shoot-out, his death?

6. Molly, in the theatre, friendship with Carol? Witness to the killing? Her stubborn attitudes? Meeting Jack, the friendship? Her being looked after, with Carol and her husband? Going to the beach, her sketches an diary, being afraid? The attack in her flat, left for dead? Her recovery? The final danger?

7. Carol, friend, flirting? Looking after Molly? Her husband?

8. The local police, their investigations?

9. The range of ordinary characters: the taxi driver, the murder victim? The landlady, the desk clerk, the people in the theatre? The taxi driver with the flowers? A credible crime investigation, thriller?

DAMSEL IN DISTRESS

US, 1937, 96 minutes, Black and white.
Fred Astaire, George Burns, Gracie Allen, Joan Fontaine, Reginald Gardiner, Ray Noble, Constance Collier.
Directed by George Stevens.

Damsel in Distress is a bright Fred Astaire musical from 1937, with a Gershwin score, including A Foggy day in London Town and Nice Work If You Can Get It. Director George Stevens had directed Astaire and Ginger Rogers in Swingtime. This time the heroine is played by the young Joan Fontaine - who has only a few moments of dancing, a backup to Astaire. However there is dancing from George Burns and Gracie Allen - as well as. an opportunity to remember the comedy routines of this famous couple, George Burns the straight man comedian, Gracie Allen with her daffy chatter and jokes. Reginald Gardiner and Constance Collier give strong support. The plot is frothy, an entertainer in London, his encounter with a British daughter of nobility, the misunderstandings, the courtship, the happy ending. The film is Hollywood's interpretation of London - but it does it in an entertaining way that, despite the passing of the years, still stands up as light entertainment.

1. Popularity of Fred Astaire in the 30s? Screen presence? Singing and dancing? His partners?

2. Black and white photography, Hollywood British settings, London, the British countryside, castles?

3. Song and dance routines, Fred Astaire's expertise? Backed by Joan Fontaine? George Burns and Gracie Allen dancing? (The Oscar to Hermes Pan for the choreography of the Funhouse sequence?)

4. The title, chivalry, Alyce as the heroine, Gerry as the American knight to rescue her?

5. Fred Astaire style, Gerry, his background? Agent? Working with George Burns and Gracie Allen? Comedy routines, song and dance routines? The chance encounter with Alyce? The clash with Keggs? the boy writing the letter, his going to the mansion? The encounter with Alyce's father and thinking him the gardener giving him the tip, the later talk? The misunderstandings? The Funhouse sequence? Alyce slapping him, the article in the paper, misunderstandings? The happy ending? Astaire and his debonair style, dancing, acrobatics?

6. Joan Fontaine as heroine, the taxi, at home, her father and aunt, Reggie? falling in and out of love? The attraction to Gerry, the funhouse, the slap, the aftermath, the article, misunderstandings, the song and dance routines?

7. Alyce's father, sensible, the touch of the common people? The contrast with the aunt and her snobbery, attitudes towards Reggie and his Swingtime music? The opera and the choirs?

8. Reggie, the silly ass Englishman, with Alyce, with Gracie in the ghost train? The proposal and his being left standing?
9. Keggs, the English butler, British manner, clashes with Gerry, with the boy? With Lord Marchmont? His manoeuvrings, comeuppance? The boy and his intervening, clash with Keggs?

10. George Burns and Gracie Allen, their timing, verbal routines, song and dance? The enhancing of the film with the comedy team?

11. A popular example of musical comedy film making of the 30s?

DEAD KIDS (STRANGE BEHAVIOUR)

New Zealand, 1981, 98 minutes.
Michael Murphy, Louise Fletcher, Dan Shor, Fiona Lewis, Arthur Dignam, Scott Brady, Charles Lane.
Directed by Michael Laughlin.

Dead Kids is a moderate entry in the mass murder genre of the late '70s and early '80s after Halloween. It is a Tony Ginnane production (such films as Patrick, Snapshot, Thirst, Harlequin).

The film, though set in the United States and written by an American director Michael Laughlin, was actually made in New Zealand. The American cast was imported and New Zealanders took supporting roles. There is a rather large cast
of Americans plus Australian Arthur Dignam. The film is a mixture of Halloween (even to setting) and the mad doctor horror tradition. Less gory than many of its competitors, it is of only average entertainment value.

1. The blend of horror and science fiction? The popularity of the multiple killing thriller in the late 170s-early '80s? The conventions of this genre: small town situation, small group, especially the youngsters, mysterious murders, final revelation? The traditions of science fiction and the mad doctor and his experimentation? How did the two traditions blend? The horror film and their nightmare qualities? Audiences enjoying the horror, the thrills, facing nightmares?

2. Production quality: Panavision, colour photography, the establishment of the atmosphere of the American town? The New Zealand locations? Special effects? Decor? Musical score? The editing for scares and shocks?

3. The significance of the title - its reference to the adolescents in the town, their deaths? The average American Mid-West? town, families? The background of scientific research? Themes of revenge and confrontation?

4. How well did the film establish the ordinariness of the town: school, homes, parties, activities, the countryside? The impact of violence with the initial death? The eeriness of ordinariness and violent horror?

5. The dances and the kids' participation? The accidents and the deaths? Mystery? Fear and phobias? How well drawn were the various adolescents as characters? As 'fodder' for killing and being killed?

6. The presentation of the police? The chief and his relationship with his son? Their clashes? His girlfriend and her support over many gears? The clash with the staff at the scientific centre? The character of the police chief as hero for the film?

7. Louise Fletcher as the friend? Her interest, support, love? Her part in the plot of the past, support in the present?

8. The centre for experimentation? The decor and visuals? The atmosphere of contemporary science fiction? The woman in charge and her running of the centre? The demonstrations? The employment of the kids for experimentation? The details of the experiments and observations? The history of the institute? The clash of ideology? The growing revelation of what was happening?

9. The control of the kids, their murdering one another? The revelation of the motives on revenge? The kids as instruments for destroying, killing?

10. The background of the story of the police chief's wife? Her death? Grief? The scientist and his control of his institute? His videoed lectures? His presence in the town? Families' hostility towards him? The police chief's hostility?

11. The build-up to the confrontation - the lady doctor and her suave control, the boy programmed to kill his father? The appearance of the professor?

12. The irony of the professor ordering the boy to kill his father and becoming the victim? Melodramatic twist of plot?

13. Audience acceptance of such melodrama for the sake of thrillers? How effective was this film of its kind?

THE DESPERADOES

US, 1943, 86 minutes, Colour.
Randolph Scott, Glenn Ford, Claire Trevor, Evelyn Keyes, Edgar Buchanan, Guinn Williams, Raymond Walburn, Porter Hall.
Directed by Charles Vidor.

The Desperadoes, at first glance, seems a B-budget western from the past. However, it was Columbia's first feature in Technicolor, given a large-scale treatment, location shooting, stampedes and brawls that give it some distinction.

Randolph Scott is rather reticent in the central role of the sheriff, while Glenn Ford, at age 25, is the young hero, a gunfighter who wants to change. Claire Trevor gives yet another performance as a shady lady while Evelyn Keyes is the attractive heroine. Character actor Edgar Buchanan has more to do in this film than usual, an ambiguous character who has to reveal that he is part of a bank robbery team. Bill Gwyn Williams is the sidekick - but has some good choreography in the brawl sequence in the saloon. The large-scale brawl gives an opportunity for some good stunt work with comic overtones.

Otherwise, the film is straightforward in its presentation of the characters of the west, although the setting is Utah during the Civil War (which is barely mentioned).

The director is Charles Vidor, who had been working in feature films since the mid-'30s and was to go on to make such films as A Song to Remember, the life of Chopin, and his last film was Song Without End, a portrait of Liszt. In between he made two of the Rita Hayworth-Glenn? Ford films, especially Gilda and The Loves of Carmen. In the '50s he directed Elizabeth Taylor in Rhapsody, Grace Kelly in The Swan, Frank Sinatra in The Joker is Wild.

1. An entertaining western? Conventional material? Historically a large-scale colour western for Columbia Studios? A feature film to entertain people during the war years?

2. The location photography, the vast landscapes, the stampeding horses? The western town? The musical score?

3. The title, the reference to the hard men of the west?

4. The opening with the bank robbery, the shootings? The reaction of the townspeople? Clanton and his schemes, getting Jack Lester and his gang to do the robbing? The promises to the people, giving them half their money back? The connivance of Uncle Willie?

5. The sheriff, a taciturn Randolph Scott, his hesitance in investigating the robbery, his suspicions of Lester? His attraction towards Alison, the dance, the visits to the house? His friendship with Cheyenne, not revealing the truth about him, urging him to go? His following through with Jack Lester? Cheyenne, his work, getting him out of town? The arrest, his letting Cheyenne and Nitro go? His being imprisoned himself? The final escape? The court case, his testimony? The final confrontation? Present at the wedding at the end?

6. The focus on Cheyenne, his age, gunfighter, the reward on his head? His coming to help with the bank robbery? His friendship with the Countess from schooldays? His loyalty to Nitro for waiting for him? In the town, making himself known to Uncle Willie? The suspicions of Jack Lester, the brawl in the bar, Lester finding out the truth? His getting out of town, with Nitro, the return to help Steve, to see Alison? Taking Steve's horse, at the stables, the infatuation with Alison, at the dance? His working in breaking horses? The horses, returning to town with the stampede, helping Steve escape? The court case, the gallows being built? The exposition of the truth, his love for Alison, the wedding?

7. The contrast between the Countess, the fancy lady at the saloon, her friendship with Cheyenne from schooldays, with Clanton, with Uncle Willie? Her love for Cheyenne? Nitro and his explosions? Her trying to get Steve out of jail? The appeal from Alison? Alison, with her father, at the stables, the dance, attracted to Cheyenne, believing the best about him, his return, the court case? Her being willing to leave her father, the happy ending?

8. Uncle Willie, the mail, his plans with Clanton, persuading the people? Meeting Cheyenne, his love for his daughter? His refusing to help Steve? His ultimately having to face the truth, be honest, go to jail?

9. Jack Lester and his gang, seemingly respectable, the shootouts and the murders? Brawl with Cheyenne? The confrontation in the house, the lies in the court? The other members of the gang?

10. Clanton, respectability, the bank, his scheme to rob the people, the horses contract? The appeal from the Countess, his being shot by Uncle Willie? Arrested?

11. Popular ingredients of the American west, the Civil War setting, finances for the war? The remote outposts, lawlessness, Utah?