MR SMITH GOES TO WASHINGTON

US, 1939, 130 minutes, Black and white.
James Stewart, Claude Rains, Jean Arthur, Thomas Mitchell, Edward Arnold, Guy Kibbee, Eugene Pallette, Beulah Bondi, Harry Carey, H. B. Warner, Astrid Alwyn, Ruth Donnelly, Charles Lane, Porter Hall.
Directed by Frank Capra.

Mr Smith Goes to Washington was one of the great box office successes of 1939. Directed by Frank Capra, it caught up his optimistic picture of America of the '30s and the influence of the single-minded individual against bureaucracy in government. He had collaborated with writer Robert Riskin with It Happened One Night and Mr. Deeds Goes To Town as well as You Can't Take it With You (winning two Oscars for best film of the year for 'Happened' and 'You Can't ... Capra was to resume work with Riskin in such films as Meet John Doe. Here his author is Sidney Buchman and the author of the story Lewis R. Foster (director of many action adventures and musicals at Paramount in the late '40s and early '50s, Manhandled, Cross Winds, Those Redheads from Seattle).

James Stewart had starred in You Can't Take It With You and is excellent here as Jefferson Smith. He was to win the Oscar in the following year for his performance in The Philadelphia Story. He was to work with Capra in It's A Wonderful Life immediately after the war. There is an excellent supporting cast headed by Jean Arthur (also in You Can't Take It With You) and a fine performance from Oscar-nominated Claude Rains. Edward Arnold, Thomas Mitchell, Eugene Pallette and Beulah Bondi all give characteristically excellent performances. Music is by Dmitri Tiomkin. The film is earnest, a criticism of a lot of complacency in politics in the immediate post Depression era. The film is optimistically pro American. There was a remake by Tom Laughlin and his wife Delores Taylor, Billy Jack goes to Washington (1977), the third in the series of Billy Jack films. Herbert Ross's Goldie Hawn vehicle, Protocol, is a partial remake, as is Reese Witherspoon’s Legally Blonde 2.

1. An entertaining film? The optimism of Frank Capra? His delight in film making and optimistic American stories? Tone, issues? A piece of Americana summing up attitudes of the '30s? Capra's later work?

2. The contribution of the star leads, the acting ensemble and their talent? The persuasiveness of their performances?

3. The introduction? Politics? People? Government? Corruption? Taylor, Payne and the ambiguities of politics and compromise? The seeking of power and corruption? The ironic touches? The faith in government of the '30s as well as the criticism of bad government? The good faith of the ordinary citizen?

4. Capra's and the screenplay's stand? Tour and collage? Jefferson and his style, hopes, speeches, the Senate, the Constitution? Respect for American government?

5. The balance of the optimism by the story of corruption and greed, political machines, the media, truth and lies and the destruction of individuals?

6. The theme of individuals within the system, versus the system and the machine? The ordinary man whose name was Smith? The ordinary man whose name was Smith but whose given name was Jefferson with its American traditions? James Stewart and his presence, performance, characteristic style - embodying the ordinary man American as Jefferson Smith?

7. The nomination farce. the coin etc.? The Governor and his family, the homespun style, the lies? His family background and seeing his family? Taylor calling the tune, the henchmen, the power. the papers and Public opinion?

8. Edward Arnold as Taylor: the big man, push, cruelty. handling people and manipulating them? The portrait of a corrupt man?

9. Claude Rains and his presence and performance as Senator Payne? The Silver Knight? The impression he gave, truth? Bowing at the banquet? The train and the story? His Senate life? Daughter? Control of Jeff? The project about the camp, the cover-up? Prestige, clash, repute, his place in the Senate, performance? The scenes with Taylor? His telling the truth? The inquiry and the lies? The filibuster? His shooting himself? A portrait of the corruption of ideals?

10. Jefferson Smith and the work with the boys. his relationship with his mother, his going to Washington, touring Washington, and a collage of patriotism? Being late, naive, the papers and Saunders, the rescue, the Senate, the project, working and sharing with Saunders, uncovering elements of corruption, the confrontation with Taylor, Payne and his lies, his wandering Washington? The encounters with Saunders and with Diz Moore? Communication? Place in the Senate? Respect? The President? The humour and dramatics of the filibuster? His winning? Integrity? The audience seeing Washington through his eyes? The language of American optimism? Images?

11. The contrast with Saunders and her toughness, work, single name, sequences in the bar, 'one of the boys', being spurned by Smith, sharing with him, marrying and Diz Moore, going away, his tutor?

12. Diz and the press. his mockery, punch-up, life in the gallery. the freedom of the press?

13. McCann? and his relationship with Taylor. P.R. work?

14. The senators, the sittings, the president of the Senate and his quiet wisdom, political tactics?

15. The serious themes of the Constitution, rights, integrity? The focus on Lincoln and the great American politicians? The possibilities for greatness of the United States?

16. The sentiment of the film? The picture of Middle America vs. the hard-boiled Washington group?

17. The film coming out on the eve of World War Two? Its summing up of America's experience during the Depression years? Facing the reality of Hitler and the '40s?

18. The strength of the little man. courage and endurance, power and its corruption, right and victory?

MR MOM

US, 1983, 91 minutes, Colour.
Michael Keaton, Teri Garr, Martin Mull, Jeffrey Tambor, Ann Jillian.
Directed by Stan Dragoti.

Mr. Mom is an entertaining comedy. It has many laughs. It takes as its subject unemployment in the '80s ? and presents it with role reversal. Michael Keaton plays the husband who loses his job. Teri Garr is the wife who goes back to work and becomes a successful advertising executive. There is a parody on men and women in each other's traditional roles, especially the husband looking after the home.

Teri Garr is a competent actress and comedienne (Oh God, Tootsie). Michael Keaton was introduced in the Henry Winkler comedy Nightshift and made very strong impact. There is a good supporting cast including Martin Mull as a smug executive and Ann Gillian as a sexy neighbour. Direction is by Stan Dragotti (Dirty Little Billy, Love at First Bite). The film does not intend to make profound comment on '80s social situations ? but makes effective comment via comedy.

1. An entertaining and funny comedy? Broad and comic styles, U.S. style? Verbal humour, visual? A parody on situation comedies? On the tradition of domestic comedies on television and film? A topical comedy of the early '80s?

2. The background of Detroit, car manufacturing, business advertising? The city, homes? (The contrast with California and TV Land.) An authentic contemporary style?

3. The musical score - quiet, jokey? References to the scores of, for example, Jaws, The Young and the Restless, soap opera films, science fiction films, Rocky and Patton?

4. The visual jokes and references to other films: the sporting achievement of Rocky, the vacuum cleaner as Jaws, soap operas and The Young and the Restless, E.T., the clip from the Cary Grant film I Was a Male War Bride where Cary Grant was disguised as a woman?

5. The ordinary family, their names, ordinary way of life, parents, children, the house? Scenes of getting up, breakfast, washing? The ordinary and comic situations of domestic comedies? Disasters and smiles? The reaction to Jack losing his job? The support of wife, of children? The bet about who would get a job first? Role reversal? The enjoyment of ordinary situations and role reversal: dialogue, Jack trying to cope, treating the kids as adults, the cliches of family life?

6. Detroit: car manufacturing, the plant, the executives, the tour, with the Rocky overtones? Jobs, the men talking recipes, at the unemployment bureau? Jack going back, clashing with his friends, the fights? His being reappointed ? the conditions, the happy ending? The glimpse of troubles in the car industry in the U.S. of the '80s?

7. The comparisons with the advertising world: slick, the secretaries, stern tones, the executives and their effectiveness and ineffectiveness? The humour with the campaign advertising tuna? The meetings and ideas, Caroline and her opinions, her success? The ploy of selling tuna more cheaply, tuna with a heart! Ron and his attraction to Caroline, the yes men around him? The importance of the sports meeting at his place and everybody having to let him win, the threat from Jack and his still allowing Ron to win? The smooth smug advertising executive, the plane trip. his advances? The phone calls and Jack's reaction? The punch at the end? The film's sending up the executive?

8. Caroline as wife, as mother? Efficient and effective? Getting a job - but still cutting Ron's meat as if he were a child! Her success, busy life, working all hours, Jack's jealousy, the trip to Los Angeles, the phone calls and the ambiguity, the return and discovering the neighbour in the bedroom, the happy ending?

9. Jack as 'a regular guy'? With his friends going to work, the sackings, the reaction and going berserk and being sacked, glum return home. the bet about the job and his losing? Trying to cope with the day - the mess in the kitchen, trying to clean the house and the machines going berserk, having to get all the repair people in, the mess in the supermarket, trying to get the meals ready, the washing machine, the television? His having to realise what his wife dealt with? The kids and the laughs? Taking the kids to school - going in the wrong entry, the rain? His reaction to Caroline's job, to Ron and pretending to be tough with him? The sports outing and his winning - but letting Ron win? His going to seed, growing the beard, becoming a slob, fat, watching the soap operas and commenting on them? Joan and his girlfriends, their visits, playing cards, ringing one another about the soap operas? The effect of the strain on him of the children? His fantasies ? Joan and her sexiness, getting caught, getting shot? Reality and fantasy? His reaction and the Rocky transformation and achievement? The Halloween night, Caroline going to Los Angeles, the phone calls, Joan and her arrival, the 'A to Z reasons'? The final punch-up and the happy ending?

10. The serious point about job-sharing?

11. The cut-throat attitudes of the business world and the effect on families?

12. Joan as the sex-pot neighbour, the other women, the babysitter and the gossiping,, playing cards? The compromising scenes with Joan?

13. The portrait of the kids and their contribution to plot, to comedy?

14. A humorous mirror to issues in American society? Universal appeal?

MR FORBUSH AND THE PENGUINS

UK, 1971, 101 minutes, Colour.
John Hurt, Hayley Mills, Tony Britton.
Directed by Roy Boulting.

Mr Forbush and the Penguins is based on a novel Forbush and the Penguins by Graham Billey! (credited as one of the first novels to emerge from Antarctica). The screenplay is by Anthony Shaffer (Sleuth, Evil Under The Sun).

However, the commercial film is not as originally intended. Director Al Viola made a film focusing solely Richard Forbush and his work in Antarctica. Veteran cinematographer of Antarctica, Arne Sucksdorff, was responsible for the animal sequences. To make the film commercial, veteran director Roy Boulting directed the London framing sequences with Hayley Mills.

John Hurt is suitably anguished and crusading as the biologist studying penguins and reacting against the skua gulls in Antarctica. The London background, however, reflects the atmosphere of the swinging '60s and is trendy and dated.

1. An interesting and enjoyable film? London background? Antarctica sequences? (Seemingly two films in one?)

2. The impact of the Antarctica sequences? The snowscapes, the seasons and the weather, the penguins, the gulls? A human being in the context of Antarctica? The contrast with the scenes of swinging London? Universities, flats; London city?

3. The title and the focus of attention on Richard Forbush, his background, ambitions? His work in Antarctica? Study of the penguins? Protection of them? The lessons he learnt from his experience?

4. The background of London: swinging London.~ luxury, carefree? Richard Forbush in this context? His study, his relationship with Professor Dewport? His parents? The friends? The Board and the discussions about his appointment? His attraction towards Tara? His trying to impress her? her reaction to him? Disdainful yet attracted? The correspondence from Antarctica? The importance of his motivation for him in his work? His return to London and his.. new sense of purpose?

5. Tara - character? Attraction towards Richard? Discussions with him? Influence and inspiration? Correspondence?

6. The atmosphere of Antarctica: temperatures, climate, weather, sunny days, blizzards? The ice and the snowscapes? The penguins in this natural habitat? Their plight? The attack of the gulls? The vivid presentation of the penguins and their life cycle? Forbush landing in Antarctica, adapting, Shackleton's hut? His feeling of desolation? Outside contact? Correspondence? His identification with the penguins, concern? The gulls and their attacks? His anger at them? His building the catapult, the intensity of his motivation? Firing at the gulls' nesting site? The failure of his attack? His realisation of the cycles of nature, the survival of the fittest? His own experiences, cold, his collapse, his being saved by Starshot's visit? The effect of the Antarctic experience on him?

7. The audience sharing the Antarctic experience: information, visualising of the birds and wildlife, in the ice continent?

8. How more satisfying would the film have been had it focused solely on Antarctica? The effect of the London framing?

MR DEEDS GOES TO TOWN

US, 1936, 118 minutes, Black and white.
Gary Cooper, Jean Arthur, Raymond Walburn, Lionel Stander, Walter Catlett, George Bancroft, Douglass Dumbrille, H. B. Warner, Ruth Donnelly, Margaret Seddon, Margaret Mc Wade.
Directed by Frank Capra.

Mr. Deeds Goes to Town is one of the classic optimistic tables of American cinema.

Director Frank Capra and writer Robert Riskin collaborated on several of these tables during the '30s and early '40s. They won Oscars for It Happened One Night. They collaborated on You Can't It With You, Mr. Smith Goes to Washington, Meet John Doe. They both had a belief in human nature, a genial optimism, a delight in the honest straightforward, even naive, hero clashing with the selfishness of big business and the unscrupulous methods of the press. Their films often had a broad, financial and political background which made them tables for Americans during the Depression and on the eve of World War Two.

Gary Cooper was ideal as the strong, gentle and naive hero, Longfellow Deeds. He was also to play John Doe. Jean Arthur is a tough heroine - who naturally begins to understand Deeds. She was the heroine of Mr. Smith, and You Can't Take It With You. Barbara Stanwyck, in like vein, was with Cooper in Meet John Doe.

There is a good supporting cast and, though the film was made on a somewhat small budget, it makes the most of its opportunities visually and verbally. Capra won an Oscar for Best Director.

1. The status of the film as a classic? its durability even though in many ways it is dated? The perennial values of human nature? The value of the attack on exploitation?

2. The work of Frank Capra and Robert Riskin? The Depression, the United States and its problems, human nature, good and bad, honesty and naivety, hope? A genial popular table?

3. Black and white photography, Columbia production values? The traditions and styles of screwball comedy? The strength of the cast?

4. The opening and the situation of the death of the millionaire, the search tor the heir, the availability of millions of dollars? In the background of the Depression? Greedy financiers wanting to control the money? Their crooked dealings? The newspapers wanting to exploit the heir? Cobb and his work as protecting the heir?

5. The visit to Mandrake Falls? The humour at the expense of the isolated small town, and yet the audience feeling guilty for laughing at the town? Longfellow Deeds' poem about Mandrake Falls? The comedy at the station with the slowness of the porter? The visit to Deeds' home, the encounter with the landlady and her homeliness? The meal, the easy taking of the news? The atmosphere of the small town, the farewell to Deeds? and his playing the tuba? Naive, nice? The verse that he wrote for the cards? Arrival in New York, reaction, the new clothes, not wanting servants to kneel to him? The opera meeting and his being made Chairman of the Board, his commonsense criticisms? His meeting with Mary/Babe out side his house? Rescuing a lady in distress? His enjoyment of the outings, his meeting the celebrities and their poking fun at him, his stating that his verse was the best he could do? The fights, going on the bender, feeding the horse doughnuts, his sore-headedness? The irony of all this coming back at the court hearing ? and his comments on them later? Falling in love with Mary, enjoying the outings? the visit to Grant's Tomb etc.? His shrewdness, his trying to be fair? Going on the fire brigade truck? Locking the bodyguards in the cupboard? His shrewdness in not allowing Ceder to take over the finances? The growing friendship with Cobb? The sequence of testing the echoes in the house with all the servants in harmony? Sending people away from the party so that he could meet Mary? The Cinderella tag and his response? His being criticised in the papers?

6. Babe and her work at the paper, the editor, her smart moves, the tainting, the lady in distress, seeing him as a sucker, writing him up? Leading him on? The gradual change, her caution, the worry of the editor? The talks with her roommate? Being in love and determining to tell Deeds the truth?

7. Cobb and his work, telling Deeds the truth? The elaborate dinner preparations, Deeds hurt? The phone call? The change of pace with the poor farmer confronting him in his house, threatening to shoot him? His decisions about the money? Setting up the distribution of the money, the farmers all coming to the house? The reality of the Depression? Cobb helping?

8. His arrest, the trial, Ceder trying to get Power of Attorney, the relations trying to get the money? Crooked means? The threat to the economy, according to Ceder?

9. The trial and Deeds remaining silent? The range of evidence and its being twisted? Babe trying to speak, declaring her love? Ceder and his continued attacks? The two old ladies from Mandrake Falls? The old lady saying he was 'pixilated'? The judge being pixilated? The European psychologist with his charts and explanations of manic depression?

10. The farmers and their appeal, Babe and her declaration of love, Cobb urging him on? The importance of Mr. Deeds' long speech, his homely explanation of his origins, his background, the impact of New York, his being tricked, his being out on the town, his being drunk - the first time in his life, the impression of the farmers? His telling the truth? The strong verdict in his favour? The happy ending?

11. The impact on the audience of Capra's optimism, his belief in human nature? The fact that audiences might not follow in fact what was presented to them but nevertheless have found it inspiring over the decades?

MR BILLION

US, 1977, 93 minutes, Colour.
Terrence Hill, Valerie Perrine, Jackie Gleason, Slim Pickens,
Chill Wills, William Redfield.
Directed by Jonathan Kaplan.

American writer-director Jonathan Kaplan has acknowledged Terence Hill's appeal in his first American movie, but has treated him more intelligently than many of his Italian vehicles. In fact he makes an engaging immigrant hero who romanticises American and Western styles in far off Italy, but falls foul of too many ugly Americans there. The plot is a kind of knockabout, rags-to-riches fairytale, poking fun at greed and callous villains, glorifying the modern poor and simple. It's a comedy angle on the trend of films on American social injustice and wheeler-dealing. Pleasant, light, with Valerie Perrine and Jackie Gleeson supporting an attractive Terence Hill.

1. How enjoyable a light comedy, thriller overtones, social comment? The satisfactory blend of each?

2. The American tradition of the 30s of social comment via outstanding ordinary heroes and social critique of criminals, especially those with power and money? A social entertainment tradition with comment on the present? How did this film fit into the tradition?

3. The optimistic point of view of the film: as regards human nature, America? The importance of identifying throughout the film who was good, who was bad? What were the qualities of those who were good? The bad attributes of those who were bad?

4. The importance of the themes of money, wealth, greed, needs, ordinary people confronted with money? The focus on the poor, the kind, the greedy, the swindlers, the exploiters? Popular response to those who were good the popular acclaim of Mr Billion?

5. The importance of the ingredients of humour, romance, adventure, the final timing? How appropriately presented for this kind of film? The response of an audience to these ordinary ingredients from life?

6. Colour, music? The background of Italy? The panorama of America from New York right across the country to San Francisco? The visual impression of America and the variety of people within America?

7. How important was the film as a Terence Hill vehicle? His American film? His personae, type? The Italian hero ? with the light hair, the genial smile, the blue eyes? A hero to identify with? Attractive to women in the audience? His type in this film as a migrant, the poor boy receiving the money?

8. A male Cinderella story? His confrontation with the American types? The atmosphere centered with the opening comedy and the death of the financial magnate at the opening of his building? A quick humorous setting of the scene for the inheritance comedy?

9. The transition to Guido and his role as a mechanic, first seeing him driving the sports car and then discovering his poverty? The driving of the car as an indication of his masculinity, enterprise and daring? Coupler and the seeking out of Guido ? and the humorous parody of Westerns, spaghetti Westerns, John Wayne, the deaths in so many Westerns ? and the irony of Guido's actually being subjected to such dangers throughout the film? The skit on Terence Hill's Italian film personality? The irony of Guido learning English this way? A nice young man, his hopes, the migrant, his optimistic vision of America ? and how it was to be soured? The build-up of the newspapers and the ballyhoo about Mr. Billion?

10. The contrast with Cutler and Jackie Gleeson's portraying of the role? The American big business man, physically big, big greed? His plans, setting conditions for Guido to sign a document? The elaborate plans with Rosie? The type of American heavy villain?

11. The journey style for most of the film: the honours of the train journey film with overtones of Hitchcock and The Lady Vanishes, North By Northwest etc.? The Thirty-Nine? Steps and hero and heroine being handcuffed, kidnapped? The travel device for suspense, momentum, moving towards San Francisco, consciousness of time? The personal travelogue of America?

12. The film's comments on the press, the appeal of such popular folk heroes as Mr Billion? The reaction of the various people along the way ? disbelief, greed, help?

13. How did the train episode build up the tension: Rosie as a character, a modern day Mata Hari with a heart of gold? Her arrangement of the false rape situation? Guido's niceness, their being handcuffed? The encounter with Colonel Winkle and his helping them? Colonel Winkle as the first of a gallery of strange but nice American characters?

14. The growing bond between Rosie and Guido, especially their being kidnapped and hidden? Guido's disillusionment in learning the truth, Rosie and her disappointment? The gradual bond between them, especially by telephone and Guido’s wanting her rather than the money? An appropriate idealised romance?

15. The personalities that they encountered along the way e.g. the kidnappers themselves, the hooker who robbed Guido, Duane and his losing his property, the fight, jail together, the break? out? Getting food, taking the lady's car along the way, the encounter with the friendly Negro and the suspicious Negro?

16. Rosie and her devices to get back to Guido, forging his signature, the clash with Cutler? Cutler using her as blackmail to get into the Grand Canyon?

17. The momentum gathering as Guido and Duane move towards the Grand Canyon: the people they encounter, the sequence in the stock car rally? The gradual build-up of a view of the U.S. friendliness and the Ugly American?

18. The spectacle of the Grand Canyon and the appropriateness of having a fight there? Symbolism? Ambush, shooting, danger? The triumph of Guido?

19. The humorous device of the time change and the build-up to the final journey to San Francisco - the various vehicles, plane, parachuting. bicycle, running? How glad was the audience that he arrived on time?

20. The humour of the new Board at their Board meeting? The composition of the Board? In terms of fantasy, realism? The justification of the good and the poor? A pleasing social fable?

MR AND MRS SMITH

US, 1941, 95 minutes, Black and white.
Carole Lombard, Robert Montgomery, Gene Raymond, Jack Carson, Philip Merivale, Lucile Watson, William Tracy.
Directed by Alfred Hitchcock.

Mr and Mrs Smith was Alfred Hitchcock's second film in the United States. He made Rebecca, which was successful, and then went on to Foreign Correspondent and Suspicion. The screenplay is written by Norman Krasna from his play. Krasna was the author of such films as the Cary Grant/Ingrid Bergman Indiscreet. It is in the tradition of the screwball romantic comedies of the '30s. Hitchcock said he did it as a favour to Carole Lombard, the star. He also said he didn't understand the characters presented and so filmed the screenplay as it was written. However, there are quite a number of humorous touches which might be compared to the comic sequences in his thrillers.

Robert Montgomery and Carole Lombard are quite good, if somewhat cold in their roles. They do have some very humorous mime sequences. The dialogue is quite funny. It's very old-fashioned now but compares favourably enough with some of the more sparkling examples of the genre. It is certainly interesting as an aside in Hitchcock's career. Carole Lombard was to be killed in an accident soon after.

1. The appeal of the screwball comedy, the traditions of the '30s and '40s? The nature of the plot, marriage, farce. mistakes, the battle of the sexes? Enjoyable in its time, now?

2. What did Alfred Hitchcock bring to this film? His thriller tradition? The light and humorous touch of his English thrillers? His statement that he filmed the screenplay directly? His understanding of the characters - or not? An Englishman working within very American traditions and with comedy?

3. The technical aspects: studio sets, the musical score. the stars. the repartee and the situations?

4. The title, the couple as representative of Mr. and Mrs. America? Symbolic of the everyman and everywoman theme? The man-woman relationships, the roles of husband and wife, sex comedy? American comedy? The matching of the couple, the ambiguity in their relationships, the farce and the games they played? The tone as regards marriage and sexuality from Hitchcock, from the 1940s?

5. The changes of moods, audience expectations of the battle, the ironies and the jokes?

6. The atmosphere of the opening with David and Ann in the hotel, the puzzle? The comments of the servants, at the office? The making up and the implications about the fights? Ann and her rules and the effect on David? The setting up of the question about marrying if they had the opportunity again? The humour of the visit of the lawyer and the information to David and how he handled it., to Ann and her mother? The ambiguity and concealment? The options? The fact that Ann chose not to remarry after her disappointment? The comic sequence at Momma Lucy's? Her mother's phone calls? The eventual clash? The effect on David and his going to the club,. the discussions in the sauna with Benson? His following his wife? The visits to the apartment? Ann and her work. her outings with the boss? The taxi sequences? The outing in the restaurant? The comic ambiguities? The particular items for humour, the nosebleed, the dates and the sauna?

7. How well presented the characters, ordinary people, the comic tones, who was dominant? Audience identification and interest? The romantic point of view about marriage?

8. Jeff - as partner, lawyer, supporting Ann, romantically involved, the sequence in the restaurant, the visit of his parents to the office and the discussions, making a good impression of Ann, taking Ann to the lodge, the fights, his parents' second arrival? The gentleman but considered weak? Southern fried chicken? The conventional 'other man' with comic overtones?

9. Ann's mother and her fears, panic? Jeff’s parents and their judgments, moral attitudes?

10. The humour of the farce and mix-ups? Audience enjoyment of farce and mistaken identities?

11. The contribution of the comedy? Ann shaving David, David in the restaurant pretending to talk to his neighbour, punching his nose to make it bleed, his pretending to be ill, Ann pretending that she was in love with Jeff?

12. The attitude of the screenplay towards marriage, sexuality? The light touch and the point made via humour?

HARPER (THE MOVING TARGET)

US, 1966, US, 121 minutes, Colour.
Paul Newman, Lauren Bacall, Julie Harris, Arthur Hill, Janet Leigh, Pamela Tiffin, Shelley Winters, Robert Webber.
Directed by Jack Smight

Harper is the name of a private eye and he is played by Paul Newman. This was a popular film of the mid sixties. It was an attempt by Hollywood to recapture something of the genre of the 30s and 40s with the Presentation of the private eye. The private eye genre reached its peak in the film versions of Raymond Chandler's novels with the character of Philip Marlowe played by such actors as Humphrey Bogart and Dick Powell. This particular film reflects Californian society of the mid sixties, and the aspects of its way-out behaviour. Paul Newman's Harper is a bit of an anachronism in this kind of society. However he has to investigate murder - he is employed by an eccentric woman, bitchily portrayed by Lauren Bacall. His encounters are with a star cast which included Julie Harris, Shelley Winters, Robert Wagner. There are ironic twists in the screenplay as one might expect. Harper seems a very good example of this kind of film.

1. The American title was 'Harper'. Is The Moving Target a better title? Why?

2. Lew Harper ? as a private eye, the American tradition of private eye thrillers? How did The Moving Target fit into this tradition? What had gone sour in Harper's life? Where he lived, the beginning of his day, his friends, the nature of his work, at the beck and call of people like the Samsons, his inability to relate well especially to his wife, the big scene with his wife, the breakfast etc.? Harper at the end? betrayed, disillusioned, cynical, an option to live or die? What insight did this film give into men like Harper?

3. The California atmosphere for the investigation? What kind of place is California as presented in this film?

4. Sarnson, as a person, disliked, unwanted yet needed, especially for his money. His place in society, his relationship with his relatives, his business deals, the phoney rings and organisations, the smuggling? What values and lack of values did he stand for?

5. The drug situation?

6. The attack on, parody of, eccentric American religions? Their involvement with money?

7. How did the film keep audience interest in the investigation? Was the film too brutal in its chases, fights? Were enough clues given for solving of the mystery?

8. Albert - as Harper's friend. Albert as a person, his relationship to the Samsons', his love for Miranda, how desperate was he? Why did he deceive Harper? What made him kill Samson? The importance of Harper explaining to him the nature of law and order at the end? Why couldn't he shoot Harper?

9. Mrs Samson - as typifying the caustic spoilt selfish American matron?

10. Miranda - as typifying the spoilt rich American girl? What was she looking for and trying to grasp?

11. Allan Taggart - typifying the young American playboy type, a betrayer, a petty criminal, his relationship to Miranda, to Betty? His death?

12. Betty - the pathetic nature of her life, her relationship to Allan, her involvement in a sordid world? The sequence of her torture? The final understanding of the truth, was her death intentional or not?

13. Fay - as a person, her involvement with the Samsons and this sordid world, the fact that she was a slob? Her relationship to her husband and his involvement in this world? Their participation in the torturing of Betty?

14. What did this film have to say on good and evil appearances and reality, the nature of modern American society, honesty, greed, wealth?

MOVIE, MOVIE

US, 1978, 106 minutes, Black and White (Dynamite Hands) Colour (Baxter's Beauties).
Dynamite Hands: George C. Scott, Trish Van Devere, Red Buttons, Eli Wallach, Harry Hamlin, Ann Reinking, Art Carney, Jocelyn Brando, Barry Bostwick.
Baxter's Beauties: George C. Scott, Barbara Harris, Barry Bostwick, Trish Van Devere, Red Buttons, Eli Wallach, Rebecca York, Art Carney.
Directed by Stanley Donen.

Movie, movie is delightful entertainment from director Stanley Donen. While it parodies 42nd. Street (in colour) and so many '30s musicals and the John Garfield slum-boy boxing melodrama (in black and white), we don't laugh harshly at the film but with a certain fondness for coincidences, hoary conventions and cliche dialogue (delightfully co-authored by Larry Gelbart who wrote Oh God). The cast, led by George C. Scott, enters into this spirit even to a mock trailer in the middle of an Errol Flynn Dawn Patrol type movie. The film, though satirical on movie basics and audience response, is nostalgic for the romantic values of the dream factory and rueful that they are gone.

1. An enjoyable and appealing film? An expression of the nostalgia of the '70s? Interest in the history of the movies, the entertainment value? Humour in the memory of the movies? Parody?

2. George Burns and his introduction, explanation of the 'good old days' of the movies, invitation to participate?

3. The enjoyment value of the programme: the musical, the boxing film? The same start, the conventional plots, the humorous dialogue, the cliches and conventions and their gentle parody? The contribution of the trailer ? the parody of Errol Flynn and David Niven in Dawn Patrol?

4. The choice of the topics: the musical, the colour, the Busby Berkley style? Echoing the '30s, the choreography and stylishness of the '70s? The contrast with the black and white photography and the copying of the '30s realistic style? A happy blend of types? A satisfying double bill?

5. The enjoyment of cinema parodies, audience knowledge of the originals? Picking the conventions, remembering the dialogue, the stars made up to look like '30s stars? The musical and the story from 42nd. Street, echoes of Ken Russell's The Boy Friend and its use of 42nd. Street? Ruby Keeler, Ginger Rogers, Warner Baxter? The black and white styles of the '30s boxing film , the hero looking like John Garfield? The echoes of On The Waterfront on the rooftops, the parody of Rocky?

6. The quality of the humour, memories of the past, how much laughing at the conventions, how gentle the laughter?

7. The quality of the writing and its humour: the one-liners and the stressing of the obvious, the use of coincidences, cliches, poses, contrivances, the stock situations and characters and expected reactions? How funny the film, how much sentiment, how much niceness? Clear good and bad, black and white values?

8. The presentation of the musical of the '30s, the lavish treatment and style, the title and the focus on 1933? The conventions of the backstage dram, the announcement of imminent death and Art Carney's humorous presentation of this, problems of money and the $36,000, the mysterious daughter and the coincidence of her turning up, Trixie and her continued fidelity, Isabel and her tantrums as prima donna, the parody of her drinking and the lavishness of her room, her flirting with Dick, he drunkenness and breaking her ankle, Dick and the bungling accountant and his ability to compose songs even on the rooftop, his infatuation with Isabel, the true love, themes of jealousy, the speaking of the truth, the crisis of the show, the need to find the heroine, the humour of getting her to the theatre on time, the policeman helping, the final success, Baxter and his choreographer, the humour of the death and the happy ending?

9. George C. Scott's comic style as Baxter - as the gangster entrepreneur type and the echoes of Ziegfeld? Art Carney and the satire of the doctor and telling the truth? Trixie and her fidelity? Isabel and her glamour? Pop and his words of wisdom, the choreographer and his devotion to Baxter?

10. The hero and heroine - the clumsiness of their meeting, the cake, the meeting on the rooftop and the composition of the songs, ‘it just shows to go'? Dick and his dating of Isabel, jealousy? The heroine and her giving the money, the discovery of her father? The humour of the songs and their lyrics?

11. How well did the film draw on the conventions of the '30s black and white boxing film? The humour of the title and its use? The archetypal character of 'Gloves'? Peanuts, his assistant? The look, the manner of the ex-champ and trainer? The world of the gymnasium, the convention of the delivery boy and his naivety, his ability at punching? The how situation, poverty, the sister with the eye problems, the need for a vast amount of money? Joe's decision to fight? Calling his girlfriend by her full name, Betsy Maguire? The parody of On The Waterfront with the pigeon sequence on the roof? His great successes and the collage of his fighting? The introduction of the world of the gangster with Vince Marlowe, the nightclub sequence and Troubles Moran and her Marlene Dietrich imitation? His hurting Betsy Maguire? His decision to work for Marlowe with the hope of Madison Square Garden? His rejection of Gloves yet keeping him as trainer? The conventions of the collage, the fights., the train and the journeying throughout the United States? The build up to his final fight? The disillusionment with Vince wanting him to take the fall? Gloves and the final advice? The realisation of his deceiving himself, alienating Betsy? The importance of Gloves putting all his wealth on the fight, his mother and father betting the shop? The fight and his going down? The irony of his sister going to Vienna with the gangster boyfriend ? and Joe's comment on gangsters, especially after his fight with him and his own double standards? (His disillusionment with Vince and finding Troubles at his home?) The victory. the shooting of Gloves, the pathos and the heavenly choir at his death? The vengeance and Joe going through law school quickly to prosecute.. his summation in the court case. everybody happy. the jury giving its verdict without retiring? The immortal words of Gloves and his being seen in the centre of the screen giving the final words of advice? The moralising of the '30s films?

12. George C. Scott and his interpretation of Gloves, past glories, advice, the good man. his death? Peanuts and his assistance?

13. Vince and the suave gangsters, the manner in the nightclub, the pressure on Joey, Troubles at his house? Johnny as a young gangster and his love for Angela? Joe's reaction?

14. Joe as the naive young man, ability, deceived by success? His law ambitions? The tender and sentimental sequences with Betsy? The conventions of Betsy as the town librarian and shy? The Popchiks and their home, Joey's reference to it as the next slum, their arguments., support of Joey at his training.. arguments? Angela as the sweet young sister, the love for the gangster, going to Vienna and being cured?

15. Slum life and the contrast with wealth, the world of the fights, the conventions of the court sequences?

16. The humour of the dialogue, the parody of the style of the '30s. the one-liners, the jokes about eyes, the earnest way in which all these lines were delivered?

17. The successful tone of the actors and actresses in not ridiculing their material but making it humorous and even engaging?

18. The film and its humour and its insight into how people respond to basic stories, sentiment, feeling, success? A satisfying piece of American nostalgia?

MOUSEY

UK, 1973, 74 minutes, Colour.
Kirk Douglas, Jean Seberg, John Vernon, Sam Wanamaker, James Bradford.
Directed by Daniel Petrie.

Mousey is a British telemovie made in Canada with American stars. It offers a chance for Kirk Douglas to portray an insane villain, a schoolteacher taunted with the name Mousey, who exasperatedly wants to assert himself and turns to violence. Douglas does quite well in the role. Jean Seberg has a chance to be terrified and John Vernon a chance to be earnest. Of its kind, it is quite well made. It may seem slight in the light of the knife murder films which
flourished at the end of the '70s. Direction is by Daniel Petrie, a director of a wide range of films from classics like A Raisin In The Sun and Fort Apache The Bronx to trash like The Betsy.

1. The appeal of the thriller? The murder and terrorising thriller? The quality of this film? As telemovie for home audiences?

2. Canadian backgrounds, location photography, Montreal? Terror in apartments and houses? The musical score and its atmosphere (by Ron Grainer)? Colour photography?

3. The conventions of the genre? the basic situation which sets off the insane character, the background of hurt? The establishing of the madness, the eruption into violence, the terrorising of the heroine, the role of the police? The use of the conventions here? for suspense and interest?

4. The plausibility of the plot? Anderson and his teaching career, his fears, the taunts of the schoolchildren, his nickname? His exasperation at the beginning of the film? The symbol of his cutting his hand? His aggressiveness towards his wife? His will for Simon? The truth about Laura's pregnancy with Simon? His possessiveness? Tormenting, confronting her husband? His decision to kill someone ? the police warning, the luring of the girl from the laundromat, the visit to the apartment, the sudden slashing of death? His eluding the private detective and killing him? The build-up to the confrontation with Laura?

5. Kirk Douglas' interpretation of Anderson timid, glasses, hat and coat? His aggression about his nicknames? His determination to prove himself? His mind snapping? His shrewdness in eluding pursuit? His vigil by the dead body and putting the newspaper item in his wife's room? His shrewdness in setting Laura up for the confrontation? The visit to Mrs. Richardson, talking with Simon tenderly, the phone calls. the summoning of Richardson, the phone call from inside the house? The final confrontation and his collapse? A portrait of a demented character?

6. Laura as the conventional wife who divorces her husband, takes her son, remarries? Her reaction to George? The final terror and her looking in pity and incredulity at George?

7. The girl from the laundromat and her invitation? The private detective, his pursuit of Anderson, the suddenness of his death?

8. The picture of police work? The contacts with Richardson, the phone directions for Laura? The irony of Anderson's not harming Richardson or Simon?

9. Themes of madness, humiliations, hurt, violence? Sufficient explanation of Anderson's hurt and need for self-assertion? Laura’s role in this? Simon's? The significance of Simon's final mouse like collapse? A satisfying short thriller of madness and violence?

THE MOUSE ON THE MOON

UK, 1963, 85 minutes, Colour.
Margaret Rutherford, Bernard Cribbins, Ron Moody, David Kossoff, Terry Thomas.
Directed by Richard Lester.

The Mouse That Roared was a very funny comedy of the 1950s with Peter Sellers playing three roles including the prime minister and the grand duchess of a small European country trying to find its way during the Cold War in contemporary Europe. The sequel, The Mouse on the Moon, does not have Peter Sellers. That lessens its impact despite the qualities of Margaret Rutherford as the grand duchess and Ron Moody as the prime minister.

It is the 1960s, the era of space exploration and nuclear fears. When the people need some money for plumbing they decide to make claims to the Americans and the Russians that they have a space program.

There is a great deal of visual and verbal humour with the stars as well as Bernard Cribbens, David Kossoff, Terry-Thomas? and John Le Mesurier ensuring that audiences will continually have a smile.

The film was directed by Richard Lester who had been working in television and made the small-budget musical It’s Trad, Dad. After this he went on to make A Hard Day’s Night with the Beatles as well as Help, The Knack and moved into big-budget films with A Funny Thing Happened on the Way to the Forum. He had a very successful career, often doing ironic comedies even with such historical themes as The Three Musketeers, The Four Musketeers and Royal Flash. He also made Superman II.

1. A good comedy? What were the best features of its comedy? How successfully were they done in the film?

2. How did the film satirise the United States and its attitudes? British behaviour and its place in the world? Russian tactics? And the pretensions of the big powers? As well the pretensions of small powers?

3. What points were being made about the use of international communication today and plans for public opinion in the world? Do Americans just like to be liked? Why did the Russians want dominance? Do the British have any influence? How humorously was this communicated?

4. How well did the film use the atmosphere of the arms race and space exploration? Of nun's wanting to get to the moon? (Does this date the film too much?)

5. What did Mount joy stand for as regards values? As a villainous politician? As a liar and a manoeuvrer? As puffed-up with self-importance? How is this a satire on small nations? Was it effective?

6. what kind of person was Vincent? What was being satirised in the character of Vincent? His earnestness? His practising to be an astronaut as the fulfilment of his ambitions? His English education? His wanting to be modern?

7. Was the Professor a sympathetic character? Was science being satirised in him? How peaceful was his attitude towards space exploration? How much of an absent-minded idealist was he? In fact he succeeded.

8. What was being satirised in the character of the Duchess? Her absentmindedness and lack of awareness of what was going on? Her inappropriate speeches?

9. The satire in the ceremony for the launching of the rocket? The satire on the big powers?

10. How effective were the sequences of the race towards the moon ? the use of split screen and paralleling American and Russian tactics? How effective was this? The fact that Great Fenwick got to the moon first and the amazement of the Russians and Americans? The Professor's tactic for getting rid of the Americans?

11. The satire and point in the sequence of the return from the moon? The fact that the small power made peace with the big powers?

12. How effective a comic satire was the film? Was it too slight? Was it strong enough? What cinematic devices did the film use - split-screen, angle shots, farcical sequences? Stock characters?