THE MOUSE THAT ROARED

UK, 1959, 90 minutes, Colour.
Peter Sellers, Jean Seberg, David Kossoff, William Hartnell, Leo McKern?.
Directed by Jack Arnold.

The Mouse that Roared was a very popular small comedy of the late 50s. It was in the atmosphere of the spread of nuclear research and the fear of bombs that was to become so serious in the early 60s (and reflected in such films as Panic in Year Zero, Failsafe, Seven Days in May and satirically in Doctor Strangelove).

This film is a mixture of science fiction, British comedy, and fantasy. The political overtones are extremely satiric. Grand Fenwick is the smallest country in Europe, somehow or other it gets the bomb and holds the world to ransom (while it is trying to make up for its bankruptcy by receiving a grant from America after being defeated in war).

Many satirical points are made about the political state of the world in the 50s. What makes the film clever besides the very funny sequences, satire and dialogue and parody of diplomacy are the three performances by Peter Sellers as the duchess Gloriana, as the Prime minister Mountjoy and the very ordinary hero, Tully Bascon. His performances are excellent and mesh well together. He is supported by Jean Seberg and David Cozen.

A sequel was conceived in the early 60's and was a satire on the space race with Grand Fenwick having its rocket. However this time, while the comedy is good, it is much broader and the parts are played by Margaret Rutherford as the duchess, Ron Moody as Mountjoy. The latter film was directed by Richard Lester who was about to make the Beatles' films and launch his up and down career, such films as How 1 Won The War and The Bedsitting Room and Petulia Royal Flush and The Three Musketeers and The Four Musketeers.

1. Enjoyment value? The impact in 1959, now?

2. The traditions of British style comedy? Humour, dialogue, situations, impersonations, parody and farce? How well did the British comic style blend with themes of nuclear bomb scares, the overtones of science fiction?

3. The use of colour, music, Tchaikovsky, opera background, the American Marine music? The satire in the choice of the musical score? The quality of the jokes? The humour of the Columbia credits and the Statue of Liberty and the Mouse?

4. The topical nature of the jokes? The humour at the expense of the major world powers? The satire on power? The grim humour of showing the nuclear explosion and warning people? The ending?

5. The contribution of Peter Sellers and the effect of his threefold performance? The way that he was introduced as each character? His place in Grand Fenwick?

6. The significance of the opening commentary, the television news and the various languages etc.? The astuteness of the political comment and its satiric overtones?

7. The parody in presenting Grand Fenwick itself? Its place in Europe, British tradition, the various traditions of small European kingdoms? Questions of occupation, the victors?

8. The significance of the title, the basic situation? The wine and trade situation and the irony in this financial comment? The strategy and the plan to invade America?

9. The contribution of Tully and the constable? Their contrasting personalities? The constable and his pressurizing and machinations? Tully and his innocence, e.g. with the fox? The humour of getting the recruits? The satire in the voyage and the challenging of the major ships?

10. The irony of the New York preparation and the alert? The Professor and Helen? The people involved, especially in the shelters, the dancing etc.? The impact of the letter and the bomb?

11. The humour of seeing a medieval-looking group taking New York? The ironies of the way that they were able to do it and the poking fun at war?

12. The irony of Tully winning the war and returning?

13. The Americans trying to cope? The letter written and having to be rediscovered? The diplomats playing diplomacy at the gates?

14. Mountjoy and his machinations for winning? The humour of the Leader of the Opposition and their plans? The Grand Duchess and her observation of what was going on? The various plots?

15. The character of the Professor, his work, the dangers of the bomb and transporting it back to Grand Fenwick? The farcical nature of the bomb not going off and the secret being kept?

16. Helen as an attractive heroine, love for Tully, their clashes? Mountjoy and his machinations? The final chase? The happy ending?

17. The farcical behaviour of politics, the way of life, Europe and America?

18. The effectiveness and the particular thrusts of the political satire?

 

THE MOUSE AND HIS CHILD

US, 1977, 83 minutes, Colour.
Voices: Peter Ustinov, Cloris Leachman, Sally Kellerman, Andy Devine, Neville Brand.
Directed by Fred Wolf, Charles Swenson.

The Mouse and His Child is an animated entertainment for children. While it has many delightful animal creatures, it is a didactic entertainment, full of points about modern society and contemporary issues, adapted for the children's audience ? but may be difficult for many of the children. The same production company made a similar film, The Point.

The film has excellent credentials, especially the range of stars to do the voices of the animals. It also has a number of songs: Scat Rat, Much in Little, Tell My Name.

1. An entertaining story? Delightful animation and song? The treatment of contemporary themes?

2. The quality of the animation? The design of the characters? Their characteristics and behaviour? The range of backgrounds? Delight, humour, frightening aspects? The editing and pace? The musical score and the insertion of the songs?

3. The focus of the title? The world of the mice, the toys? The adventures and the dangers of the mouse and his child?

4. The opening and the atmosphere: the tramp and the dog watching the toys in the shop window. the delight with the range of toys and their behaviour? The nature of the toys and their being wound up? Midnight and the clock coming alive, the range of the toys coming alive, beginning of the adventure? The difficulty of the toys having to be wound up? The epilogue and the atmosphere of the happy ending as the tramp and the dog look on at the wedding, and the toys living happily ever after?

5. The focus on the mice. their being wound up, coming alive, the dancing, the accident, their breaking, their being thrown out, the rubbish tip? The tramp coming to the rescue? The beginning of the dangers? The mice becoming slave-labour toys? The prophecy about the mice winning and the rat falling? The mice looking for the seal, the encounter with the war, the battle scenes? The experience of the play, the engineer, the possibility of making the mice self-winding? The discovery of themselves in the reflection on the tin? Manny's destroying them, their being made self-winding? The fulfilment of the prophecy? The child-mouse giving Manny the good luck coin? The wedding of the father mouse and the pink elephant?

6. Manny the rat as the villain? With Peter Ustinov's voice and mannerisms? His slave togs? His servant Ralphie, the search for the treacle brittle? The encounter with the frog and the prophecy? Ralphie's death? Manny's stealing the brittle from the squirrels? Manny and his persecuting the mice? His breaking them to bits? Their attacking his party? His defeat? His receiving a good luck coin? A portrait of a villain?

7. The supporting animal characters and the actors and actresses giving them character: Sally Kellerman as the pink seal, Cloris Leachman as Euterpe, her putting on the play. the satire on the actress with her Mae West style? The frog with Andy Devine's voice, his prophecy? Muskrat the engineer and his helping the mice?

8. The comedy sequences, the humorous adventures? The contrast with the serious adventures? The war experience? The slavery of the mice, the depths of the sewer and the rubbish tip?

9. The ending and its message? happiness, reconciliation? Forgiveness?

10. How effective are comic allegories like this for their intended audience? Children's response? Adult response?

THE MOUNTAIN MEN

US, 1979, 105 minutes, Colour.
Charlton Heston, Brian Keith, Victoria Racimo, Stephen Macht,
John Glover, Seymour Cassell, David Aykroyd, Victor Jory.
Directed by Richard Lang.

The Mountain Men were the west's tough breed, veteran lone trappers who battled nature and Indians. Gnarled and grizzled Charlton Heston and Brian Keith portray two friends who wander, trade and drink in the raucous rendezvous camps. They also befriend and fight infighting Indians. Conventional material, rough and tumble style, until Heston becomes a fugitive man in the wilderness - with a final contest to the death. The ageing stars, with their friendship, memories and tall stories and capacity for survival over so many years, highlight the themes of the changing ways of the American frontier. Spectacular Wyoming scenery, Michel Legrand's score, screenplay by Heston's son, Fraser Clarke Heston.
Direction is by Richard Lang who made the Shirley MacLaine? vehicle A Change of Seasons about the same time.

1. An enjoyable satisfying western? The rarity of westerns made during the late 1970s? The age-old popularity? The main ingredients: action, the heritage, Indians, the characters of the west, the formation of American society?

2. The re-creation of period: the 1830s, Wyoming and its beauty, the mountains, the world of the trappers, the trading centres, the world of the Indians? The quality of the colour Panavision photography? Michel Legrand's score?

3. The title and the themes of age, a passing era, changing heroes? The highlighting of the changes in the 19th. century on the American frontier, the influences in American society?

4. The world of the trappers: alone, tough and gnarled men, their knowledge and feel for the countryside, their growing old and isolated in their life? Coming into the trading posts, uncomfortable with the outside world? The work of the trappers with the traders? The traders and their paths to the west? Pioneers? The background of Indian friendship and hostility? The Crows and the Blackfoot? Coexistence, clash? The Indians in the trading posts and influenced by white ways, drinking?

5. Bill Tyler and Charlton Heston's rugged performance? His work as a trapper, age, experience? The work with Wyeth? The clash with the Indians? His long friendship with Henry Frapp? The encounter with Running Moon and saving her? Taking her to the trading post? The scenes of relaxation at the trading post, drinking, dancing, friendship? The pioneer background? The visit to Iron Belly and the vision of the beaver ground? His roaming the mountains, the encounter with the Indians, the hostility of the Blackfoot? Surviving the attacks? Frapp and his being scalped? Running Moon and Heavy Eagle's hostility? The capturing of Tyler? The running of the gauntlet? His wily escape? Hiding in the water, the encounter with the beaver? Meeting up with the trappers, the reuniting with Frapp? The siege and the deaths? Frapp's death? Running Moon alone in the village? The finale of the duel with Heavy Eagle? His death and lying in state? An elegy for the rugged men of the west? A typical Charlton Heston role?

6. The contrast with Henry Frapp and his talkative wiliness? His skill, companionship? Reminiscences about the old days? Drinking, women? Working with the traders? Helping Tyler, his being scalped? His surprise reappearance? The seeming indestructibility of the mountain men? His help in the final confrontation? The manner of his death and the sentiment for the audience?

7. The portrait of the traders, their work with the trappers, the trading posts, the Oregon Trail?

8. The picture of the Indians in the 1830s? Iron Belly and his living in the white trading post, the passing of Indian traditions, the fading vision? Drinking, women? His friendship with Billy? The Crows and the Blackfoot and their friendship? Their clashes with each other?

9. Heavy Eagle as villain? his brutality towards Running Water, the chase and pursuit of the white men? Fighting, hostility, his braves chasing the whites? Scalping Henry Frapp? The vengefulness in the capture of Tyler, torture, running the gauntlet, the final duel and his death?

10. Running Moon as heroine - outcast and exiled? Indian dignity? Peaceful relationships with the whites? Her love for Tyler? Her capture? His finding her again? Her mourning him?

11. The reality of the west and the myths and interpretation? The mountain men as symbols of the old west? The American heritage?

THE MOUNTAIN

US, 1956, 105 minutes, colour.
Spencer Tracy, Robert Wagner, Claire Trevor, E. G. Marshall. William Demarest, Anna Kashfi.
Directed by Edward Dmytryk.

The Mountain is an enjoyable adventure story, set in the Swiss Alps, of a rescue attempt to a crashed plane. However, it is meant to be something more - a morality parable about greed and self-sacrifice, responsibility and irresponsibility, respect and disrespect for life, the old world and the new. All this is embodied in two brothers, one old, one young, who scale the mountain. This, then, becomes the symbol for the challenge and threat to life. Spencer Tracy plays the brother who stands for good, Robert Wagner for evil. Part of the lesson value for a young audience is that the irresponsible young man of evil destroys himself.

While the film clearly offers this message, it is less obtrusively communicated than might seem from this introduction.

1. The mountain was the centre of the realism of the story. Mountains are also seen as symbolic. How did this mountain act as a symbol for the theme of the story?

2. Zachary and Chris stood for two extremes. How was this illustrated - good and evil, old and young, traditional and modern, strong and weak, selfless and selfish, religious and irreligious?

3. How did the film quickly establish the two characters and where they stood? Chris and his longing for something better, at people's beck and call? Zachary, older, the sheep, the widow after him?

4. How was the mountain shown to be difficult and a challenge? The rescue meetings, Zachary's past experience and his 'idea' about the mountain, the attempt at the North face?

5. Why did Zachary really go? How persuasive was Chris? What did the long sequences of climbing show about both of them? Why was the climb an achievement for Zachary? How despicable were Chris's motives? Why? What was your reaction when he started to steal?

6. Was it melodramatic to have someone found alive? What were the qualities of each brother's reaction? How insensitive to people was Chris? Why was he prepared to let the woman die. even kill her?

7. Was Chris's death well worked into the film? Was it fitting?

8. What had Zachary achieved by the end of the film - for his own self-esteem, for the survivor (and his communicating with her), in regret for Chris? Why did he tell the story in Chris's praise?

9. What impact does a film like this have? Was Zachary too good and the film too optimistic or was it a good story with a satisfactory moral?

MOULIN ROUGE

UK, 1952, 119 minutes, Colour.
Jose Ferrer, Zsa Zsa Gabor, Katherine Kath. Colette Marchand.
Directed by John Huston.

Moulin Rouge is an impressionistic biographical sketch of artist Henri Toulouse Lautrec. It is in the vein of Vincente Minnelli's Lust for Life (1956). Artists are useful for visual biographies, their paintings can be presented and decor, costumes and situations can be the equivalents of the paintings visualised. Goya received melodramatic treatment in Henry Koster's The Naked Maja (1959). Peter Watkins had a very serious look at Eduard Munch (1977.

Jose Ferrer, soon after his Oscar-winning performance in Cyrano de Bergerac in 1950, brings a sensitive and brittle cynicism to his role. He also briefly portrays his father and grandfather. The supporting cast is mixed in its acting capacity from Suzanne Flon excellent to Zsa Zsa Gabor very histrionic and showy. There are glimpses of actors like Christopher Lee and Peter Cushing in their early careers. The colour photography by Oswald Morris is somewhat smokey and suffused, suggesting the atmosphere of Paris of the 1890s and of the Moulin Rouge and its atmosphere. Many of the characters and the sequences are direct visualisations of Toulouse Lautrec's art.

Direction is by writer-director John Huston. Having established himself as a writer, he had success with Humphrey Bogart thrillers in the '40s including the Maltese Falcon, Key Largo and The Treasure of Sierra Madre, for which he won an Oscar. Moulin Rouge comes immediately after his work with Bogart in the celebrated The African Queen and just before Beat the Devil. Huston has had a more than forty years career as a successful and idiosyncratic director. Moulin Rouge is interesting while certainly not perfect.

1. Audience interest in Toulouse Lautrec and his art, the impression of the artist and his skills, creativity? The biographical elements of the film? The background of the artist? The Moulin Rouge as a place full of vitality, the atmosphere of the 1890s? Its fame. symbol of Paris, of the gaiety of France?

2. The work of John Huston as writer and director? His sense of drama and melodrama, character? His appreciation of the artist and his work? The tribute to the artist? Communicating to audiences the personality, the flavour of the times, appreciation? The tensions in the creative struggle?

3. The atmosphere of the 1890s in Paris: the city itself, wealth and poverty, society? The atmosphere of the city, exteriors and interiors? So much of the action in the Moulin Rouge itself? The implications of the style of the Moulin Rouge, recreation for society, change in values and style, the vitality and enjoyment of life, art capturing this verve and vitality?


4. The sketch of Toulouse Lautrec's life? The importance of his height, and this not being revealed immediately in the film? His memories as he walked down the Paris street: the Loire and the castles, his name, nobility, heritage, the pride of his parents, first cousins marrying and the weakness of the blood, the visualising of the accident and its repercussions, medical opinions, re-breaking his leg, his legs not growing? His growing up lonely, bitter? His love and the rejection by the woman whom he loved? His cynicism towards women? Leaving home, artistic ambitions? His drinking? The growing cynicism? His reason for painting the Moulin Rouge? a world in which he could never fully participate? His response to Marie, taking her home, painting her, falling in love? Her carefree attitude towards him and his grief? Rejection? Supporting her with money for her pushcart? The encounter with Miriam, his enjoyment of it but his unwillingness to reveal his true feelings? Lost opportunities ? his rereading of Miriam’s letter? The final decline and death? The skill of Jose Ferrer's performance and impersonation? Appearance, manner of speaking, skill in sketching, the flavour of Toulouse Lautrec's sad life? The importance of using Ferrer for the father and grandfather roles?

5. The artist as a man, what he might have been, his perception of movement and agility, colour and gaiety, portraits? His attitude towards his art, for drinks, for fans? His lack of co-operation with the gallery owner? His reflections about Leonardo Da Vinci, the Mona Lisa, the Louvre Venus? His being bought by kings? His being placed in the Louvre during his lifetime? His subsequent status as an artist?

6. His capacity for sketching, quick work, painting, the background of impressionism? His eye for colour? The scenes of his work with the lithographs? Exhibitions? The collages of his work? The film so often echoing his paintings in character, situation, dance?

7. The atmosphere of the Moulin Rouge? the dancers, the singer and the theme from the Moulin Rouge, the Can Can and its fame and notoriety, the patrons and their enjoyment, ogling the women? Drinking? The respectability of the Moulin Rouge and the change of atmosphere? the influence of his poster? The atmosphere of entertainment, theatre? The death scene and the dancers and personalities of the cabaret coming to farewell him?

8. The character of Marie - with the police, her talking to Toulouse, his painting her, living with her, giving her money for the dress, his disappointment at her absence, her leaving him. his paying for the pushcart? The experience of love and betrayal?

9. The contrast with Miriam, the encounter on the bridge and her rejection of him, the accidental meeting, the range of outings, her telling her story, the key in the river? Sharing so much? His continuing cynical responses? Marcelle and his offer of marriage? Miriam asking him about his love for her? His offhand remark? Her disappearance? His rereading her letter?

10. Jane and her type, singer, fame? The dancers and their fights in the Moulin Rouge? The fame of the dancer and her snobbery, her being found in the slums, drunk, her being saved by Toulouse and Miriam's response to this?

11. The range of characters - the proprietor, the men dancers, the proprietor of the gallery, the other painters in Paris, Marcelle, the lithographer?

12. The implications of social themes? France in the 19th. century, the decaying nobility and their hanging on to the past, not working? Toulouse Lautrec and indicating the freedoms of the 20th century? His father's final regret?

13. The value of the film as a sketch of the artist, basic insights, appreciation? Admiration for genius and regrets for the implicit tragedy in the life of artists?

MOTHER, JUGS AND SPEED

US, 1976, 98 minutes, Colour.
Bill Cosby, Raquel Welch, Harvey Keitel, Allen Garfield, Larry Hagman, Bruce Davison.
Directed by Peter Yates.

Is America itself the Cuckoo's Nest? The prologue to this black comedy indicates yes. With nods in the direction of M*A*S*H, this satire shows us the paramedics working the urban ambulance systems. It is rough and tumble: vulgar, with moments of uproarious hilarity (especially involving a fat lady patient); moving, with moments of humanity (especially a birth and death in the back of an ambulance); honest, in showing that people do not suffer as we would like them to; critical of city administration and lack of funds, equipment and training. There are laughs turning literally into sudden death. A fair example of the comedy of insanity. Direction is by Peter Yates who also directed Bullitt and Breaking Away.

1. An enjoyable comedy? The serious undertones? The M*A*S*H style? social involvement, human nature, exasperation, black comedy with a message? A successful blend of the comic and the serious with the message in this film?

2. The Los Angeles settings: the people, the streets, the accidents, the ambulances, the atmosphere of the city? A background of realism for the farce? For the seriousness of the message?

3. Panavision photography? The blending of the stars? The score, the song? Glossy entertainment production?

4. The world of the ambulance drivers - as real, meeting serious needs, the serious issues of life and death, ordinary people trying to behave well as drivers, their exploitive side, the business attitudes? A cross-section of people as drivers meeting the other cross-section as patients?

5. How well did the film illustrate the world of the drivers? the initial wrestling accident, the fat lady and her injury? and the humour of her falling down the stairs and out into the street, missing the traffic, the girl and her taking of drugs and the dead body (and the irony of rival firms trying to get the corpse?), the golfer and the driving over the golf course, the woman with the shotgun and her actually killing a driver as well as herself, the old man and his continued calls and his dying in the van, the rich girl and her taking pills, the mother and her giving birth in the ambulance after being refused from the hospitals, the joy of the birth, the sudden sorrow of the haemorrhage and death? A world of laughing and crying and having to cope - often more than once per night?

6. The presentation of the two companies: Unity and the negro backing and the personnel? Harry Fishbein and his talk, double talk, deals, betting? The humour of Naomi, his wife, and her devotion, their baby and affectionate talk to one another? Harry's chauvinist attitudes? The rivalry ? and the ironic humour of their combining at the end?

7. The crews in action - their deals, bets, getting used to illness? A surface callousness? Jokes to survive? The role of humour, anger, violence? Mother as hero - various quirks, mistakes? Leroy and his hopes and the sudden violence of his death? Murdoch and his being presumptuous, callous sex talk, bets. the attempted rape. the violence even to death? Jugs and her ambitions? Tony walking into this world? The ambulance crews as presenting a microcosm ? who was right, wrong?

8. Bill Cosby's style as Mother - as a character, personal manner.. feelings, joking? His reaction to Harry and continually baiting him, to Tony and breaking him in, the offhand attitudes towards Jennifer? His being provoked and punching Murdoch? The massage parlour sequence? His reaction to Leroy's death? His behaviour in the court? His role in the final shoot-out and his continuing in the work? The presentation of the ambiguities and the dilemmas in this kind of job?

9. Raquel Welch as Jennifer, her work, becoming the sex object of the crews, her disliking her nickname? Her interaction with Tony? the revelation that she had done the course, qualified? Her pushing to drive the ambulance? The humour of the ride with Tony in the back, the police and the pursuit, Tony's quick thinking and warding off the police? Their sexual liaison? Working together, waiting for Mother at the massage parlour? coping with the birth and her grief at the death of the woman? Mother reading her a lecture on her rights as a driver and her having to cope with the difficulties?

10. Tony and his arrival, the policeman with the accusation, his fitting in? His teaming with Murdoch, the old man dying, his stopping the ambulance to prevent Murdoch raping the would-be suicide? The friendship with Jennifer, the liaison? The birth? His attitude towards grief? His being reinstated and a future with Jennifer?

11. The ordinary person's attitude towards ambulance drivers and their expectations of them? The demands?

12. The social implications? the city's hearing about the ambulance companies. the rivalry, the decision to combine?

13. The melodramatics of the siege? the man who had been bitten by the dog and had rabies, Murdoch and his violence, playing with guns and trying to throw his weight around? The SWAT team. the police? The rookie policeman and his killing of Murdoch? The mad world and the violence always ready to erupt?

14. The implications of black comedy, the exaggerations presented,, the purpose? Satire and pessimism and optimism? Mother's comment about suffering and people not suffering the way we want them to? A presentation of ambiguity in principles, feeling? And the humorous touch with Mother scuttling the nuns as they crossed the road?

THE MOTHER AND THE WHORE (LA MERE ET LA PUTAIN)

France, 1973, 219 minutes, Black and White.
Jean-Pierre? Leaud, Francoise Lebrun, Bernadette Lafont, Isabelle Weingarten, Jacques Renard.
Directed by Jean Eustache.

The Mother and the Whore is specialist cinema. Highly acclaimed by critics throughout the world, it is not a film for the average audience. Rather it is an intelligent French cinema essay, studying a modern young man and his relationships with modern young women. Though presented from the point of view of a man, the film is critical of the romanticism of the central character and the reality/ unreality of his relationship to and understanding of women. In fact the two women in the film who both embody the aspects of mother and whore, are both much more penetratingly presented and explored.

The film is in sombre black and white, has a claustrophobic atmosphere, relies very much on the dialogue and even to monologues for its impact. It runs for three and a half hours and is often shown without an intermission. Thus the audience is immersed in this small world and made to share the experiences and ask the questions about the emotional realities of life, human relationships, identity. Jean Pierre Leaud is the main star. He has achieved international fame with many of Francois Truffaut's films and those of Jean-Luc? Goddard. He also appeared in Last Tango in Paris. Bernadette Lafont is a prominent French actress, also in many of Truffaut's films.

1. The overall impact of this film, themes, characterization, the long duration of the film? For whom was it made? A French audience? European audience? International audience?

2. Why was the film made? The exploration on the part of the director, the exploration of character, themes, men women, man-woman relationships? An exploration of the psychology and impact and influence of women? The various aspects of femininity? An objective look at men-women relationships?

3. The importance of the black and white photography, the duration of the film, the musical background and its classic overtones for a modern exploration?

4. The importance of the dialogue, the amount of verbalization, the significance of conversation, communication, non-communication? Philosophising, aphorisms, cliches? The cinematic presentation of such talk? Talk within home locations, the apartments? Hospital? The outdoor sequences? The atmosphere of Paris as a city, the world of Alexandre? The claustrophobic atmosphere of focussing on the principal characters, their room? Angle photography for particular nuances in the exploration?

5. The man at the centre of the film and his masculinity? His particular male characteristics? Presented objectively, subjectively by the director? At the centre of these women's lives, of his own life? His strengths and his weaknesses? His charm, his laziness? His not working, living off others? A gigolo but thinking himself more respectable? Women's attitudes towards him? Women and his relationship to them as mothers, as whores? His use of language, quotations, objectivizing his interior feelings in quotations and philosophy? Cliche? The personal investment in discussion, with Gilberte, Veronika, Marie? His artificiality and naturalness? As the father of Gilberte's child and yet his jilting her? His irresponsibility in her regard? His studying her case rather than being involved with her? His summarizing everything in his head and yet his spasmodic reactions and emotional eruptions? A man of impulse and emotion? The quality of his relationship with Marle, the age difference, Marie as mothering him, the sexual relationship? His theorizing about his infatuation and its brevity? His jealousy of Marie's relationships? The growing infatuation with Veronika? His studying her, his fascination in listening to her descriptions of herself, her work, sexuality? The gradual emotional involvement? The build-up of detail of his way of life and our getting to know him? How thoroughly? what kind of man was he? was his life melodramatic, ordinary, farcical, tragic? Through him, did the film explore modern man?

6. The focus of the title and the extremes of the role of a woman? The particular traits and characteristics of a woman as a mother, psychologically, physically? Mothering at different stages - gestation, giving birth, nurturing, educating, succouring and fostering, comforting? Woman as whore and being treated as an object by nun? The subjugation and commercialization of her own sexuality to man? How were each of these traits present in the main women in the film? Could any of them be identified with one of the aspects? How did they exercise these aspects of their femininity in Alexandre's regard?

7. The film's portrayal of Marie? A heroine? A portrait of the woman in both aspects? Her background of divorce, work, mistress of Alexandre? The nature of her relationship with him, the gap of age? Her being presented in work? The importance of her attitudes, her lover? The recipient of Alexandre's jealousy? The question of marriage? Her trips? Her reaction to Veronika? The significance of the night with the three of them in the bed? The contrast with Veronika? Questions of suicide and the theatrical attempt? The impact on the others?

8. The contrast with the character of Veronika? As a woman, mother and whore? The stranger entering into other people's lives? As an attractive personality, her background? Her work? Her roughness? Her going out with Alexandre, her succumbing to his charm? The verbal communication, the verbalizing about their relationship? Her being seen at work? The importance of her arrival, sleeping with Alexandre?. The night of the three in the bed? Her phoning? Her talking? The dramatic impact of her long speech, indications of themes, revelation of a person? The possibility of pregnancy?

9. The theme of motherhood and pregnancy? The emphasis on the pregnancies of the various women real or imagined? The questions of abortion? The relationship of love and giving birth? Sexuality and giving birth?

10. The importance of language in the film? So much speaking, so many speeches? It has been suggested that language has power to seduce, distort, assault, evade, classify? How true is this of the film?

11. How much empathy could the audience have for these three characters? How much sympathy and understanding?

12. The value of this kind of didactic explorative cinema?

MOSCOW ON THE HUDSON

US, 1984, 115 minutes, Colour.
Robin Williams, Maria Conchita Alonso.
Directed by Paul Mazursky.

Moscow on the Hudson is another idiosyncratic film from Paul Mazursky. He made his impact with Bob and Carol and Ted and Alice and a string of arresting offbeat films throughout the '70s. These included Blume in Love, Harry and Tonto, An Unmarried Woman. His films of the early '80s were even more idiosyncratic: Willie and Phil and his adaptation of Shakespeare's The Tempest. This film is much more straightforward, has a lot of comic touches as well as insight into human nature and is strong in its praise of America.

The film wears its heart on its sleeve. While it shows the Russians as human, it nevertheless shows life behind the Iron Curtain as excessively grim. While there is much violence and oddity in the American cities, there is nevertheless a basic freedom and a possibility of achieving the American dream. The film is very strong thematically and visually in its presentation of New York as a meeting-place of many races and peoples.

The film has an excellent performance by Robin Williams (from Mork and Mindy to Popeye and The World According to Garp). He sustains the film and gives it an emotional validity. There is a good supporting cast. (Photography, as with Mazursky's The Tempest, is by Australian Don McAlpine?.)

1. An entertaining human drama? Comedy? A piece of Americana of the '80s? Reflecting attitudes towards the USSR? The period of the Reagan administration? Of suspicions towards the USSR, of Olympic boycotts etc.?

2. The work of Paul Mazursky: writing and directing? Idiosyncratic human beings? Aspects of the United States? Insight into human nature? The mellow touch?

3. Colour photography and authentic atmosphere? Munich standing in for Moscow? The grim and cold aspects of Moscow? The contrast with New York - both bright and dark, hot and ugly, beautiful? The visual contrasts, parallels? The light and dark, the seasons? The variety of the musical score? for emotional response? The contribution of the jazz score?

4. The flashback structure: V1ad and his happiness in New York, telling somebody on the bus the way? His emotional happiness? Colouring the flashback story of his defection? The contented (rather than happy) ending?

5. American themes of freedom, traditions, the American Constitution, the Bill of Rights, loyalty, naturalisation ceremonies? New York as a haven for the odd, the out of place, the exiles? A melting pot of all nationalities? Their adapting to the American way of life?

6. The picture of the USSR: Vlad and the lines of customers for shoes, for toilet paper? The lack of right sizes of shoes? His gift to the manager of the circus? The lines for toilet paper - and the family delighted to have it? The KGB agents and their surveillance, interventions and warnings? The circus, the circus acts, the clowns and their melancholy? The preparation for the visit to New York, the pep talks and the warnings about Western decadence? Stereotype pictures of the USSR, but truth?

7. The portrait of Vlad's family: the strong-minded and humorous grandfather, his clowning and criticisms (and the KGB warning to Vlad)? His reappearance after his death? The effect of his death on Vlad? His parents, his sister? The relationship with Svetlana? His leaving them all? His grief, letters home?

8. The tall, sad clown and his continual talk of freedom, of defecting? His imprudent talk and Vlad's fears? The expressions of his frustration? The contrast with the visit to New York, the impact of the United States, the bus tours for the circus group, the bus with its firm 'Liberty'? The tour and the excitement? The KGB officers and their supervision? The social party and the discussion with the lecturer in Marxism? The performance and the effect on the clown, his reaction, his wanting to go, pressurising Vlad to listen to him? The visit to Bloomingdale's and the excitement of the Russians buying all the clothes? The clown wanting to leave but unable to? His forlorn face in the bus window?

9. Vlad and the sudden impulse to defect? His presence in Bloomingdale's, the comedy sequences of his hiding, crawling? Lionel as the security guard and his reaction? strict American style? Lucia and her help behind the counter? The coming of the police, the television interviewers? The officials and their pleading with Vlad to come back? Their own fears for their future? The reality of his defection? impulse, sadness, happiness? The experience of freedom, then exhaustion?

10. The consequences of the defection: his being alone in New York, leaving his homeland, never seeing his family again, his grandfather's death? The letters to his family ? and his joy in the young Jewish Russian bringing the letter from home? His being interrogated by American officials ? even following him at the dance ? and his humorous thanking the American official? Lionel's kindness in taking him home? The direct parallel between Lionel's family and Vlad's family? The benign grandfather, the critical father, the friendship with Lionel and the outings?

11. The attraction to Lucia? Her work in Bloomingdale's? Her vivacity? Her Italian background, one of so many children, being sponsored by relations in America? The outings and the dancing? Her staying with him, but not wanting the relationship to be too serious? The bath sequence, and the preparing of the study of the Bill of Rights? The build-up to the naturalisation ceremony and her thrill? The aftermath? The clash and her not wanting to commit herself to Vlad? His going to the shop and her ignoring him? The flowers given to the Asian customer? Vlad's hurt?

12. The range of jobs that he had? the salesman in the street with the gimmicky glasses, washing up in the restaurant, chauffeuring the Texan and selling him goods in the car? His becoming more Americanised? The passing of time, the outings, the dancing? His sadness and the visit to the Russian club, Russian dancing, drinking? His sadness with Lionel? And Lionel's story about his child? Lionel's going to see his child and returning to Vlad's chauffeuring job?

13. The impact of the loneliness, the writing of letters? The encounter with the KGB official selling hot dogs in the street? His being grateful for staying in New York?

14. The practising with the saxophone, the reliance on his music, his performing in the nightclub, taking the comments at their worst? Needing to practise? His being attacked and mugged? His going to the bar and denouncing things American, the encounter?

15. Lucia's return and the happy ending?

16. Themes of nationalism, Americanism? The black saying that he was a refugee from Alabama? The satirical comment on the American way of life giving an edge to the romanticism?

17. The satire on the USSR, on Moscow?

18. Themes of freedom, opportunity, rights, respect for human nature? The equality of people of all races?

MORE AMERICAN GRAFFITI

US, 1979, 110 minutes, Colour.
Ron Howard, Candy Clark, Bo Hopkins, Paul LeMat?, Cindy Williams, Mackenzie Philips, Charles Martin Smith.
Directed by Bill L. Norton.

More American Graffiti illustrates its title by fragmenting the 1964 New Year's Eve framework via different visual styles (Panavision at a race-car track) with three flash-forwards to 1965 (Vietnam newsreel/hand-held style and M*A*S*H tone), 1966 (drug and split-screen music sub-culture), 1967 (ordinary screen for protests and middle Americans). As before, the soundtrack has contemporary music backing and commentary. Ultimately it works, especially for those who remember the era and (like Hair) it makes us wonder why and even appreciate in hindsight. The graffiti are sketchy but comment, often satirically, on each other and the times perceptively. The cast (much more assured after 5 years) make the most of their characters.

1. The appeal and popularity of the original? Its awards? Content, style? A piece of Americana - the '70s looking back on the '60s? The need for a sequel? The quality of the sequel? How well did it match the original in content and style, development?

2. The focus of the title: how particularly American? America in the '60s compared with other countries? The focus on graffiti - partial views, comments? The technical presentation of the graffiti: the widescreen sequences for 1964. newsreel and hand-held camera for '65, split-screen and psychedelic tones for '66, conventional screen for '67? The structure and the intermingling of these years? in graffiti style?

3. The stars from the original film, the continued interpretation of their characters.. their assurance in their roles after five years' experience

4. The screenplay and its style in covering the period: the use of New Year's Eve for four years? The significance of New Year's Eve and the ending of a year and the opening of another? 1964 to '68 as the period covered. the contrast with 1962 for the original? The focus on changes in America during this period? The contribution of the war? Was the war the major contribution? The only contribution? The presentation of the race in '64 and its innocence and the transition to war involvement and puzzle, confusion in '66, growing disillusionment in '67'68?

5. The technical flair of the film? Audiences getting used to the differing styles for the differing New Year's Eves? The contribution of the editing? The colour photography., the representation of each year? The importance of the musical score. the selection of songs. their use as background and commentary?

6. The 1964 framework and the irony of John's death at the end of the day? 1964 as represented by John and his story ? the possibilities for the future, the emphasis on the car and the young American's skill and know-how with cars? John as hero, as a success? His friendship and banter with his rivals? His skill in winning races? The admiration of the girls? Terry, Laurie and Steve present at the rally? The girl from Iceland and her inability to communicate except by smile and gesture., her friendliness. his advances to her and her reaction, John's apology? His attempts at communication? Getting the translator? Her joining in the work and supporting him in the race? The hard work of the day, the threat of the big companies and their takeovers, using him in advertising? The pooling of resources for the car and the final race? A successful day and the irony of his accidental death? Why the story of John as framework for the other stories? The songs chosen to illustrate 1964?

7. Terry as symbolising 1965 and New Year's Eve '65 being his story? His presence in '64, his growing up, willingness to go to war and his patriotic remarks? The experience of the war and its ugliness? His awkwardness and the M*A*S*H style comedy of his firing his rifle accidentally, the enormous bombardment against him? The Americans thinking that they were killing the Viet Cong. the emphasis on body count and impressing congressmen? The presence of the congressman and his continually looking out of the safety hole? The cover-up and the manipulation of the truth? Terry and latrine duty and his humiliation? Sinclair and his theoretical earnestness in going out on missions? Terry's Texas friend and their shared memories, friendships and bonds, the pathos of his death? Terry and Sinclair being gunned down, under serious fire/ Sinclair's loss of nerve and Terry's rescuing him, the commanding officer's fear of coming down in the helicopter? Terry being used.. the return to the latrines? His plan for escape, the cake and its black humour, his disappearance with the aid of Sinclair? His questions about whose war it was, the picture of 1965 American jingoism and the soldiers opting out? His professed death and its repercussions on his friends and their memories of him? The songs from the period illustrating war and the themes of 1965?

8. Debbie as representing 1966? New Year's Eve and Debbie's story? Her change in appearance and style from 1964, the other girls in '64 and their flatting in San Francisco in '66? Debbie and her boyfriend.. being busted by the police, his being jailed and humiliated in jail, her getting the money to bail him out? Her interest and love for him and trying to get him a job in the band? Her discovery of his betrayal and the brawl in the bar? Debbie and her pleasantness. foolishness? Her singing and dancing with the group? Her memories of her friends? The effect of the split screen technique, psychedelic colours. the overtones of the emergence of drugs? Groups and musicians, questions of long hair? Her trying to persuade the group to accept her boyfriend as musician, the incessant talker, the driver and his crashing into things, the leader of the group and his rescuing her? Her going off in the van and crashing into the garbage tins? The songs illustrating 1966? Debbie surviving and becoming a country and western singer?

9. Laurie and Steve's story representing 1967-68? Their marriage, school sweethearts, Laurie's pregnancy in '64. the twins? The picture of married life after several years? Steve as the successful middle American businessman? Conservative views? Laurie and her wanting to go to work? The emphasis on the Women's Movement? The picture of the family, the argument, the children watching TV and the parents behaving well in their presence? Her leaving and Steve's comic sequences trying to look after the children while they caused chaos? Steve and his insurance work and dominance of the home? Laurie and her leaving? The introduction of her brother, the girlfriend? The introduction to campus clashes, the burning of draft cards, the world of demonstrations and causes? The rightness and wrongness of the causes? The war focus? The police and their viciousness, the attacks? Laurie being caught, suffering the violence, trying to get out? Steve and the humour of his pretending to be the police to get information where she was, going into the campus, his being caught? Their trying to escape? The arrests? The women in the bus and the wardress and the defiant singing of 'Baby Love'? Steve and Laurie taking the bus and everybody getting away? Steve's change of attitude? The songs illustrating the period and the transition from exuberance to pensive reflection and disillusionment? Laurie and Steve and the parent generation of the '70s?

10. The portrait of young Americans in the '60s and what happened to them to form them for the '70s? The '70s generation remembering, surviving, interpreting? Nostalgia. regrets? The subsequent steadying of America and the blend of careers and causes?

11. The film's attitudes towards the issues of the '60s? Attitudes of right and left. of establishment and protest? The image of the President and his decisions and the disillusionment of the '70s? Presumption about official policies and their correctness? The experience of the Vietnam war and the fact that it could not be easily won and questioning American presence and participation? The image of America and its critique? How was this shared by the characters, by observers of the United States in the '60s and '70s?

THE MOONSHINE WAR

US, 1970, 97 minutes, Colour.
Patrick Mc Goohan, Richard Widmark, Alan Alda, Melodie Johnson, Lee Hazelwood, Will Geer.
Directed by Richard Quine.

The Moonshine War is set in the Prohibition days, the days of the Chicago gangsters and just before Bonnie and Clyde. The action takes place in the backblocks of Tennessee but the spirit of exploitation and resistance is that of the gangster 30's.

The film is not outstanding, moving at a rather leisurely Tennessee pace which might not engross the bulk of an audience. However, it builds up its picture of a Prohibition agent whom we learn is crooked, and his mean and vicious associates. The local man who has a successful still, seems on the wrong side of the law until we find him victimised by the agent and his cronies. It is here that the film comes to life and is worth some attention. In a High Noon fashion the man with the still has to defend himself almost alone. Here, the townspeople, supposedly his friends, all come out to see the battle. They picnic and watch and do not lift a finger to help. The film thus has some interesting comments on society and the odd situations (Prohibition was an odd situation), people find themselves in.

English actor Patrick Mc Goohan goes American and Richard Widmark reminds us of how callous a villain he can be.


1. What do you know of the Prohibition era? Why did it happen? When and why did it stop?

2. What would have motivated a Prohibition agent to do his work seriously? Principles or payment for a job done?

3. would you blame people for operating illicit stills during this period? Should local sheriffs have enforced the law strictly?

4. Why did Frank let himself be tempted to abuse his position as an agent to make money?

5. What was the point of the long sequence of getting the city couple to strip? what did it tell you about Dr Taulbee and his assistants? What did it tell you about Frank?

6. Was Son consistent in his principles throughout the film?

7. What kind of man was Dr Taulbee? Did he have any likeable qualities at all?

8. Was Frank deceiving himself in imagining that there would be no violence?

9. Why did Lizann refuse to lend Son her money? How did he see that?

10. Why did the confrontation develop into a battle?

11. Why did Frank change sides? Was it because of any principle or for greed?

12. What was the effect of having so many people watching the battle? What comment on society and helping others did this make?

13. Why could this kind of thing happen in a supposedly civilised part of America?

14. Was the end too brutal with the shootings and the villains being blown up?

15. What was the point of making this film?