MOON OF THE WOLF

US, 1972, 74 minutes, Colour.
David Janssen, Barbara Rush, Bradford Dillman.
Directed by Daniel Petrie.

Moon of the Wolf is a basic werewolf story, set in Louisiana. By subsequent standards it looks particularly tame. However, it has the usual ingredients: victims, police searching, the predictable person who becomes a werewolf, his death. The film has a good cast - but lacks the special effects that we have come to expect from werewolf films. The film makes comment about decaying Southern gentry - this time producing werewolves. Direction is by Daniel Petrie, a veteran of many films and telemovies.

1. An enjoyable mild horror telemovie? Horror for television audiences?

2. The atmosphere of Louisiana, the small town, the gentry of the state and their mansion? The effects for the werewolf horror? Musical score?

3. The title, expectations of a werewolf film? With a United States setting? The traditions of werewolves? The full moon, the savage side of human experience manifesting itself? The werewolf as victim? As killer? The blend of the human and the animal? How well treated and explored in this film?

4. Andrew and his place in the state, the family tradition, wealth and arrogance, attitudes towards Louise? The revelation that he was the werewolf? His victims? The confrontation with Aaron, with Louise, arranging his own death?

5. Aaron as sheriff, the initial killings, a routine murder investigation, questioning of suspects? The townspeople getting out of hand? His friendship with Louise? The discussions with the doctor? The final confrontation?

6. Louise, her escaping her background, her living in New York, her brother bringing her back, his strict moral attitudes and cover-up? Her attraction towards Aaron? The confrontation with Andrew and killing him?

7. Laurence and the death of his sister, his anger, his being arrested, victim? The household and his father with the talk about werewolves? The French background, the atmosphere of Louisiana and the South? The presence of blacks?

8. The doctor and his relationship with the victim, her death? Treating Laurence? Confrontation with Andrew?

9. The sketch of the townspeople, their reaction to the killings, the vigilante and posse mentality? The confrontation with the werewolf?

10. Popular horror entertainment? The themes underlying werewolf horror stories? about human nature and savagery?

MONTE WALSH

US, 1970, 98 minutes, Colour.
Lee Marvin, Jack Palance, Jeanne Moreau.
Directed by William A. Fraker.

Monte Walsh is a strange kind of Western. It is almost the opposite of the conventional action film. It rather evokes and explores a mood of the West and the mood is rather melancholic. The West is a depressing West. The cowboys are heroes in their own field with the wild stallions, but they are ageing. Money and jobs are scarce and some of them have to learn how to settle down and become storekeepers. The golden-hearted prostitute is also ageing and dies. A number of people die and the film leaves Monte where it found him, but he has to make his way and wander in a world from which all his friends, except his horse, have gone.

Lee Marvin, out of Cat Ballou and Paint Your Wagon style, is more subdued than usual, as are Jack Palance and Jeanne Moreau. Direction is by veteran director of photography (e.g. Rosemary's Baby) William A. Fraker. He shows us a sandy, frontier West which is harsh and rarely beautiful. It is probably a more realistic picture of the day-to-day life in the West than that given in the conventional Western. Fans will find it rather dull. But if it is compared with other 'disillusioning' Westerns like The Wild Bunch, The Ballad of Cable Hogue, Ride the High Country, Death of a Gunfighter, The Good Guys and the Bad Guys, it will be found interesting.

1. Is this the usual picture of the West that we are given? What is similar? What are the differences?

2. What is the significance of the film opening and ending with Monte Walsh wanting to wrestle with a wolf (but not doing so)?

3. Why is this area of the West so depressed and jobs hard to get?

4. What does the film have to say about ageing cowboys?

5. Comment on the picture of work with horses and station life that the film presents. It seems very ordinary but real.

6. Even the prostitute with the heart of gold is ageing in this film. Why did Monte Walsh never marry her? Did she want to be married? Why?

7. Why did Monte's partner retire and marry? Was that the wisest thing to do even though he is eventually shot?

8. Why did the conditions of work in the West turn men bad and into killers? Did they have much choice?

9. What is the role of death in the film?

10. Nothing much happens in the film and the whole atmosphere is melancholic. Do you think this is a realistic portrayal of this kind of frontier life?

MONSTER ISLAND (THE MYSTERY OF MONSTER ISLAND)

Spain, 1981, 100 minutes, Colour.
Terence Stamp, Peter Cushing, David Hatton,.
Directed by Juan Piquer Simon.

Monster Island (The Mystery of Monster Island) is based on a Jules Verne story. Verne has provided popular stories from the beginning of the 20th. century through quite a number of spectacular adventures in the '50s, especially Disney's 20,000 Leagues Under the Sea. This film is not quite in the same league. It is popular matinee material, Spanish-American? co-production with an English and Spanish cast.

Terence Stamp is able to glower (as he did in Superman) as the villain. Peter Cushing plays his usual dignified self. There is some fussy comedy-playing by David Hatton. The special effects are very good, though the monsters seem artificial (and, with the twist in the plot, it is revealed that they are!) the film is colourful and an undemanding adaptation of the Verne story for young audiences.

1. The attraction for this kind of adventure film? The world of Jules Verne and his imagination? The past, the present, the future? Audiences letting their imagination go? Identifying with the strange adventures? How faithful an adaptation of the mentality of Verne?

2. Colour photography, 19th century cities, the contrast with exotic islands? The location photography on the island? The special effects for action? For the attack of the monsters? The enjoyment of the special effects? The musical score?

3. The conventions of this kind of film and audiences taking them for granted? The setting up of the situation for the voyage? Jeff as hero? Taskinar as the mysterious villain? The ship voyage, the shipwreck, the survival on the island, the various hazards and tests, the menace of the monsters, the betrayal of the villains? The twist with the happy ending to prove that this had all been a test for the hero? The particular characters illustrating the conventions of this kind of adventure?

4. Jules Verne's imagination? His 19th century setting and the need for adventures and confrontation with images? Monsters? Tests to prove oneself?

5. Jeff as hero? His relationship with Kolderup, his wanting to marry Meg and her love for him? His being tested? The set-up of the voyage, the reaction of the Captain? His coping with the storm at sea and the crisis? His being put ashore? His relationship with Mr. Arttelet? His being tutored by him to be a gentleman, his having him as companion on the island? The techniques of survival? The encounter with Dominique and her seeming friendship? The importance of the black servant and his help, lack of communication? The various dangers and his confronting them? The memories of Meg? Kolderup's arrival and the revelation of the truth? The theatrical company? The black actor? Jeff having proved himself?

6. Kolderup as wealthy businessman? His wanting the best for Meg and Jeff? The irony of his arrival on the island? His having set up the whole procedure for testing Jeff? Peter Cushing's benign but acerbic style?

7. Meg as heroine -? a demure 19th century heroine? The contrast with Dominique as the island vamp? The improbability of her being on the island? Her vast resources? Her deceptions and the irony of her being in league with Taskinar?

8. Taskinar as villain? the initial killings and money deals? Terence Stamp and his glowering villain? The masks and disguises? The real dangers? The adventures and final confrontations?

9. Mr. Arttelet and his dancing instruction? The bumbling professor? The comic situations and all his trouble? The importance of comic relief in this kind of adventure?

10. The black servant and his help, strength, skills? Lack of communication? Irony of his being part of a San Francisco theatre troupe?

11. The supporting characters: in San Francisco, on the ship, the villains on the island?

12. The monsters and their impact, dangers? The various special effects for all kinds of dangerous adventures and audiences responding to these?

13. Satisfying adventure matinee material? The sparking of the imagination and fantasy? The age-old ingredients of heroic stories, myths, endurance and testing?

MONSIGNOR

US, 1982, 121 minutes, Colour.
Christopher Reeve, Genevieve Bujold, Fernando Rey, Jason Miller, Adolfo Celi, Tomas Milian, Joe Pantoliano, Robert Prosky.
Directed by Frank Perry.

A Vatican priest succumbs to the temptations of the root of all evil. For one, it also meant his eventual succumbing to sexual temptations. He was Christopher Reeve in Frank Perry’s Monsignor (1992). Much of Monsignor is the visual equivalent of a novel’s ‘purple passages’ of prose. This is Vatican melodrama, founded in fact, but heightened for touches of sensationalism, touches of prurience, touches of speculation, ‘what if…?’.

The monsignor was trained in the strict seminary of the 1930s and then asked to be a military chaplain in the war. The war took its toll, especially in moral issues concerning wounded and dying soldiers and how they should die. He then starts his Vatican career at the same time that de Niro was working in LA. He is a whiz at developing schemes to stabilise the Vatican finances after World War II. These include working with Mafia connections and by association with the rackets that the Mafia developed in those decades. This is the story of the man who loses his vocation to holiness in the priesthood as he becomes more and more ambitious, being relied on as a fix-it expert, wanting more and more power and recognition. It is the perennial temptation for the career priest (which should actually be a contradiction in terms), for priests in chanceries or curial offices, who are caught up in business day by day sometimes at the expense of any ministry outreach. The Radio Times Guide was of the opinion that it was somewhere ‘between schlock and solemnity’.

The 1980s saw the alleged suicide of Roberto Calvi under London Bridge because of Vatican bank links with crime syndicates. (His story was filmed in 2001 as God’s Banker; it was made clear in 2003 that he did not kill himself but was murdered.)

It is no surprise, given the nature of Monsignor, that Reeve’s character has an affair with a nun, Genevieve Bujold, compounding his infidelity to his vocation.

Frank Perry often worked with his then wife for some fine films of the 60s: David and Lisa, The Swimmer, Diary of a Mad Housewife. His films by himself were a touch ‘heightened’. His film before Monsignor was the biography of Joan Crawford, Mommie dearest.

1. Popular ingredients for soap opera and drama: religion, romance, finance? The world of the popular bestseller? The background of soap operas and melodramas? A satisfying entertainment blend?

2. The use of America in the '40s, Rome and Italy, the Vatican? Locations and authenticity? The splendour of the Vatican? Ritual and ceremonies? The contrast with the United States? Period atmosphere? A hot-house atmosphere about religion? The musical score? The use of religious style music and hymns?

3. The choice of Christopher Reeve for the central role? The Superman background? Audience curiosity? The critics commenting on Reeve as Superpriest? The international supporting cast and its quality?

4. The plausibility of the plot: John Flaherty as emerging from a seminary of the '30s, involvement as war chaplain in World War Two, American attitudes towards the Vatican and influence, progressives and conservatives in the Vatican, the Vatican lifestyle, finances and the war and the need for mafia connections? The world scene and headlines of Vatican bank scandals in the early '80s? The plot as plausible ? but exploitive?

5. How plausible the behaviour of the characters: John Flaherty as a newly ordained priest, his sense of vocation or lack of it? The war experience and his helping the dying man, his danger of being tried for war crime? Financial background and its use in the Vatican? His continuing as a priest? His allowing himself to become involved with Clara? Friendship with Lodo and the possibilities for Mafia connections with the Vatican? His dealings with Don Appolini? Career? Cardinalate? Exposure and scandal, repentance? The screenplay's point of view about the hero? Audiences identifying with him? His behaviour? Was he likable or not?

6. The character of John: the opening with the ordination and audiences presuming on his sincerity and vocation? The wedding reception and the comparison of marriage with ordination? His friendship with Lodo? Discussions about fidelity and their both being unfaithful? The credibility of his boogie woogie dance in the 1940s (Roman collar and all)? His eagerness to become a war chaplain? His being commended by the Bishop? The realities of war? His rashness and bravery in helping the dying man? The reasons for his shooting the enemy and the vengeance motive? His being removed from war chaplaincy? The American Bishop and his influence in the Vatican? Speeches about American representation? Flaherty's background knowledge of finance and interest in it? The meeting with Cardinal Santoni and the dispute about kissing his ring, expecting the Cardinal to face him? The conservative Cardinal and his entourage and the continual clashes? Francisco spying on him? His work for Santoni and the gift of the cross? His later becoming Monsignor and his status in the Vatican? His efficient work? Meeting Lodo in the Vatican gardens, discovering the warehouse, the black market goods, the deals with American military hierarchy? His shrewd plans? The discussions with Appolini and his cover? Using the sacraments to communicate with Appolini? The buildup of cash? No questions asked at the Vatican? His decision to change respectability after the war? The deal with Appolini about clean money? The building up of an empire, of his bank? The possibility of exposure, of being robbed, scandal? The American executive in the older Cardinal? The reaction of the Curia? The crisis and his handling of it? The rejection by the Curia, the discussions with the Pope? Hearing the confession of Appolini, trying

7. Flaherty as a man: ambitions, worldliness, the chance encounter with Clara, the various rendezvous, the Forum, the shop? Taking her to the storehouse? The champagne and the bed? The affair? His confession, yet going back to Clara? Decisions and her saying she would not pry into his secret? His not revealing the truth to her? The effect on him? His perceiving the effect on her and not perceiving it? The audience with the Pope and her seeing him? The tense sequence of the recognition, his embarrassment? His praying in the church for forgiveness and her angrily turning on him and refusing forgiveness? His not seeing the effect on her?

8. The portrait of Clara: the postulant, the study situation and the rain the rendezvous in the Forum, at the bookshop? Her going to the house? Her strength? Explanation about her vocation and her disappointment in love, needing to trust? Her leading him in the affair? The quality of the love between them? Her being disappointed about his secret? Her discovery of the truth, the embarrassing stopping and watching him in the papal audience? The intense emotion in her condemnation of him and refusal to forgive him?

9. The image of the Church: religion, tradition, ceremonies, rings and authority, blessings, the work of the chaplain? The Vatican and politics, intrigue and factions? obedience and the sequence with Santoni and John picking olives? The Pope and his august presence, the kissing of his feet? His presence in the Curia? Discussions with John? His emphasis that the Church was not to be of the world while in it? Themes of repentance and forgiveness? The focus on the Pope as the centre of obedience and authority? The relative absence of Christ? his image on a crucifix which was used to communicate with Appolini, his presence on crucifixes, on the roofs of chapels?

10. The portrait of Santoni as a churchman: in himself, the olive-picking sequence and his explanations, authority and the kissing of the ring, the need for money, the war situation, contacts, giving his cross to John, naming him Monsignor? The $50,000? Supporting John against the other factions? His not wanting to be Pope? His plea for John in the Curia? His becoming Pope?

11. The frail Pope, august presence, the thanks to those who supported him during the war, his presence in the Curia? His discussions with John about repentance? His death and his knowledge of it? Fair choices?

12. Cardinals and rival factions? Conservatives? Ambitions? Francisco and his spying on John? His becoming a Cardinal and enmity in later decades?

13. The sketch of the American Bishop and his recruiting John, his political vision, loyalty to the Pope? The parallelling of recruitment to the Vatican as to the C.I.A. or the Public Service?

14. Lodo and his marriage, his ineffective wife, his powerful father-in-law? Involvement in the war? Seeing John in the Vatican gardens, revealing the stores, the deals, the black market, the link with Appolini? His becoming a front for the operations? The sequence with the whores and John's involvement? Appolini's disgust, slapping him? The repercussions with Lodo? His stealing the money, causing the scandal? Going to New York, John's discussion and his seeming to comply, the confrontation with Appolini and his death?

15. Don Appolini and the portrait of a mafia chief, his power, explanations of the set-ups, using Lodo? His respect for John? The Communion sequence? The cleaning up the place after the whores? illness. confession, swearing on the cross ? and murdering Lodo in revenge?

16. The incidental characters and their credibility: in Rome, in the Vatican, in the United States?

17. The effect of the film as bestseller melodrama? As a curiosity item? The serious themes that it tackled ? and its ability to do justice to them or not? Critics dismissing the film as rubbish?

MONSIEUR HULOT'S HOLIDAY

France, 1954, 80 minutes, Black and White.
Directed by Jacques Tati.

Monsieur Hulot's Holiday gives us one of the earliest of the comedies of Jacques Tati. Tati, in the tradition of the silent comics, relies for humour on mimicry, mime, amusing situations, sight jokes and on exposition of ordinary human foibles. With minimum dialogue, he utilises the sounds of the environment to make his miming and foibles funnier.

Tati's topics of humour are the ordinariness of human life, a very, very gentle mocking of the oddity sides of our behaviour. Here it is a summer holiday at the seaside where we could very easily see ourselves. His later films have broadened in scope to include twentieth century mechanisation - Mon Oncle (1957), Playtime (1968), Traffic (1971).

Monsieur Hulot's Holiday makes its audience laugh, but it also shows the value of the best styles of comedy.

1. How funny was this film? Why?

2. What was Tati's purpose in making the film? He said in the prologue that he wanted to make people laugh. Was this enough? Why? Is this the way most audiences would take the film?

3. Tati also said that we would see people as they are and that perhaps we might see ourselves. Did we? How?

4. Holding mirrors up to people is a moralising kind of activity. How much of a moralist is Tati? Does he want to change people? What effect does he want from people when he shows them themselves?

5. Comic looks at people generally involve satire. How satirical is Tati's film? Of whom? Of what?

6. Is Tati at all cruel in his comic and satirical comments? What is the effect of gentle satire?

7. what foibles of human nature are being laughed at and with?

8. How funny is Monsieur Hulot himself? How comical? How satirical a figure? How satirical when one considers that Tati acts this part himself?

9. What aspects of holidays are being satirised?

10. The other characters - the girl, Henry and his wife, the Americans, the elderly enthusiastic lady, the waiters and so on. Why were they funny?

11. Some of the situations - cemetery, tennis, boating, meals, card games etc., why were they funny?

12. How necessary is comedy in showing funny and ordinary foibles?

THE MONEY TRAP

US, 1965, 91 minutes, Black and White.
Glenn Ford, Ricardo Montalban, Rita Hayworth, Elke Sommer, Joseph Cotten.
Directed by Burt Kennedy.

The Money Trap is a cynical-style police thriller in which most of the main characters are in some way evil or corrupt, or show that potential. The title is important. Glenn Ford is always effective in this kind of central role. Noteworthy is a cameo performance by Rita Hayworth when she had certainly passed her prime and did not look at all glamorous. It reminded audiences that she and Ford had made a very glamorous couple in the 40s and 50s with such films as Gilda and Affair in Trinidad. The Money Trap was directed by Burt Kennedy - more noted for his short westerns and his comedy westerns, for instance The Rounders (with Ford) and such classics as Support Your Local Sheriff, The Good Guys and the Bad Guys.

1. Quality as a crime and police thriller? In the tradition of gangster and crime films? Style of the 60s and treatment?

2. Black and white photography, jazz style musical score, Panavision, pace?

3. The impact of the stars and their styles? Glenn Ford and an ageing Rita Hayworth?

4. The significance of the title, its indication of themes and the way the theme was developed? The comments on money and its effects on each of the main characters? How was it illustrated in the case of ice and his attitude towards his wife, his rich life, the pressures of expectations? On Pete and his disillusionment with his work and his greed? On the doctor and his shady dealings? On Rosie and the death of her husband? On Lisa and her having wealth and not being selfish?

5. The picture of police work, the opening with the brothel, the hanging and the revelation about the wife? The detective work in tracking the father? The sequence of the interview with the aunt, following the aunt to the fairground on the child's birthday and their allowing the father to enjoy the day with his daughter? The ordinariness of police work, the attitude of officialdom towards crooked cops? The comments about people taking police for granted and being hostile to them?

6. The portrayal of justice, the role of the police and protection? Pete and his disillusionment, his ideals and his being blatant about his desires? Joe more subtle?

7. Glenn Ford's portrait of Joe and what might have been? His marrying Lisa, the bonds between the two, wealthy way of life, sexuality? His reactions to being supported by his wife, taunts? Potential jealousies? Yet his double standards because of his attitude towards Rosie and spending the night with her? Memories of her? His ambitions to be a lawyer? His attitude towards the case, towards the doctor, the safe combination from the dying criminal? Why did he keep silent and pursue the case? Greed, motivations for robbery? His attitude towards Pete in being in on the deal? His comment that he was not a good thief?

8. The portrayal of Joe as human, a combination of good and evil, his relationship with people, as a policeman?

9. Lisa as the glamorous type? The only seemingly good character in the film? Her reaction to Joe and to the situation with Pete, her support of him at the end? Her comments about her selfishness?

10. The contrast with Rosie? Why had she gone downhill, the initial encounter with Joe at the cafe, their discussion and memories of the past, nostalgia for a past that was lost? Their night together, her giving the information? The reason for her phone call, the atmosphere of her final drunken walk and her memories on the roof? The moment of her death and looking at Joe?

11. The credibility of the doctor and his practice, his having the money, heroin? His brutal assistant? The atmosphere of shady wealth, connections, setting up Pete and ice, the shootings? The inevitable deaths?

12. A glimpse of society, evil in society?

MONEY FROM HOME

US, 1953, 90 minutes, Black and white.
Dean Martin, Jerry Lewis, Pat Crowley, Marjie Millar, Robert Strauss, Richard Haydn.
Directed by George Marshall.

Another of the very popular Dean Martin-Jerry? Levis comedies with music of the early fifties. George Marshall directed many of these. This one is distinguished by its being based on a Damon Runyon story with the overtones of the American conmen, the gangsters, the racecourse. There are some funny routines and Dean Martin sings melodiously as usual. Response depends on audience liking of this comedy team so representative of American comedies of the early fifties.

1. The significance of the title, gambling, racing, criminals? An entertaining Martin and Lewis comedy?

2. The popularity of Jerry Lewis and his style of comedy? The blend with Dean Martin as hero, singing style? A comic team? Conventional comic material?

3. Colour photography, New York, Maryland? The songs? Jerry Lewis' comic style, imitating Dean Martin, Dean Martin's romantic songs?

4. The Damon Runyon style of comedy? New York criminals, the tough posers, the control of the racing game? The high society of Maryland and the racing fraternity? The background of Virgil as a vet. and Orton as vet? The British jockey?

5. Virgil as hero - Jerry Lewis as the little man, as a vet and kindness to animals, to the horse, the impersonation of the English? The riding of the horse to victory?

6. Dean Martin as Honeytalk Nelson, getting Virgil into a situation to save himself, romance and telling the truth, redeeming the situation? Comic routines with Jerry Lewis?

7. The heroines? racing society and enterprise, the vet, with the ambitions to build a hospital?

8. The British jockey and his British style, being drunk, missing out on the race? Comic routines with Jerry Lewis?

9. The Damon Runyon criminals and the variety of names, attitudes?

10. The Arabs and the harem, comedy routines, the climax with the horse race?

11. Basic American comedy?

MOMMIE DEAREST

US, 1981, 129 minutes, Colour.
Faye Dunaway, Diana Scarwid, Steve Forrest, Howard da Silva, Mara Hobel, Rutanya Alda.
Directed by Frank Perry.

Mommie Dearest is something like a sensationalised psychological autopsy on Joan Crawford. A strong actress over so many decades, she made her way to the top especially in the '30s at M.G.M. A strong personality on screen as well as off, with several unfortunate marriages, she wanted children. Whether they were part of her publicity and image or whether she genuinely loved children, it is difficult to say. According to the biography of one of her adopted children, Christina, she was mentally unbalanced and a monstrous mother. It is well known that Joan Crawford left Christina and her brother Christopher out of her will. The book and the film seem to be Tina Crawford's attempt at having the last word.

The popular response to the life of movie stars and the ‘reality' behind the glamour always absorbs audience attention and this film no less than others. It was co-written by director Frank Perry who has made quite a number of very successful films over two decades: David and Lisa, Last Summer, Diary of a Mad Housewife, especially with his wife Eleanor Perry. The film has an exuberant performance by Faye Dunaway who more than resembles Joan Crawford. It is a no stops, no-holds-barred performance of grand soap opera. Dunaway chews up characters and scenery with great relish. She receives excellent support from Diana Scarwid as Christina as an adult, and especially Mara Hobel, who is Christina as a child. There is a Henry Mancini score and there is enough anchoring in reality to give the film something of an atmosphere of authenticity e.g. Joan Crawford's confrontation with Louis B. Mayer, her performance in Mildred Pierce and her winning an Oscar, her marrying the Pepsi Cola king Alfred Steele and her taking her daughter's place in a 1960s soap opera. The film is not a tribute to Joan Crawford - it is an insight in an exaggerated style into the unreality/reality of Hollywood.

1. The impact of the book after Joan Crawford's death? Audience curiosity? Admiration of Joan Crawford in her long career? The strong type of woman she portrayed on the screen? Her success, Oscar? Soap operas? The legend attendant on her publicity and career?

2. The impact of the film? Its reputation? Its quick movement into cult film with camp overtones? How much of an autopsy rather than biography? Faye Dunaway's resemblance to Joan Crawford? Her skill in making Crawford a character? The kind of role that Joan Crawford herself might have fought for?

3. How much truth is there in the film? The accuracy of the facts? The interpretation of the facts? Tina Crawford's memories of her childhood and her mother? How true for her? Objectively? Joan Crawford's view of herself and her relationship with her children? Antagonistic memory heightened? The audience aimed for in the film? The aim of the screenplay? how sensational, exploitive?

4. Faye Dunaway's reputation, screen presence, skill in impersonating Joan Crawford? How much acting, how much caricature, how much parody? Insight? The famous lines about rose gardens and coat hangers etc.? Faye Dunaway's imitation of Joan Crawford's acting style? The Hollywood style of the impersonation of Crawford and her lifestyle?

5. The film's presentation of Crawford as star, legend? Hollywood in the '30s, M.G.M., Louis B. Mayer and his ruling of M.G.M. and his manoeuvring her out of M.G.M.? Her marriages? Her lover? Her children? Her career at Warner Bros, preparing for Mildred Pierce and her Oscar? The ups and downs of her middle aged career? Marrying Alfred Steele and taking on Pepsi? Her growing family? Her wanting to win and despising weakness? Her drinking, pill-taking? Ruthlessness in career, home life, business? Her growing old? The seeming callousness of her will? The tough background of Hollywood, the American dream? Audience love-hate for Crawford?

6. Crawford as seen in the film: her initial rising, washing, being the celebrity of the studio, make-up, chauffeured? The contrast with herself at home - the house and her obsession with dirt and cleanliness? Her relationship with Greg ? the shower sequence? Her wanting a child and persuading him? Her visit to the bureaux and her being declared unfit? The illegal means for her adopting her child? Her initial treatment of the children e.g. Christina's birthday, the gifts and her having to give them away, the celebrations and parties? Her rule at M.G.M., the confrontation with Louis B. Mayer, the dinner and her being put down. his not escorting her to the car? Her fight for her career at Warner Bros., her act at the times of the Oscar and her receiving the reporters? Her ruthlessness in the board meeting with Pepsi? The background of her life with Alfred Steele and her extravagance in home decorating, office decorating? Her treatment of Tina throughout her school years ? moral severity, sending her to the convent? Tina's own career and the TV fiasco of her taking her place? The final award and Tina's accepting it? Her ageing? a pathetic figure?

7. The emphases of the screenplay of showing Crawford with her children? Tina as a baby and the mother love and the publicity? The birthday parties and the photos? The clashes with Tina. especially about the swimming. Tina imitating her mother and having her hair cut, the dresses and the coat hangers,, the dirty bathroom? Giving away presents? Tina making drinks for the 'uncles'? Tina and life not being fair and her mother's emphasis on struggling for achievement?

8. Tina at home and the tense melodramatic situations, especially the confrontation about the eating of the meat, the imitation in the mirror, the hangers and the floor, the contrast with the sweetness of the Christmas message. the tantrum in the rose garden. Tina at school, the encounter with the young lad and sex and standards, the visit to the convent, the effect of all this experience on Tina? Her appreciation of her mother, her growing dislike? Coping with the erratic behaviour?

9. The character of Tina? the screenplay's attitude towards her? Her home life. the parties. her defying her mother, suffering, the 'uncles' and the drinks. the Oscar evening? Her leaving home and not wanting to depend on her mother for money? Alfred Steele giving her money? Her acting, her own apartment? Her illness and her embarrassment at watching her mother in the soap opera? Her speech at accepting the award for her mother? Her friendship with Christopher? The funeral and the talk about the last word? The irony of her addressing her mother as Mommie Dearest?

10. The character of Carol Ann and her companionship, help and loyalty, concern for the children, the continued visits. the defence of Joan Crawford, her ageing with her?

11. Greg, the Hollywood lawyer, love for Joan, the affair, the getting of the child, working outside the law, being on Louis B. Mayer's side? The sensual scenes, the lyrical scenes at the beach, the melodramatics of the confrontation and his decision to leave?

12. Louis B. Mayer and his style, the smooth ousting of the M.G.M. reigning queen?

13. Alfred Steele as the American businessman, marriage, the introduction to Christina, giving her money, the house and Joan's extravagance, his death? Her ruthlessness at the subsequent board meeting?

14. Themes of stardom, ambition, audience recognition and adulation? Joan Crawford's consuming desire to be appreciated? Inner drive, loneliness? Why did she adopt the children? The effect on her on them?

15. How important is accuracy and truth for appreciation of this kind of film?

MOMENTS (MOMENTS DE LA VIE D’UNE FEMME)

France/Israel, 1979, 96 minutes, Colour.
Michal Bat- Adam, Assi Dayan.
Directed by Michal Bat- Adam.



Moments is a French- Israeli co-production. The leading star was both writer and director and received assistance from the director of madam Rosa. The film is unusual in its presentation of relationships, both in a permissive manner and in traditional modes. The film is striking insofar as it was written and directed by a woman and shows a feminine sensibility, especially in women's relationships - both ordinary and with lesbian tones. The film is made in the French style - intimate sequences, the focus on the characters and their atmosphere, a close-up process. The setting is Israel and this is used to advantage. The film surfaces themes of relationships which are more of the subconscious and these are dramatised in a realistic situation for audiences to be sympathetic, understanding, make judgments.

1. The impact of the film - its themes, treatment? The unified work of the actress-writer-director? Her vision, her insight? Her cinematic skills?

2. The film as an Israeli- French co-production? the cultural atmosphere, the French tone, the Israeli setting and themes? Universal insight? The settings and their visual impact? the train travelling through Israel, Tel Aviv and its suburbs, Jerusalem and its exteriors, beauty and atmosphere, interiors?

3. Colour photography, beauty. musical score? How realistic, how contrived? The world of trains, the city, suburbia, homes, hotels, buses? The score?

4. The screenplay and the framework and its flashback? Audience interest in the situation, being arrested by the relationship between the two women, questioning presuppositions? An ordinary situation with unusual tones? The voice-over commentary and the indication of feeling, relationship? The house, the airport, the family, the children, the friend, the husband? The closeness of the two women? Audience wondering about the nature of the relationship and the move to flashback?

5. The film's presentation and exploration of love - both heterosexual and homosexual? Qualities of friendship, sharing, passion, jealousy, physical expression? The relationship between women? Talk, acting? Women and men? Experience and its irrevocability? Its influence on subsequent behaviour and attitudes?

6. The chance encounter of the two women on the train, their telling of their stories, sharing? The failed marriage, the heroine and her boyfriend? The writing of the book? The sequences in the hotel and their sharing experiences, the tour and the symbolic sequence in the cave with the candle?

7. Their clashes, jealousy? Their union? The transition of the heroine to Tel Aviv, the seeking out of Arvi? The jealousy about Anne and the night with the security man? The effect of these actions on each of them? Arvi and his entering into the picture? Sharing experiences? The erotic experience? uniting them but separating them? How each coped with the actions, with the memories? Arvi and his reluctance, Anne and her withdrawal?

8. The portrait of Anne and her intensity, passion, the outsider? The seductive manner with the heroine? Or vice versa? Her relationship with Arvi? Her return to France, her coming back to Israel after so many years, the reminders of intimacy, the impossibility of recapturing the past? The inevitability of her having to leave? What was she left with? The correspondence?

9. The heroine's life - wanting everything, her capacity, her being unfulfilled? Her letting Anne go, marrying Arvi, having the children? Her clutching of the past, its lack of success? Her final voice-over comments about her regrets, her nostalgia. the letters to Anne?

10. Arvi, the man in this woman's world, his not understanding, his participation, jealousy, anger, inability to cope?

11. The presentation of themes and their making sense or not? Complexities? By what criteria should attitudes and actions be judged? Behavioural, moral?

MOMENT BY MOMENT

US, 1978, 94 minutes, Colour.
Lily Tomlin, John Travolta.
Directed by Jane Wagner.

Moment by Moment was intended by producer Robert Stigwood to capitalise on John Travolta's 1978 popularity; the film failed very badly in popularity and critical comment. Written and directed by Jane Wagner (writer for Lily Tomlin), the film risks cliche and triteness and falls foul of them generally, despite lush production and the stars doing their very best with the material Travolta has more opportunity; the versatile Tomlin can only look lonely, pained and in love. Reflecting a casual approach to marriage, the film offers an unlikely affair and pleads for love and openness, but because the screen play touches only the surface and indulges in languorous love scenes, little substantial is offered and often becomes tedious.

1. The overall impact of the film? A critical and box office failure ? why? The perennial appeal of love stories?

2. The popularity and styles of the stars, audience expectations of them individually, together?

3. The contribution of the writing and the direction from a feminine perspective? Feminine approach to the love story ? geared towards a feminine audience and sensibility?

4. The love story appeal? The relationship between men and women, needs, love? The impact of this affair? Age, needs, morality, guilt, openness. hypocrisy? Mutual hurt? Reconciliation?

5. The background of lush Californian and Los Angeles locations? American cities? The credits with the focus on wealth and the status of the stores? Trisha and her walk down the street? The contrast with Strip and his opposite approach? Beverly Hills shops? The contrast with the beach? The house, wealth, art shows? The musical score, the song and its lyrics? The use of symbols e.g. the two dogs, the pet and the injured stray, birthdays and remembering them, messages in bottles etc.?

6. How well did Lily Tomlin create a portrait of Trisha? Her appearance, age. dress, wealth? Her walking down the street, shopping, her sadness? Her response to being pursued by Strip? Repulsion, fascination? Her wandering the house, her being on the beach, her petting her dog? Her fussiness about the house, getting the sand off people's feet before entering etc.?

7. The contrast with Strip? his full name, his background and his explanation of leaving home, running away with nobody pursuing him, his initial encounter with Trisha, his friendship with Greg and the interrogation in the pharmacy shop, his following Trisha, his pursuit and persistence? How attractive the initial impact of John Travolta in this character?

8. Their clashing on the beach, the eating, his being cold? The gradual breakdown and its credibility? The two dogs?

9. Trisha's resistance to Strip, her suspicions of him? Following him in the car and seeing it broken down? Her helping him with payment, the Heal? His going off again and her discovery of the story about Greg?

10. The occasion of Greg's death as the consummation of their relationship? Credible? The night sequence and the morning consummation? The number of love sequences, the manner of their presentation? Humanity, feeling? The danger of cliche?

11. The importance of Naomi and her ringing, an indication of Trisha's background? Her visit, curiosity, the creation of tension about the discovery of Strip, Trisha's humiliating him as the delivery boy? The truth to Naomi, the importance of the long search in the boulevards and the unsavoury atmosphere of Los Angeles? The importance of the art show and Trisha's presence, Strip being out of place? His overhearing and interpreting the conversation about the end of the affair?

12. The background of Stu and Stacey? Stu's phone calls, Trisha's reaction, her accusations about his affair, his wanting to gloss over them? His presence at the art show and his reaction to Trisha? Their phone clashes?

13. The insight into brittle marriages? The motives for marriage, for separation? Divorce? Needs?

14. The climactic scene of the break up of the affair, Strip trying to hurt Trisha, her being hurt? The question of a future, age differences, social background differences, Trisha's son?

15. Trisha's finding the address, her pursuit of Strip, the reconciliation and the ending? How genuine a love, need? The use of the bottle symbolism and message at the end?

16. The audience being left with the photo album and the songs?

17. How well did the screenplay and the treatment examine relationships, love and needs, an affair? How authentic, how contrived?