THE MOLLY MAGUIRES.

US, 1969, 125 minutes, Colour.
Richard Harris, Sean Connery, Samantha Eggar, Frank Finlay, Anthony Zerbe.
Directed by Martin Ritt.

The Molly Maguires was directed by Martin Ritt, the director of Hud, Hombre, The Spy Who Came in From the Cold, Sounder. This is another impressive film about an Irish secret society that existed in the coal mining districts of Pennsylvania in the 1870's. The film gives what must be a fairly accurate picture of conditions under which the miners and their families lived and worked and died. And since the forces of law and order were controlled by the mine owners, the only defence of the immigrant Irish workers seemed to be violent reprisals against the police and their employers. This film concerns the last days of the society and the conscience problems of the Irishmen paid by the police to infiltrate and destroy it. Sean Connery is the mining leader, Richard Harris the infiltrator. The audience is left to decide the moral rights and wrongs of this social condition, the activities of the Molly Maguires and the treachery of the informer. As a thoughtful commentary on the social injustice and its effects on human beings, the film can be recommended.

1. The significance of the title? The Irish overtones? The Pennsylvania mining situation? The indication of work and justice themes?

2. How appropriate the use of Panavision and colour? The visual presentation of Pennsylvania and the mines, 19th century atmosphere? The refrain and the musical themes? The use of Irish traditional melodies?

3. The importance of mood and the atmosphere for this exploration of character, crises, social injustice? The detailed and lengthy presentation of the opening work in the mines culminating with the explosion? An indication of the themes and values of the film?

4. The importance. of the detail of work in the mines? How clear was the nature of the employers oppression of the miners? The importance of the pay scene and the refunds for broken tools etc.? The way of life of the miners in the town, the inn, the tavern, the homes? The quality of the way of life of the miners?

5. Was it clear that the motivation for the Molly Maguires was one of social injustice? Did the film explain why they were an organisation for twenty years? The pressure on the wives and their support, the tense atmosphere in the taverns. the drinkers and the overtones of conspiracy and violence? The importance of the denunciations by the parish priest and the excommunication threat for such violence?

6. Jack Kehoe as the hero of this film? The loner, his hold over the others, his relationship with his friends, with his wife? His stand in the town? With the parish priest? What motivated him? The testing of McParlan? and running the risk? The organization of the raids and the involvement? The strong determination to press through despite opposition and spies from the police? How admirable a man? How misguided? How earnest?

7. The contrast with McParlan? The stranger entering the town and changing it, his cover and background story, his role as a kind of hero in the film? How much audience sympathy for him in his work, in his deception? Audiences identifying with Mary in responding to ]is charm? Later disillusionment with him? His involvement in the raids and wanting to save lives? His warning the police? His relationship with Davies? Audience response to an undercover man in this kind of situation? The effect on his conscience and feelings? His hostility to the Molly Maguires and their violence? His hostility to Davies and his callous attitudes?

8. Mary as a character and as a representative of the way of life in the town? Her ambitions to get out of the town? Her relationship with her father? The importance of the romantic interlude between them? The beautiful scenery contrasting with the mines?

9. The final conflict and arrest of Kehoe and his men? The dramatic impact of the court case? McParlan? and Davies playing cards? McParlan? in the stand? Kehoe in the stand? Mary's decision not to go with McParlan? and the disappointment for him? McParlan's need to go to the prison for some kind of reparation? Kehoe's friendship yet unwillingness to forgive him?

10. The picture of Davies and the law? The rights of the police, the protection of citizens? His callous attitudes? Impersonal attitude towards McParlan? and Kehoe?

11. How important was it to see the raids, the murders and ambushes? The police violence and the Molly Maguire violence? Could audiences make up their minds about the right and wrongs involved?

12. The portrayal of people and their lives, physical and work conditions, social justice, relationships?

13. The question of truth and lies in such a difficult situation?

14. What values were explored in this film? How well? As an exploration of an aspect of American history, 19th century history, changes in social justice?

MOLIERE

France, 1977, 240 minutes, Colour.
Philippe Caubere.
Directed by Ariane Mnouchkine.

Moliere is a portrait of the great French comic dramatist of the 17th. century. Born in 1622, died 1673. This film was produced by noted French writer-director Claude Lelouch (Oscar winner for A Man And A Woman). It was produced for French television. It occupies almost four hours running time and is perhaps better suited for television presentation. However, the vivid re-creation of 17th century Paris and France, the lavish decor and costumes, the presentation of French theatre, life in the provinces and at court, is presented vividly on the large screen. The film moves rather slowly at tines and is also, at times, reverent towards its subject. This is particularly the case in the vivid opening segments of the film about Moliere's childhood. As he grows in stature and success, his weaknesses and foibles emerge. He becomes witty and incisive as a playwright but also becomes involved in the glamour of the court of Louis XIV.

Because of its length, the film requires great concentration. It also means that the film tends to be a portrait rather than a study of the playwright. In its purpose of informing a 20th. century audience about a celebrated Frenchman, the film is successful.

1. The film as a portrait of Moliere from childhood to death? The film as a portrait rather than a study? The sketch of a man in himself, in his times? As an actor, as a playwright? As a man of his times, a man of vision with
an insight into the characteristics of human nature?

2. The production and its presentation in cinemas, for television? Its expectations of its audience in terms of attention, concentration, background knowledge? The aim of the film at communicating to a very broad audience? Lavish production for television, budget, sets, decor, costumes? The recreating of the atmosphere of the 17th. century? The range of French life in that time: Paris slum. Paris merchants. the theatre, students and studies, revolutions, the provinces and dram throughout France, the French court of Louis XIV? The film's attention to detail, colour photography, the portrayal of beauty and ugliness, poverty and wealth? The influence of French art of the time, paintings and tableaux?

3. The length of the film, its pace? Its division into segments? The cumulative effect of the portrait and the drama? The immersing of the audience in the atmosphere to understand and feel with Moliere? The use of 17th. century music, the musical style contributing to the atmosphere of the times, of theatre?

4. The framework of the play with Moliere's death? The indication of dates? The long view of him in his final illness? The presupposition of audience interest? The build-up in the chronological presentation of his life? Resuming at the end with his death?

5. The dramatic impact of the first segment: Moiler at ten? The recreation of his world and its atmosphere, influences? The boys and their play-acting? His relationship with his friends, the exercise of imagination, the earthiness? The transition to the lesson and the indication of the world view of the time about God. science? Conservative attitudes? The transition to the slums, the mud? The long sequence of the collisions of coaches and the stances of the drivers? Moliere, and his being chased home? The sequences at home, his loving mother and the expressions of tenderness, the softness of his father? The build-up to the celebration of Twelfth Night? The household, the maid? The ritual of the crowns? The rituals of the pieces of cake? The feast? Moliere and the maid being crowned? A sufficient indication of the lifestyle of the time and its influence on Moliere?

6. The presentation of ideas of the 17th. century: the priest and his lesson on the Earth and its movement. the theories about man and the bloodstream, about God? The dogmatic presentation of these ideas? The influence on the boys at the time?

7. The reality of death after long illness? The portrayal of his mother's illness, the doctors and the bleeding? The return from school, the eating sequence and the grief at Moliere's mother's death? Their going to the carnival, the dramatic impact of the street play about death and Scaramouche acting? The 17th century carnival, the man soaring with wings over the group? Theatre and delight and its effect on Moliere?

8. The transition to Moliere as a young man (and the physical resemblance of the actors portraying Moliere)? The rules of the household, the rules of the Upholsterer's Guild? The tense meal with the discussions about study and acting? The stages of Moliere's growing up? His moving to Orleans to study? The effect of the carnival and its being banned by the authorities? The riots? The play? The fire cart? The opening up of the theatrical world to Moliere? His encounter with the Bejart family? The contract and his joining them? The building of their own theatre - a future for Moliere as actor?

9. The significance of the long sequence about the order of the Sacrament? The atmosphere of Jansenist spirituality of the time? Asceticism and flight from the world? The long discussions of the members of the order and the issues raised? The authoritarian approach? The banning of the carnival and the reaction of the students? The tax? The atmosphere ideas of the 17th. century? The interlude with the philosopher Descartes, his visit to Paris, the young audience eager to hear him?

10. The transition from the rule of Louis XIII to Louis XIV? The film's portrayal of history, the role of Cardinal Richelieu and his regency? His later presence and influence on Louis XIV?

11. The presentation of the first play? the artificial tragic styles? The desire to play comedy? The reaction of the audience standing around, leaving? Moliere's father and his reaction to the play? The prison sequence, the father redeeming his son and the reconciliation?

12. The emphasis on Moliere's fifteen years of touring the countryside? The way of life, the bonds between the members of the group? The difficulties: the physical terrain, the sombre landscapes., illness, famine? Criminals? the woman sexually abused? The starving people and the devouring of the horses? The comment on France in the middle of the 17th. century?

13. The contrast with the growing success of the theatre? The range of audiences in the provinces and Moliere's learning to adapt to the response of ordinary people? The elaborate sequence of the play with the stage blowing across the fields? The visual impact of this sequence? It's thematic significance? The rescue of the actors? The fights between the members of the group, jealousies? Relationships? Madeleine and her relationship with Moliere over the years? Therese and her marriage? The dead child and the burial?

14. How well did the screenplay highlight the nature of French theatre of the time, the discussions of the plays.. the essence of tragedy according to Moliere, acting style, writing style? The combining of popular comic traditions with tragedy? The move to satire? The highlighting of society, allegories of human foibles and hypocrisy?

15. The continued thread throughout the film of the French court, Louis XIV and his assuming power? His wealth. the solemnity of the court? The influence of the church? His foppish brother and the discovery of Moliere's troupe? His wanting to advance his place in the court by presenting Moliere? The build-up to the first presentation., Moliere's taking himself seriously, nervousness and opening night illness? The tragedy and the audience being bored? The rival group and their mockery? The transition to farce and the successful evening? for the prince, for the king and his smiling? The opening up of Louis XIV's patronage?

16. The contrast with the provincial support of Conti? His growing fanaticism - even to his clothes and shaving his head? The antagonism towards the theatre? His trying to influence the French court? The urging of the condemnation of Moliere?

17. The growing success at court? Moliere's adapting to the ways of court, wealth? The important sequence of the lavish dinner, the discussions about contracts? The reconciliation with Therese? Madeleine and her jealousy of her daughter and Moliere's infatuation? How well were these tensions presented within the context of the mods of the meal?

18. Moliere and his observation of society? incorporating thews into his play? the long sequence of the wedding of the old man with the young unwilling girl? The transition to the plays such as School for Wives? Tartuffe and the political difficulties? The interviews with Colbert and the pressures being put on him? The request for cuts and Moliere's reaction? The King's reaction, favour?

19. The sequences of the King's Festival, the place of Lully and his music? Moliere as the court entrepeneur? . The lavish tone of the festival ?fireworks, music etc.? Lully's bowing to the King's wishes? The sequence of the gifts from Venice coming through the snow? Their final arrival? The indications of lavish splendour and extravagance at Louis XIVs court?

20. How well did the film present Moliere as a person? The characters in his life? how clearly presented as individuals, personal traits, crises? Moliere and his talent, relationships, his success, vanity? His changing with age?

21. The film and its mirroring of the times? Understanding an important French character in his environment? The importance of his heritage for French culture?

MODEL SHOP

France/US, 1968, 96 minutes.
Anouk Aimee, Gary Lockwood, Alexander Hay.
Directed by Jacques Demy.

Model Shop belongs to a fashion of film-making in the US in 1968-69. A number of continental directors went to America to have a look and film their impressions. The most famous example of this is Antonioni’s Zabriskie Point. Claude Lelouch made his film in the light vein, A Man I Love. Truffaut made a thriller, The Mississippi Mermaid. The romantic Jacques Demy ( Lola, Bay of Angels, The Umbrellas of Cherbourg, The Young Girls of Rochefort) wrote and directed Model Shop. It is very much a French film made in English in America. America as a place, particularly Los Angeles, seems to have fascinated Demy. His camera roves over the city and the variety of people who live there.

The hero is an idealistic dropout with the prospect of the draft before him. (Demy's social comment is centred on individuals and is gentle rather than caustic or biting.) Demy also seems to be interested in the individual's finding himself (a French-style pre-occupation) in the middle of modern American pressures and the modern ethos. The film becomes rather verbose and 'philosophical' towards the end in a way that American films are not. The device Demy uses for his film is to make it a sequel (after eight years) to his earlier film, Lola.

Anouk Aimee plays the same role and the film's dialogue recapitulates the events of the first film. However, Model Shop can stand by itself as a film. The question is whether French styles translate well into English or whether the dialogue and incidents seem too contrived.

1. This is a French film, made in America in English. Is this obvious? How? How would an American director (and screenwriter) have handled this theme?

2. What kind of dropout was George? was he irresponsible? lazy? selfish? self-centred? idealistic? What was wrong with him?

3. What qualities did George have? Why hadn't he achieved much by the age of 26? How important was the prospect of the draft for him?

4. what kind of girl was George's girlfriend? Did she love him? Did he love her? Was she right in urging George to do something with his life?

5. Demy seems to be fascinated with Los Angeles as a city? George says he likes it, so does Lola. Much of the footage of the film is photography of the city and driving around its streets. Did the city of Los Angeles come across as a character in the film?

6. We meet many of George's friends and associates. What picture of the American people does this build up? Is it a favourable picture?

7. Why was George attracted to Lola?

8. Were you shocked at the Model Shop? Were you surprised to find Lola there? was this consistent with her first appearances in the film?

9. How did Anouk Aimee's acting of the photography scene convey her whole attitude towards her job?

10. Why did George spend the car money on Lola?

11. What did George's talking to his parents show us about him and about them?

12. How was the anti-war theme brought out - George's reaction to the draft, fear of death, his friend's reactions, his father's advice?

13. Why did George break-up with his girlfriend? Who was in the right, who in the wrong?

14. What did their long discussion about their lives and feelings reveal about each of them? Was this discussion effective cinema? Why?

15. Why did George go back to Lola? Why did he insult her? Did he love her or was he full of self-pity?

16. Was the end inevitable? How had this affair affected Lola? How had it changed George? was his final phone call credible?

MOBY DICK

US, 1956, 115 minutes, Colour.
Gregory Peck, Richard Basehart, Leo Genn, Harry Andrews, Bernard miles, Mervyn Johns, Noel Purcell, Orson Welles, James Robertson Justice.
Directed by John Huston.

Moby Dick is one of the classics of American literature, not merely a story about whales, but an allegory about human nature, its good and evil, and its obsessive quests. Writer-director John Huston (The Maltese Falcon, Treasure of the Sierra Madre, The Man Who Would be King) has no fear of classics and has made an impressive film of Melville's novel.

Critics were not unanimous in praising Gregory Peck for his performance in the key role of Captain Ahab. Striking features were the use of colour and Orson Welles' guest appearance preaching the sermon. Moby Dick raises many serious American (and universal) themes.

1. Was this film enjoyable as an adventure?

2. Melville's original story was an allegory. Did the film present the allegorical nature of the story well: the sea, the ship, Captain Ahab, Moby Dick, the whale, the pursuit, madness, defeat? An allegory of America, of human existence? An allegory of obsession and the quest for conquest and devil?

3. Was the quick pace of the film successful; the colour (especially designed for this film) effective?

4. The story was seen from the point of view of Ishmael. Was he the central character? What was the biblical significance of his name? (Genesis 16) Ishmael as a wanderer? Was he an allegorical character in the film as representing everyman?

5. The atmosphere of New Bedford in 1840: the language, the biblical atmosphere, the beliefs, superstitions, sea and sailing, whaling, the men gathered at the bars? How did this atmosphere set a tone for the film?

6. The atmosphere of the ship Equod? The talk about the ship, fear of Captain Ahab, atmosphere of obsession? Why did Ishmael go on the Equod? The fascination for Ishmael?

7. Comment on the character of Queequeg. As an Indian, as an unusual and fascinatingly horrible looking person? His relationship to Ishmael?

8. The significance of Elijah and his warnings?

9. Orson Welles' performance? the intense sermon and its message, the pulpit shaped like a ship? What did this add to the film? Did it add to the significance of the allegory and the tone of the allegory?

10. Captain Ahab - the dramatic impact, since we did not see him for some time? Was the performance of Gregory Peck convincing? Ahab as a person ? what did he represent? His obsession, the pursuit of Moby Dick, the hold that Moby Dick had on him, its influence on the rest of the crew, Ahab's leg?

11. The voyage? as an adventure, as a quest? The members of the crew and the various attitudes they represented? Starbuck and Wisdom; Stub and plain thinking; Manxman and the others? Their interaction, sharing of attitudes and fears? What did this add to the adventure. to the allegory?

12. The incident with the Rachel? How did this highlight the themes of the film and the attitude of Ahab?

13. The interlude with Captain Boomer and his comments on the enterprise?

14. The race towards Moby Dick; the race towards destruction as if possessed by evil.

15. The confrontation between Moby Dick and the ship, the crew. and Ahab? Why did the crew go after Moby Dick? Did they deserve their death? The fury of Ahab against Moby Dick? The irony of his being lashed to the whale in his death? What comment did this make on the whole enterprise?

16. Why was Ishmael saved? To continue wandering alone? TO tell the story? To warn others?

17. What were your overall impressions of the film? Did it show insight into some of the deeper aspects of human nature?

MIXED COMPANY.

US, 1974, 109 minutes, Colour.
Barbara Harris, Joseph Bologna.
Directed by Melville Shavelson.

Melville Shavelson has written and directed many folksy American comedies which we find amusing, but which American audiences could well find hilarious. The film belongs to this style and is enjoyable. However, it tackles US racial themes (the 'mixed' of the title), blacks, Indian and Vietnamese orphans being adopted by a 'typical' Phoenix, Arizona family. Cute at times, full of sentiment and optimism, the film articulates for the average audience many consequences of racial integration in suburbia. Barbara Harris as the mother is by turn pressurising and charming, Joseph Bologna rightly exasperated and loving ? and the children are nice, nasty and cutely precocious. Nice, topical social comedy.

1. Audience expectations from the title? Its meaning with relation to the children?

2. The quality of the comedy impact of the film? The social impact? The blending of the two?

3. How American was this film? For American audiences, for non-American audiences?

4. The capacity for sentiment, cuteness in such American comedies? The strength in the film's being topical? The credits sequences?

5. For what audience was this film made? For what effect? message, both?

6. How well did the film use the styles of American domestic comedy? The presentation of a family and its ups and downs, the details of the house, life in the suburbs, the American emphasis on sport? The background of Phoenix. Arizona for this racial comedy?

7. How were the Morrisons an ordinary American family? Pete and his explanation of his New York background? His marriage, children, sport, marriage crisis? Kathy and her need for affection, love for children, social work? Their relationship and their children? Kathy's use of blackmail for her own way? Their relative capacities for handling difficult situations? A good family for adopting children?

8. The presentation of the needs of the average American family? American ideas and sense of heritage. pride? The reaction to the race questions? To the Blacks, Vietnamese orphans, Indians? How well were the three situations presented?

9. Comment on the children's reaction to their adopted brothers and sisters. What did this reveal about possible racial attitudes?


10. Fred and the 'chip on the shoulder' negro? How typical of the American negro situation? Being spoilt by the white family? His still being unmanageable? The reaction to violence, the need for affection, the desperate leaving and coming back? How attractive a boy was Fred? The contrast with Quan? The quiet orphan, frightened by violence, noise? Her taking of the jewellery? Joe and the Indian situation in the United States? The satire of his being frightened by television?, westerns?

11. The baseball background of the film? Was it overemphasised? Enjoyably integrated into the film? The children and their reaction to baseball? The baseballers and their American attitudes to race questions?

12. The happy sequences with the family? The mother and the father coping? The Hallowe'en night?

13. How important, dramatically, was the Hallowe'en crisis? For Quan, for Freddie? The mad chase with the car? Pete's explanation of his own background at the Police Station? The possible reconciliation with Freddie?

14. How realistic was the ending? The sentiment, the humour, the right kind of feeling for a popular audience?

15. How much wisdom was there in understanding contemporary race questions? How much insight into human nature and people's character? An optimistic look at racial integration and people's capacity for change?

MISTRESS OF PARADISE

US, 1981, 100 minutes, Colour.
Genevieve Bujold, Chad Everett, Anthony Andrews, Carolyn Seymour, Olivia Cole, Lelia Goldoni, John Mc Liam.
Directed by Peter Medak.

Mistress of Paradise is Mills and Boon romance in the 19th. century South. It has excellent production values, an interesting cast and director. If it did not have these, it would probably pass as a ludicrous and hothouse imitation of so many other portraits of women tormented in the South - with the touch of Jane Eyre.

Director Peter Medak (Negatives, The Ruling Class) treats the proceedings with melodramatic flair. Genevieve Bujold is attractive as the put-upon heroine. Chad Everett is the ambiguous hero and English actor, Anthony Andrews (Brideshead Revisited, Under the Volcano) has a good old time with his southern accent. There is a lush musical score by John Addison. An oddball entertainment.

1. The impact of the film? The romantic genre? The Deep South, wealth, decay and madness? Violence? The quality of the film? Heightened television melodrama?

2. Period re-creation, colour photography, locations? The North? The South? The musical score?

3. The title ? wealth, romance, sex? Paradise as the decaying in-debt property? The focus on Elizabeth as heroine?

4. The perennial popularity of films about the South? About decaying wealth and families? Madness and violence? The portrait of the American South ? white families. negroes. slavery, morality, social acceptability? Voodoo?

5. The portrait of Elizabeth: her looking after her father. his wealth, the attraction towards Charles Beaufort? Her father's death, her wealth, accepting Charles' proposal, the marriage on the boat? The arrival in Paradise, her settling in, the stranger from outside? Victorine and her power in the house? Charles' ambiguous behaviour, her suspicions? The attentions of Buckley and his jealous alcoholic sister? Trying to cope with the situation? The visit to the brothel and the discovery of the villain. her discussion with the Madam? The confrontation with Buckley? The discovery of the mad wife? The reconciliation with Charles? The echoes of 19th. century novels?

6. The portrait of Charles Beaufort? the Southern gentleman, his presence in the North? Proposal. his being a widower? His suspicious behaviour and the audience knowing about his wife? His going off. the debts. the gambling? His erratic attitudes towards his wife? The power of Victorine? His going to visit the doctor and Elizabeth following him? The friendship with Buckley and his sister? The sister infatuated with Charles? The final resolution ? and his emerging as hero?

7. Buckley and the Southern gentleman, the decayed family. the alcoholic sister and her jealousy? Their widowed sister and attitudes towards her death. their father's death? The film's comment about the decay of Southern families? The professions of love to Elizabeth, accompanying her riding etc.? The attempted rape?

8. Victorine and her devotion to the first Mrs Beaufort, her attitudes towards Elizabeth. power over Charles, her presence in the house, the voodoo? Her devotion to the mad wife?

9. The background of voodoo, the woman with the messages, the voodoo ceremony and Elizabeth's attitude?

10. The mad wife and having Genevieve Bujold play both parts? Confrontation between the two? The death?

11. Colourful and enjoyable melodrama at a very popular level?

MISTER ROBERTS

US, 1955, 123 minutes, Colour.
Henry Fonda, James Cagney, William Powell, Jack Lemmon, Betsy Palmer, Ward Bond, Phil Carey, Harry Carey Jr.
Directed by John Ford and Mervyn Le Roy.

Mister Roberts marked Henry Fonda's return to the screen after an absence of eight years. Fonda had established himself as a serious actor during the '30s and '40s but returned to the stage for a long period. Since 1954 he has made numerous films as well as stage appearances. One of his celebrated stage performances over several years was in the play Mister Roberts. He joined with John Ford who had directed him in several films including The Grapes of Wrath and Young Mr. Lincoln but they differed strongly on the interpretation of the character. Ford directed some of the film but it was then taken over by Mervyn Le Roy.

The play and the film captured the atmosphere (exploited in the musical comedy South Pacific and films derivative of South Pacific) - sentiment about world War Two, the war in the Pacific, patriotism. This was a theme that appealed to John Ford with his westerns and such films as They Were Expendable. However, there is a tone of black comedy about Mister Roberts which anticipates such films as M*A*S*H. Made in Cinemascope and colour, the film is very much that of the play. The performances contribute most - Fonda as his sturdy embodiment of the American ideal, James Cagney using his fast-paced delivery for an eccentric captain, William Powell with his pipe-smoking reflective Doc and Jack Lemmon in his first Oscar-winning performance as Ensign Pulver. There is music by Franz Waxman. Enjoyable, particularly for American audiences but reflecting a world that has long past and to many would seem very dated.

1. The classic status of the play and the film? The popularity of the play in the '50s and Henry Fonda's presence? Immediate memories of the war? Involvement in the South Pacific? The blend of the comic and the serious, the sentimental and the patriotic? The underlying black humour?

2. Cinemascope, colour? The atmosphere of the South Pacific? Most of the action on the ship? The musical score and its moods?

3. The adaptation of the play for the screen? Much talk, confined sets? The issues and characters? The change of directors? How much of its period does it seem now?

4. The stars and their performances and acclaim? American types of the past? embodiment and feel for this kind of character?

5. The focus on Doug Roberts and Henry Fonda's personification of him? The ordinary well-educated American? His critique of authoritarianism? Popularity with the men? His bonds with Doc and Pulver? The critique of the Captain, his constant anger, his letters of resignation? The Captain's blackmailing him? The leave for the crew and his joy at their unity? His growing unpopularity? His fearing that the war would end without his personal involvement? His wanting to fight, the throwing of the palm into the sea to celebrate the end of the war in Europe? The men understanding this after overhearing the Captain attacking him, forging his signature on the transfer? The farewell the pal emblem. the letters and the news of his death? The manner of his death? What did he stand for as an American type?

6. Doc and his support, wise observer, his work on the ship. involvement with the crew, expressing his views, his gentle antagonism towards the Captain, his supervising the forging of the signature?

7. Ensign Pulver - Jack Lemmon's comic style, cynical and lazy and exploitive young man, talk, women? His admiration for Roberts? but lacking the courage of his convictions against the Captain? The celebration at the end of the war and the explosion in the laundry? The farewell to Mister Roberts? His receiving the letter and his receiving the news of Mister Roberts' death? The final sequence and his becoming the new Mister Roberts for the Captain?

8. The drawing of the Captain? James Cagney's style and its being transferred into this obsessive authority figure? His continued announcements, attitude towards rules, success, recognition of the work of his ship with the potted palm, his harshness? His humiliating Mister Roberts? His getting a hold over him? His long speeches and his expression of his anger and discontent, lack of opportunity and education, his being pushed round, his wanting to get his turn to push people round? The interrogation about the palm and his apoplexy? His allowing Roberts to go? His final reaction to Pulver?

9. The sketch of the crew, the work, pressures, detail of life and work on the ship, recreation? their leave and enjoyment of it? Their scorning of Mister Roberts and changing in attitudes? Roberts' praise of them? The heroics of the average American man?

10. War and its artificial society, men grouped together, acting like boys? The leave and the drinking, the pranks? Forging a united spirit for the crew? Women at war and the minor glimpses of them? Authority and the ordinary sailor?

11. The role of the supply ships for combat? Roberts and his desire to be part of combat?

12. The M*A*S*H.-type humour and the culmination in tragedy? The picture of war, the critique of war? The listening to the end of World War Two in Europe by the men in the South Pacific? Changes? Death?

13. A satisfying piece of popular Americana of the '50s?

THE MISSOURI BREAKS

US, 1976, 126 minutes, Colour.
Marlon Brando, Jack Nicholson, Randy Quaid, Kathleen Lloyd, Frederic Forrest, Harry Dean Stanton.
Directed by Arthur Penn.

The Missouri Breaks is a very good film about the West and what it was like to be there. But it is not a Western for the action fans. Beautifully photographed in the clear, sunlit air or the mellow, lamplit interiors, the film shows people in a primitive pioneering way of life - the lawlessness, the arrogance, violence, loneliness, starved emotionality and madness. The Western conventions are used to explore this. Marlon Brando gives a showily demented performance, leaving Jack Nicholson to carry the film with another of his seemingly effortless performances. A supporting cast of rustlers, land-barons, farm-hands are directed tellingly by Arthur Penn. A western for savouring.

1. Audience expectation of this western: Marlon Brando, Jack Nicholson, Arthur Penn? A Western? How were audience expectations fulfilled?

2. The emphasis and meaning of the title: place, the words, the west, an atmosphere of place and time? The visual presentation of the Breaks and the land lying around them? What happened there in the 19th century?

3. What conventions of a western were used in this film? How? Ironical use? The presentation of history with a sense of realism, criticism? The heritage of good and evil of the American West?

4. The film seen as a moral Western: the world of the pioneers, the town builders, the landowners and the settlers? The world of the rustlers? The kingdoms made by various enterprising men, contrasting with the world of the little men? A world of ultimate destruction? A world of mad men? Their interaction?

5. Response to the beauty of the opening, the landscapes, the casual riding, the serious discussions about heritage and civilisation? The introduction to Brackston and his authority? The pioneer, the transition to the picnic, the transition to the hanging? The administration of justice, Brackston playing God? The victim's friends standing by helpless? (The later reprisal of Pete's handing?)

6. The presentation of Brackston and his type? The various pioneers he worked with, the frontiers he lived in, his love for the Missouri Breaks, his house and his books, his style of life? His arrogance and aristocracy? The effect on his daughter, her rebellion? The wife who deserted him? The sequences of his administering justice, especially to the Lonesome Kid? His hiring of the regulator? His control and yet becoming a victim of Lee Clayton's madness? The physical effect of the stroke? His violence and his death? The theme of the proud man overreaching himself?

7. The portrayal of Jane within this context? As a young growing woman, rebelling and reacting, her fascination with Tom Logan, her loving him, hating her father? The confrontation at the end and her father's death? The decisions about the future? The next generation in the West?

8. The characterisation of Tom Logan by Jack Nicholson? As a leader of a band, serious yet joking, small men trying to make an easy living? The carefree attitude towards rustling? The way of life and conversation in their hideout? Their comradeship? The sudden impact of the death? Their helplessness? What did the hanging force them to do? The scene of the robbery and its farcical aspects? Their watching Brackston administer justice in the town? Logan's decision to buy property, to play up to Brackston? His plan for the rustling etc.? What kind of character, man of the West?

9. His work on the ranch, his staying behind, the encounter with Jane and its effect on him? The focus of the plot on Tom Logan?

10. Comment on the group, the varying personalities within the group? The young men, young Todd, the older man and his wariness, the older man and his memories and hatred of the past? The reason for being outlaws? Their skill in rustling, their being pictured at work, the various types? The importance of the long rustling sequence and the failure with the Mounties?

11. How well was the rustling visualised, the terrain., Canada, the Breaks and the river. the pursuit by the Mounties, the sequences of the horses running? The intrusion of Lee Clayton into this world? The irony of his first appearance, his Irish brogue and manner, his arrogant style. his authority and wielding of power? When did it appear that he was mad? His skill in manipulating people? His hold on Brackston. confrontation with Jane, confrontation with Tom and the shooting at the ranch? The qualities of Marlon Brando's performance and interpretation? The picturing of Clayton as a regulator? His wild riding? His intricate deception of young Todd and killing him? Audience response to this madness of Clayton?

14. Clayton as a person consumed by the desire of pursuit and vengeance? His toying with Logan as a preparation for the killing?

15. Comment on the succession of violent deaths, the satisfaction that Clayton got from killing these men, his motivation and attitude towards justice, the prelude to each death: the shooting in the house. the visit to the mining town and the shooting in the lavatory, the burning of the house. the piercing of the man's eye etc? Old Granny? What effect did it have on him?

16. The effect on Tom Logan? The souring of the West? Motivations of vengeance?

17. The portrayal of Clayton's death? His going to sleep and the darkening of the screen. his waking with his throat cut? Audience response to his death? Logan's reaction?

18. The climax with Brackston and his death and the wounding of Tom Logan? Earl? Jane's decision?

19. How realistic was the ending? The prospect of a future for Tom and Jane?

20. How were the traditional western themes explored? Themes of American justice. law and order. heroism. good and evil?

MISS MORRISON'S GHOSTS

UK, 1981, 100 minutes, Colour.
Wendy Hiller, Hannah Gordon, Bosco Hogan, Vivienne Pickles.
Directed by John Bruce.

Miss Morrison’s Ghosts is a story about two women who claim that they were in a time warp – where they visited characters in the past including Marie Antoinette as they were walking through the palace in Versailles. The film focuses on their presentation of their experiences to a psychic society in England and the consequences where they are mocked and their livelihoods threatened.

The film is interesting in its presentation of the paranormal. Sceptics can also enjoy the drama. The film gains its strength from the performances of Wendy Hiller as Miss Morrison and Hannah Gordon as Miss Lamont.

1. An entertaining telemovie? English-style drama? Period?

2. British style: re-creation of period, atmosphere, style? Characterisation? The emphasis on elegant language? Music?

3. The screenplay and expectations: Oxford, St. Gilberts? The move to Versailles? The focus on the two women? Psychic experiences? The bonds between the women and their experiences? The enquiries and testing? Issues of 1904? Death?

4. The importance of the background: Oxford locations, the visual impact of Versailles and its style, the old world, gowns and clothes, cars and phones? The transition? Women, politics, education, science, scientific research, the occult and the psychic, religion? An '80s view of the early 20th century - retrospect and critique?

5. The portrait of Miss Morrison: as a woman, as a daughter? Her father? Severity, education, proving herself? The senior common-room? Age, decisions? The employing of Miss Lamont, testing her? The journey to Versailles, experience, identification? Writing, drawing? The isolation, ignoring Frances? Her reaction to the changes? To Oliver? Holding on, clinging? Discovering Frances and being needed? The interrogations, publication? The case, the Lord Chancellor? Stances? Her supporting Frances? Death? Wendy Hiller's performance? articulate, moods, sermon? French, her demands? Vulnerable? Change?

6. Miss Lamont and her arrival, the question of being Vice Principal, her stance, ambition? Educational backwater? Religion? Oliver and her relationship, the lyrical sequences? Help and rejection? The trip to Versailles the relationship with Miss Morrison, what she saw and experienced, her pampering Miss Morrison? Writing the accounts. the research? Power struggles, new ideas, the staff of the school? Relating to Oliver and the end of the relationship? Miss Morrison's ups and downs? The conduct of the case. Lord Chancellor? Resignation? The importance of the sermon? The ending and the rebuke? Her achievement and hopes of what she would achieve before 40? The pathos of her death?

7. Oliver as a pleasant man, the meetings, love, lyrical interludes, Versailles? His attitude towards Frances' experience?

8. The sketch of the staff, the bursar, diplomacy with the bursar, upsets?

9. The psychic theme: Dr. Hadley? A woman? Other investigators, the rejection, the review, the high court? Withdrawing from the case? Condolences?

10. The sketch of the Lord Chancellor ? pleasant, hard, political implications?

11. The actual experience and memory of it at Versailles? The relationship between the 18th. and the 20th. centuries? The research? The uncanny impact for the audience - that the audience saw what Miss Lamont saw? The research, the discussion?

12. Interesting themes and emotional response: Oxford, education, causes, women, ghosts and the supernatural?

MISS JULIE

UK, 1972, 100 minutes, Colour.
Helen Mirren, Donal Mc Cann, Heather Canning.
Directed by Robin Phillips, John Glenister.

Miss Julie is a filmed version of a stage production of August Strindberg's famous play. It is based on a Royal Shakespeare 1971 production which claimed to go back to Strindberg's minute stage directions. The film has amplified the play which usually lasts under an hour on stage. It is said that not all of Strindberg's directions have been followed and there is a 1970s tone to the presentation of sexuality, a more knowing approach and explicitness. Direction is by Robin Phillips who has been a successful actor and director. Helen Mirren, who has also achieved success on the stage with occasional films such as Age of Consent and Savage Messiah, is Miss Jule. She is supported by a stage cast. The film highlights Strindberg’s themes of class distinction, fascination of sexuality and the puritanical background which covered over explicit expression and talk of relationships. There was a Swedish version of the play in 1951 directed by Alf Sjoberg.

1. The reputation of Strindberg's play? Strindberg’s interest, character, themes, conflict, Sweden in the 19th century? His characters as symbols of clash situation, class, relationships, sexuality, despair, death?

2. The stage presentation and the transfer to cinema? The use of the text, the use of the stage directions, the confinement of sets? Did the film seem too theatrical? The amplification of the time? Qualities of colour photography, close-ups, angles, the long uninterrupted shots especially for speeches? Musical score?

3. The relevance of Miss Julie to the 20th. century? The change in society? The similarities? The same clashes and intensity? The adaptation of a 19th. century play to 20th. century interests, styles? Reflecting the 170s permissiveness. explicitness?

4. The focus on Julie? Her relationship to her weak father. domineering mother? The background of her attitude towards men? Her awareness of herself, sexuality, her engagement, the prospect of marriage? The situation of the servants' dance and the absence of her father? The attraction towards Jean? Her hearing his talk with Christine? The model of Jean and Christine and their relationship? Her confronting Jean, the insistence on the dance? Her tantalising of Jean? What drove her. compulsion? Her insisting on the lovemaking? Julie's decision to escape from her background? Her pressurising Jean? The decision to go to Switzerland? The stealing of the money, the preparations, her pet bird? Her readiness to leave and reaction to Jean refusing to take the bird? Christine and Julie's begging for help? Her reaction to Christine's refusal? Julie feeling further trapped? The return of her father and her fears? Julie thrown back into herself, her separation from her father.. from Jean? The motives for her killing herself? The portrait of a trapped girl in a specified situation as symbol for the human condition?

5. The relationship of Jean and Christine? servants in the household, manner, speech, traditions? The kitchen? The sexual arrangement? Jean and his response to Julie as mistress of the house? The dance. the seduction. the lovemaking. the decision to go? Jean's severe stances? His inability to leave? Christine and her harshness? Trapping Jean and Julie?

6. Christine and her place within the household, her love for Jean? Her work in the house? Her control of Julie? Forbidding the horses to leave?

7. Julie's father? his manner of bringing his daughter up, his relationship with his wife, her death? His strict instructions for Julie? His outing? His return and the confrontation?

8. The small stage and circumscribed events as symbolising the human condition? People trapped in their class. the class distinctions, barriers? Emotions and passion trying to break through? The strictures of society? Expectations?

9. Despair as the only way out, personal honour? Death? The reasons for the pessimism?

10. The design of the film to focus on the performances and to highlight the speeches, the imagery and insight in the speeches? The close-ups and the intensity of the characterisation? The impact of the cinema presentation of the play?