THE MISSIONARY

UK, 1982, 90 minutes, Colour.
Michael Palin, Maggie Smith, Denholm Elliot, Trevor Howard, Michael Hordern, Roland Culver, Phoebe Nichols, Timothy Spall, Graham Crowden.
Directed by Richard Loncraine.

The Missionary is an attractive and gentle satire written and produced by Michael Palin and starring him as the good-natured Reverend Charles Fortescue. He has an excellent supporting cast including Maggie Smith, Trevor Howard, Denholm Elliott and Michael Hordern.

Palin brings his skill as one of the Python actors and writers to this film. However, the touch is much more gentle, especially in its criticism of Christianity, the Church of England, the status of the clergy, morality and the British Empire. The characters are gently drawn even though at times they are gentle caricatures. The strength of the film is in its beautiful colour photography and direction by Richard Loncraine, the director of many of Dennis Potter's films and television plays.

The film was not immediately popular because of expectations by audiences on Michael Palin for a zany kind of humour. However, the film is entertaining and acceptable gentle satire.

1. The traditions of British comedy? Broad humour, satirical humour? Michael Palin's work and his drawing on the traditions of British satire? Modes, tone, style? The emphasis on gentleness and subtlety? The farcical elements within this context? A quality comedy?

2. The beauty of the colour photography? Panavision and the use of initial African locations, country settings, Scottish mountains and hillsides, London and its slums? The use of models from English painting? The early 20th.century? Interiors and exteriors? Wealth and squalor? Background of religion? Period costumes and decor? The contribution of the songs, hymns? The musical score? The atmosphere of visual beauty giving a tone to the film?

3. Michael Palin's skill as writer and actor? His humour, the gentle touch? The background of Python outrageous comedy and irony? The film as a star vehicle for himself? His ability to draw the character of the minister, pathos and sympathy? His targets of religion, empire? The innocent abroad and experience still preserving innocence? Visual humour, verbal humour, situation comedy?

4. The expectations from the title? Religious presuppositions? 19th century Church of England, mission work in Africa, the dedication to missionary work? Its being out of date? the humour of the irrelevance of the discussions of Magna Carta, sport and empire in Africa? The status of the Church of England? Ambitions, ministries, rectories? The presentation of the bishop? Protestant tone? Ecumenical? The importance of social work ? the ministry to prostitutes and the repercussions on church doctrine and morality? The question of the place of the church and its doing good? Confronting immorality and demanding "stop it"? The positives and negatives about religion? The hypocrisy - especially about the prostitutes? The decision of the missionary to move out from official religious work, his seeing that it did not meet people's real needs? A conclusion that the work of the church was sincere but irrelevant? The strengths of the plot: the ordinary story of a minister and his career, his hopes?

5. The subplots and the criticism of British society? Moral and social reform? The hopes and plans of the minister, his own marital tangles, his seduction? His manner of coping? Crisis with Lady Ames? Honour and decency? His withdrawal from the ministry and changing his future? The film's comment at the end about his dedication to Britain, the war and his patriotism? In comparison with his missionary work? The importance of the voiceover and the judgment about Charles Fortescue’s life? The initial sequence and the elimination of the name on the desk? The final credits with the collage of pictures showing Charles' life and the comment of his son?

6. The film's presuppositions about the clergy and their status? Past attitudes and respect? The 1980s? Standards, crises, loss of vocations to clergy? The comment on religion, the church and the role of clergy? The good work of the church: the bishop and his administration? Yet his being locked in manner, his interest in sport, his offhand attitude to Charles and his work? The seriousness of ministry to the oppressed? Worries? What the church actually achieves?

7. The parson and his daughter? Charles' sincerity, mission? Christianity and Protestantism? The effect? The help and the change? The human face of religion? Charles as Christlike and his Care? With Lady Arnes, with his fiancee, with the girls? The dilemma for the clergyman looking after the prostitutes? Understanding their way of life? Meeting them at their own level? The humour of the use of sexuality for conversions and understanding? The effect on Charles? On the girls? His ultimately saving Lady Ames?

8. Charles coping with England: with Lord Ames, with the Bishop, the visit to the bar, the money, the delay in his marriage? His work at the homes? The two girls? The visit of the Bishop? His visit to Scotland? His doing good and leaving? The credits giving the answers to what happened to Charles?

9. Lady Ames and her being seen on the ship, the street, the statue, the proposition, the visit, the meal and the argument? The butler and his waywardness? Lady Ames' jealousy and the visit? The poison? Scotland? The tower? The bullet and the ending? Lady Ames and her lack of love for her husband? Infatuation with Charles? The melodramatic violence? The happy ending ? and salvation?

10. Deborah and Charles' meeting with her, the wrong cues, her letters and the filing system, her impersonal approach, the raising of the money, the preparation for the marriage, her attitudes towards sexuality, the experience of being jilted? The phallic symbols and the ending?

11. Her father and his ministry, the Ames? The household?

12. Denholm Elliott's style as the Bishop? The pomposity of the Church of England hierarchy? His being a good sport? His personal interests and eccentricities? His decisions about Charles? The visit to the home? The decisions to be made about Charles' future? A sympathetic unsympathetic picture of a Bishop?

13. The satire in the presentation of Lord Ames: horseman, cartoon, his letters to the Editor and his vicious attitudes, capital punishment, spelling, sense of privilege? Cruelty? Sexuality? Hunting and drinking? Trevor Howard and his satire with Lord Ames? The final irony in his relationship with the butler?

14. Slatterthwaite and his long service with the Ames family. his searching for doors, for rooms, the meal, his being locked out, wandering to the wrong room, the irony of the ending with his going to Lord Ames' bedroom? Michael Hordern's skill in presenting a daffy caricature with point?

15. The prostitutes? conventional presentation, conventional responses? The mission and the attitude of the Church? Their business, quick relationships, standards? Their attitude towards Charles? His help and changing their life?

16. The contrast with the way of life in London with wealth, privilege and Scottish hunts? The attitude of the people gathered for the hunt? The cruelty of the hunt?

17. Verbal and visual humour, satire, miscues etc., farce and timing, the delight in the gentle humour? (And the echoes and parodies of Chariots of Fire?)

18. The final photos of the Fortescues and Charles moving into the mainstream of English life and contributing? His inability to contribute via religion?

19. How accurate was the film in its satire and in its targets? Its attitudes towards religion? Its attitude towards England?

MISSING

US, 1982, 122 minutes, Colour.
Jack Lemmon, Sissy Spacek, Melanie Mayron, John Shea, Charles Cioffi, David Clennon, Jerry Hardin, Joe Regalbuto, Janice Rule.
Directed by Costa- Gavras.

Costa- Gavras made many films from the 1960s with strong political content. He received an Oscar for his film about the Greek generals, Z. He also made a number of films with Yves Montand including State of Siege and Special Section.

During the 1980s he continued to focus on a wide range of themes including Hanna’s War and Israel. His film on Latin America, Missing, fits into this period. Among his later films was a version of Rolf Houchuth’s film about Pius XII and his silence concerning the Jews, The Deputy. It was filmed as Amen (and a greater understanding of Pius XII’s situation than was given in the original play.

Jack Lemmon, who received an Oscar nomination for his performance, plays an American businessman whose son disappears in Chile. Sissy Spacek plays his wife. This is a very serious Jack Lemmon performance – though he showed how capable he was of serious roles in such films as Days of Wine and Roses and his Oscar-winning Save the Tiger.

The film is chilling in its presentation of Latin American dictators, secret police, arbitrary arrest and imprisonment, torture. The film was critical of American attitudes towards the Latin American dictators – especially in it support of such right-wing generals as Pinochet of Chile and its (?his?) manipulating the overthrow of Allende in Chile. However, the film shows a criticism of civil wars and persecution in Latin America – which was prevalent during the 1980s including in El Salvador, symbolised by the murder of Archbishop Romero, and the dictatorship of the generals in Argentina leading to the Falklands war.

Missing still remains a powerful film and a critique of American manipulation of overseas powers, still relevant decades after this film.

1. The impact of the work of Costa Gavras? His awards? The acclaim for Missing? As drama, as political viewpoint on Latin America? Human drama? The blend of these?

2. The presentation of Latin American regimes and their lifestyle? American involvement? Business, military, political? Truth and cover-up? Lies? The background of the Nixon administration? The move to expose in the United States in the late '70s? The film's critique of the United States? Its tribute to American freedom ? and the possibility for critique? Audience presuppositions about Latin American regimes?

3. How authentic did the film appear: the use of Mexico City and Acapulco for sets? The cities and their look? Squalor in the capital, wealth? The beach resort? The luxury hotels? Suburban homes, the slums? The contrast of tradition and the aspects of the modern world? Interiors? The focus on the stadium - and its horror?

4. The structure of the film and audience involvement: the introduction to Charlie, the situation, the flashbacks, especially with Charlie's notes? The style of their insertion intruding on the action? The editing of the film, its pace? The impact of the film seeping gradually into audience consciousness rather than their being bludgeoned by points? Visual style - e.g. the witness of the neighbours and the varying testimonies? The musical score?

5. The film based on a true story? audience knowledge of United States policy in the '70s? The Allende regime? The 1973 coup? The changing of some of the facts but nevertheless the film presenting the truth of the situation? The political viewpoint? Moral viewpoint? The intensity of the critique? Its validity?

6. The American viewpoint presented: political interests in Latin America, business interests and protection? The American way of life? AntiCommunist? stances? The background of Kennedy, Cuba and the '60s? Military aid? military and economic advisers? The role of diplomacy? Protection, cover-up? The photos of Nixon and Kissinger and the film's comment on issues? The morality of American collaboration in the coup?

7. Audience knowledge of and response to Chilean political history? The impact of Allende and his socialist changes? American hostility towards him? The preparations for the coup? The film's not giving many explanations but showing what happened to the Chileans, to the surprised Americans? American military personnel and their presence? The Chilean police and soldiers in the streets? The continues shootings? The random arrests? The soldiers cutting the slacks of the women at the bus stop? The focus on the stadium and the trapped people? The body count and death toll? Secrecy? The interrogations, the breaking of rights, brutality? The style in the city with curfews, the military ? the symbol of the white horse galloping through the city square pursued by shooting soldiers?

8. Americans in Chile: living, working, being in danger? Not belonging? The ordinary citizens and their interest in supporting Allende's regime? The average American thinking his son was doing something stupid by living in Chile and working in this way? The American citizens presuming on freedom? Their being detained, being told lies, disillusioned? The question of paranoia about fascist regimes? American presumption that authority is right? The Americans involved in what was unimaginable at home?

9. The introduction to the film and the presentation of Charlie? His observing of the situation, his writing, snooping, taking notes? His belonging to an active and vital generation ? despite his father's dismissing of him and thinking of him as lazy and stupid? His friendship with Terry and taking her around? His love for Beth and his absence from her? His concern? The flashbacks to their happy way of life in Chile, the American television lifestyle adapted to Latin America? Friendly neighbours, the children, ducks, the children's stories? His being arrested? The suggestion it was a stunt for publicity? The gradual reconstruction of the events? by the use of home movies, the notes in his diary, Terry's commentary? The visualising of the flashbacks? Friendship, translation for the Left-Wing? paper, his children's books, sketches? His curiosity, asking questions? His awareness of the truth? The American citizen victimised? The significance of his being missing? The attitudes of Chileans, Americans? Worth searching for?

10. Ray Towers' analogy of a visitor to New York investigating the Mafia, being killed, disappearing and his relatives criticising the police for lack of protection? How valid was this analogy for understanding the Chilean situation?

11. The background of Beth and Terry? Beth as nice, naive, American style? Happy in Chile? Friends, helping Charlie? Her concern with his absence? His return? Her visit and being caught by the curfew? Her sleeping in the streets after being rejected by the shopkeeper? Her seeing the white horse dash through the square? almost a dream? Her arrival home to find the house in shambles? A parallel with Terry, the American on a trip, seeing the sights, discovering the truth, experiencing the curfew, interrogations and being detained? Her participation in the search?

12. Ed and his background: seeing him making inquiries in the United States: with senators, with the congressman on the walk down the corridor? Polite answers and rebuffs? False information? His decision to go to Chile? His arrival and the harassment by the officials? His feeling alienated? His comments on Charlie and his stupidity and flying 16 hours to find him? Age, experience, his not understanding his son? Religious background ? Christian Scientist? His animosity towards Beth? His suspicions of people e.g. Terry having an affair with Charlie? His polite and courteous manner? The gentleman from the United States? His presuppositions about American integrity and supremacy? His condemnation of the younger generation's 'paranoia'? Audiences identifying with him and his attitudes?

13. The characterisation of Ed as he continued his search? His collaboration with the authorities the discussion with the ambassador, the encounters with Putnam? His courtesy and politeness? The meetings, wanting to use any means, wanting to supply lists, especially to Tower? The continued antagonism towards Beth? Hostility, arguments, the condemnation of paranoia? Their questioning the neighbours and getting varying results? The discussions with Kate Noonan and his being warned against her? Following leads, reconstruction of what happened by the notes, discussions with Terry? His tiredness and irritation? Reactions to the shootings? Unable to walk because of the curfew? His anxiety in the taxi with the guns turned on them? His gradually changing, seeing other sides of the picture? His phone call to his wife? Support from the Christian Science Reading Room? His growing to understand Beth? The plea at the stadium for his son? The earthquake and his apology to Beth? The lead with the Ford Foundation and his discovery of the truth? The visit to identify the body among so many? The set-up with the British journalist? His reaction to the truth? Packing up Charlie's things and wanting all to be returned to the United States? Hostility to the ambassador, to Putnam? His demands for the body to be returned? The discussion about costs at the airport? His return, suing but failing to win his case? Writing the book? The quality of Jack Lemmon's award-winning performance - intense, subtle, understated?

14. Beth as the ordinary American wife? Her suspicions and scepticism about American authorities? Her experience of Towers' advances and not giving him the list? Her hostility towards Putnam? Her abrasiveness and its being proven right? The encounters with Ed, her regretting her insults? Keeping him company, helping him with the search? The meetings? Kate Noonan? The stadium plea? Checking the bodies? The earthquake and accepting Ed's apology? Her discovering so much of Charlie in Ed? His discovering Charlie in her?

15. The portrait of Terry? The friend and outsider? Her contribution to the search? The two writers and their friendship, their being arrested, fear in the stadium? Frank's death and the lies told? The discovery of his body?

16. The sketch of the ambassador and his suave politeness? His final talk about American business interests? Towers and his driving Charlie and Terry? Wanting lists? The C.I.A.? His help, continued presence. sinister tone? His analogy about the Mafia? The various aides and their reactions and collaboration? Putnam and his being a bureaucrat. polite. exasperated. naive cover-up? The sketch of the military aides? Babcock and his talk, Patrick and his friendliness and observations about the coup? The military authorities at the embassy? The American clique and the contribution to the coup?

17. Kate Noonan as the tough journalist? Her interviews? Helps? Her going to Bolivia?

18. Missing and the value of its portrait of the '70s? Its plea for compassion? Its protest at fascism? Its protest at American involvement in the name of freedom? The experience of another world and its issues? Freedom, truth, violence?

LES MISERABLES

France 1934, 305 minutes, Black and white.
Harry Baur, Charles Vanel.
Directed by Raymond Bernard.

Les Miserables is Victor Hugo's best-known novel. The Hunchback of Notre Dame, of course, would rival it in popularity. Both novels have been frequently filmed for cinemas and television.

This version is a classic French version of the early '30s. It was originally filmed for six hours and was screened ad two adjacent theatres with three-hour sessions. However, this seemed to be too difficult for exhibition and the film was edited to a version running almost 3 hours. The missing footage seems to be lost. The 3-hour version was also released as two films.

The storyline is familiar and is presented fairly straightforwardly in this version. In the edited copy, the early episodes of Jean Valjean's life are passed over and we see him being released. The film spends a deal of time on the episode with the bishop and the stolen cutlery. There is then a gap and Valjean appears as Monsieur Madeleine, a successful Merchant and Mayor of the town. It is at this stage that Inspector Javert appears. The bulk of the film is given to focusing on Fantine and Cosette, Valjean's going to the court to release the prisoner accused of being Valjean. The second film spends a great deal of time on the situation in Paris where Valjean is hiding, on the revolutionaries, the relationship between Cosette and Marius and, of course, finishes with the final confrontation of Valjean and Javert.

Each version highlights particular aspects of the novel. The strength of this film is in its portrait of Valjean, played by Harry Bauer, a French star of the '20s and '30s who appeared, for example, as Beethoven in Abel Gance's Beethoven's Greatest Love. Javert is played by Charles Vanel who was to appear in many French films including The Wages of Fear. He also appeared in Francesco Rosi's Three Brothers in 1979.

There was an American version of the novel in 1934 starring Fredric March and Charles Laughton as Javert. A 1952 remake starred Michael Rennie and Robert Newton. A long telemovie version was made with Richard Jordan as Valjean and Anthony Perkins as Javert.

A further version was made by Bille August with Liam Neeson and Geoffrey Rush in 1998 and Claude Lelouch made a more contemporary version. The popularity of the story is seen in the success of the musical version.

THE MIRROR CRACK'D

UK, 1980, 105 minutes, Colour.
Angela Lansbury, Tony Curtis, Edward Fox, Rock Hudson, Kim Novak, Elizabeth Taylor, Geraldine Chaplin, Charles Gray. (In "Murder At Midnight": Anthony Steel, Dinah Sheridan, Hildegard Neil, Alan Cuthbertson, Nigel Stock.)
Directed by Guy Hamilton.

The Mirror Crack'd is entertaining enough Agatha Christie, a very engaging and British St. Mary Mead, 1953, with Angela Lansbury modestly forceful as Miss Marple, but unfortunately edged out of centre screen by the ageing (and enlarging) stars: Elizabeth Taylor with plenty of showy acting and Kim Novak guesting with gusto. Geraldine Chaplin has an enigmatic secretary role. In fact, it is a ladies' film - only Edward Fox, full of cinema buff fan worship as Inspector Craddock, makes strong impact.

The screenplay, with many red herring cinematic tricks, is full (too full?) of in-movie references. homages and chatter and the two leading actresses thrust invective with barbed zest. Plenty of spit, more polish required. The film is from the same production team who made Murder On The Orient Express, Death On The Nile and Evil Under The Sun, the latter two with Peter Ustinov as Inspector Poirot.

1. The popularity of Agatha Christie’s novels? Film versions? Ingenious plotting? Ingenuity in solving mysteries? The appeal of Miss Marple as sleuth? The perennial appeal appeal of murder mysteries, crime, clues, jigsaw puzzles, unravelling puzzles?

2. The stylish treatment of Agatha Christie’s plot? Britain, the atmosphere of 1953, life in the village? British film-making of the time? The movie world ? Hollywood in England? The range of stars and their glamour? The prologue with the mock '50s British mystery film? Musical score and its atmosphere?

3. The title, the quotation from Tennyson.. The Lady Of Shallot and her face frozen? Marina Gregg and her freezing during the cocktail party, at the finale?

4. The atmosphere of the prologue - British black and white film-making of the '50s, creaky plotting, midnight, the Inspector and the analysis of all the complicated plot twists? The puzzle? Audience curiosity being roused? Frustrated by the breaking film? The indication of the theme of movie-making and movie hallucination for the film? The use of Anthony Steel, Dinah Sheridan and other stars of the times? The ploy to introduce Miss Marple? Her explaining the characters in the film, the impossibility of their doing the deed, solving the mystery and her being right? An enjoyable way of introducing the film and the detective?

5. Angela Lansbury's interpretation of Miss Marple? (Echoes of Margaret Rutherford - but so different?) Her place in the village? at the film screening, her home, her age, her alertness, love of gossip and analysis of human nature, her presence at the fair, her fall, the doctor's visit and her recuperation, her method of getting information from Cherry, the visit of Dermott and sharing the detecting of the murder? Her seeing Miss Zielinsky telephone? Her waking up in the middle of the night with the solution? Her explanation of what had happened? Her compassion for Jason Rudd, for Marina Gregg? A good interpretation of Agatha Christie's character? The reason for audience liking her and her continued appeal?

6. The background of filmmaking - film people, Hollywood types, their phony talking, socialising, impressing the fans, courtesy to the fans, discussions about the roles of directors and producers? The loudmouth producer's style? Stars and their glamour and self-opinion? Publicity stunts? Bitchy interchanges? Tests, make-up, costumes? The shooting of scenes? The reality and unreality? Fans and their admiration? Stars and their readiness to re-enact their roles - even in real life?

7. The establishment of the village and its atmosphere, Mrs Bantry and the taking over of the house? The build-up to the fair and the crowd? Marina Gregg and her participating in the activities of the fair after the fanfare? Heather Babcock and her admiration? Her being invited into the house, to talk to Marina Gregg? The impact of her incessant chatter - the audience sympathising with Marina and her courtesy? The sudden freezing? The portrait of the Madonna and Child? Lola Brewster's performance? The significance of Heather Babcock's story? Its being referred to in Cherry's recounting of the story? The final flashbacks and Marina entertaining the troops? The kiss and the freeze-frame? The party atmosphere, the people and their interaction at the party, the possibilities of Heather Babcock being killed - as victim, or by mistake for Marina Gregg?

8. Elizabeth Taylor's style as Marina Gregg - the star, her reputation, Oscars, marriage to Jason Rudd. her grand entrance at the fair, meeting the people, the cocktail party and her listening to Heather Babcock, the bitchy exchange with Lola, her breaking things and indication of breakdown, the interchanges with Lola during the filmmaking? The scene with the cup of coffee? Her relationship with her husband? Her acting with Inspector Craddock and his seeing through it? The threatening letters? The build-up to the finale with Jason? Her death and lying regally in death? The explanation of the pregnancy, birth of her child, breakdown? (Agatha Christie is said to have taken the basic incident from the life of Gene Tierney and the birth of her blind child).

9. Jason Rudd an American director type, his phone calls and running of the film, relationship with Ella and breaking it? His devotion to Marina? His offhandedness with the Inspector? The directing of the scenes of the film? His realising of the truth? The final interchange with Marina and his decision to kill her? His crying at the truth? His being saved from prison by Marina? Rock Hudson in this role?

10. Kim Novak and Tony Curtis acting it up as star and producer? Lola's entry, posing, bitchy talk. self-importance, scene with Inspector Craddock, ruining Marina's scene, planning big scenes for herself? Her pressure on her husband? and his acting the producer with loud mouth?

11. Ella and her love for Jason, her efficiency, her jealousy of Marina. the phone calls, her coping with situations. the ugliness of her murder?

12. Inspector Craddock and his relationship with Jane, his eerie first entrance. his knowledge of films and enjoyment of them, interviewing people at home, at the studios? Sharing experiences with Miss Marple? Miss Marple solving the crime?

13. The glimpses of the village - Cherry and her observing of things. the Vicar and the comic sequences, the doctor and his visit? Mrs Bantry?

14. How enjoyable a blend of humour, puzzle. sorting out motivation and action? The murder mystery as the highlighting of the sombre aspects of human nature?

THE MIRACLE WORKER

US, 1979, 98 minutes, Colour.
Patty Duke, Melissa Gilbert, Diana Muldaur, Anne Seymour.
Directed by Paul Aaron.

The Miracle Worker was a success as a play and as an Oscar-winning film for Anne Bancroft and Patty Duke in their roles of Annie Sullivan and Helen Keller. Direction was by Arthur Penn who went on to make such striking films as Bonnie And Clyde and Little Big Man. The producer of the stage play and the film was Fred Coe. In the late 1970s he decided to produce a remake for the television audience. Patty Duke, who made such an impact as Helen, now takes the role of Annie Sullivan - with her own style but also reminiscent of the performance of Anne Bancroft. Melissa Gilbert of The Little House On The Prairie takes on Patty Duke's role - a little older but giving the part of Helen some force.

William Gibson has adapted his play and screenplay for the television audience. Thus, it is very similar in presentation to the original film. Comparisons can be made and many of the sequences are just as effective in this telemovie. However, the tone of the film seems less passionate because of its adaptation for the home viewing audience with commercial interruption. The earlier film was in many ways stark in black and white, and melodramatic. This film has colour photography and a pleasantness about it as well as the forceful drama. (And a sentimental score). However, it is an important theme well treated and makes impact for the home audience. The supporting cast is good, perhaps better in many ways than in the original film. Direction is by Paul Aaron who had made only minor dramas and action films at this stage.

1. The impact of the film as telemovie - the adaptation of the play and the original film for the home audience? Capturing the importance of the characters, issues and drama for home response? The reputation and esteem for Helen Keller and Annie Sullivan? The knowledge of their story? Achievement? Themes of humanity, the disabled, encouragement in the face of outstanding difficulties? The contribution of this film to continuing that story?

2. William Gibson and his devotion to Helen Keller and Annie Sullivan's work? His play and its reputation, the original film version and its awards, the play about Helen Keller growing up? The communication of the Miracle Worker story through a telemovie in the '80s? The commitment of producer and writer and stars to their work? The contribution of the stars, especially Patty Duke in the light of her previous performance as Helen?

3. The adaptation of the play and film for the '80s audience? The choice of telemovie, the home audience and its response, intensity with pauses? Colour photography? The highlighting of the characters and the acting and their interaction? Musical score?

4. Helen and Annie in their period? The post-Civil War South? The family and the respect for the Captain, even from his wife? The 19th century manner and style? The primness of home life? Nineteenth century Americana?

5. The Keller family and its being ruled by the Captain and his understanding of rules and people in their place? Katie and her devotion to her husband? Her softness? Her love for the baby? Their concern about Helen and the puzzles of how to treat her and what to do with her? Jimmy and his not being listened to? The family revealed especially in the meals sequences? A house of order,' rules, good manners? The decisions being made by the Captain, but his relying on Katie? The quality of love and compassion in the family? Their spoiling Helen, caring, not knowing how to care? The threat of Helen having to be put into an institution?

6. The initial impact of Helen wandering in the fields at the opening? The difficulties of her being cut off from the rest of the world? Her inability to communicate? The wild child? Her being given what she wanted out of a spoiling compassion? Her not learning? The memories of her having recognised water? Her parents and their dilemma? The various helps they had tried? Their hopes? The visit of Aunt Em and her return with Helen so changed?

7. The crossing to Annie and the resume of her experience, suffering, operations, learning, courage? The doctor and his confidence in her, his exhortatory speech? The difficulties of the train journey? Her eagerness? The clashes with Jimmy? The straight-talking to the Kellers? Her hopes and her capacity for giving?

8. The initial response of the family to her age? Rules? Her being locked in and having to be rescued by ladder? Katie and her wanting to learn sign language? The Captain and his avoiding Helen? His wanting to dismiss her but his apprehensiveness? The family upset at Annie's treatment of Helen during the meal? The decision about the two weeks away from the family? Their observing Annie at work? The party and Annie's work almost being ruined? The stances taken by Katie, by Aunt Em, by the Captain? Jimmy's confrontation of his father? The decision to give in to Annie and her methods?

9. Annie and her attempts to communicate with Helen? The initial encounter with its communication and violence? Love, fighting, Helen taking the key, locking Annie in the room? The seeming communication and then the violent reaction? Annie's coping with the wild child? The film's focus?

10. The two weeks, the help of the negro boy, Annie's hard work, filling Helen with data about learning, words, objects, persons? The gentler touch? The effect on Helen and her calming down? on Annie and her capacity for giving? The importance of Annie's memories, especially about Jimmy and her dialogue with him? Her explanation to the Kellers of the horrors of institutional life?

11. The return and the possibility of success? Helen's reversal to violent behaviour? Her testing out everybody? The possibility of failure?

12. The emotional impact of the success, Helen's recognition of water, her speech, her signing the word 'teacher' to Annie, recognition of her family? The effect for the audience in encouragement and hope?

13. The postscript and the effect of Annie Sullivan's work on an individual and its repercussions for the world? The highlighting of the achievement of the self-sacrifice and giving of one person?

14. The warmth of the film - especially Patty Duke and her long experience with the play, her experiencing performing the role of Helen and the knowledge she brought to that of Annie? Melissa Gilbert and her qualities of strength, having to communicate Helen's character without the benefit of words? A satisfying telemovie? Entertainment and uplifting?

MIRACLES STILL HAPPEN

Brazil, 1974, 90 minutes, Colour.
Susan Penhaligon, Graziella Galvani, Paul Muller.
Directed by Giuseppe Maria Scotese.

Miracles Still Happen is a curiosity item. A Brazilian production starring English actress Susan Penhaligon, the film is based on a real incident. The disaster material is adequately presented, the family story not so convincingly. Based on a true story, the film presents a young girl on a flight which crashes. There is the usual background of her relationship with her mother and father, the relatives expecting her at the end of the trip and their panic when the plane does not arrive. The main focus is on the flight, the crash and her survival. Alone and in the Amazon jungle, she has the expected difficulties to overcome, which she does with great courage.

There are the expected dangers from trees, water, insects, animals. There is weariness, the need for food and water, injuries. The moralising touch for the film in the title. There are many other similar films e.g. Sally Struthers in Hey, I'm Alive. A much more persuasive film about a plane crash and characters involved in the crash and their survival is Barry Shears' film of a true story of a crash in Florida in 1972: Crash.

THE MIRACLE OF THE WHITE STALLIONS

US, 1962, 118 minutes, Colour.
Robert Taylor, Lilli Palmier, Eddie Albert, Curt Jurgens.
Directed by Arthur Hiller.

The Miracle of the White Stallions is a Disney drama of the early '60s. Commentators note that it is not typical Disney material or treatment.

It is based on the true story of The Dancing White Horses of Vienna by Colonel Alois Podhajsky. Podhajsky is portrayed in the film by Robert Taylor (very stolidly). Lilli Palmer is her usual self as his wife. Curt Jurgens is the sympathetic General Tellheim. The supporting cast includes Eddie Albert and James Franciscus in an early role. John Larch has an interpretation of General Patton. The film was directed by Arthur Hiller, a director from television who was to make many successful films in a range of genres over the coming decades including such films, as Love Story, Man of La Mancha.

The film is a war story with a difference: the crisis of the Spanish Riding School in Vienna, its stately Lippizan horses and the decisions made about its evacuation and its being safeguarded from the advancing Russians by General Patton's Americans. Some commentators have found the film a bit stiff and starchy ? it is, but is also a worthy kind of entertainment.

1. A war story with a difference? For adult audiences? Children's audiences? From Disney productions?

2. The use of European locations? the atmosphere of Austria during the war, the Spanish Riding School, mansions and castles? The war sequences and the atmosphere of World War Two? The portrayal of the horses? in performance, in the roundup and their being saved? Editing and pace? The musical score - and the Sherman Brothers' romantic ballad 'Just Say Auf Weidersehen'?

3. The title and the focus on the saving of the horses? The Spanish Riding School and its 200?plus years of tradition, the quality of the horses themselves. the breeding, the training? The performance for General Patton and his decisions to save them? The grand finale with the restored horses and school?

4. Robert Taylor as Colonel Podhajsky: a stern man, his worry, his background as an Olympic champion? His dilemma about the horses? His friendship with General Tellheim? The taking of the mares to Czechoslovakia? The need for escaping with the stallions? General Tellheim,'s enabling him to do so? His friendship with the General. their evening of music and talk, the General's suicide? The friendship with the riders? His relationship with his wife? The evacuation of the horses? The problems with the advancing Russians? The Countess and her hospitality at the mansion? The danger from the refugees and their attempt to take the horses? Rider Otto being shot? The support of his wife? Her presence, contribution? The advancing Americans, Major Hoffman and his interest in the horses? The performance for General Patton and his seeming not to be impressed? His strategy for the saving of the horses? The roundup,) Colonel Podhajsky's flying to them? The restoration of the riding school? The 1955 epilogue with the horses once more performing?

5. The portrayal of the German military - the Nazi officials, the intimidated local Mayor, the humanity of General Tellheim and his helping. his weariness with the war. his not wanting to face war trials, his evening with the Podhalskys and his suicide? The local military and the Czechs, the betrayal and the attacks by the Russians on the rescue party? The portrait of the rescued refugees and military personnel?

6. The Americans? the support of Major Hoffman, General Patton and his reaction to the performance, his decisions, the American officials?

7. The portrait of the Austrians? the riders at the school, their farewell song? The Countess and her hospitality? The refugees and their stealing, trying to take over the horses?

8. A blend of human drama, war story, questions about the morality of war, the attitudes of the occupying armies? An animal story - and the tribute to the Spanish Riding School and its horses as a work of European art worth preserving?

MIRACLE MILE

US, 1988, 87 minutes, Colour.
Anthony Edwards, Mare Winningham, John Agar, Mykelti Williamson.
Directed by Steve de Jarnett.

Miracle Mile is a nuclear, what if ... ? melodrama. While some have found it persuasive, most have found it unrealistic in its situation and especially in its treatment. It is highly stylised, a night moving into a day when the nuclear explosions occur in Los Angeles. The characters are well-acted, there is a group of character actors in support - however, the overall effect seems more and more implausible. The intentions of writer and director Steve de Jarnett are very good, but the result is, at times, ludicrous.

1. Nuclear film? The imagination: what if… thriller?

2. The title, Los Angeles, located in the miracle mile and its environment? Action?

3. Special effects, the nuclear explosions, the helicopter? Tangerine Dream, atmospheric score?

4. The plausibility of the plot, the treatment? The phone call, panic and action, authorities concealing the blast? The fact of the explosion?

5. The plausibility of the treatment: characters, action and behaviour, dialogue?

6. The introduction and its cosmic effect: the slides, the history of evolution and the world, the museum and its exhibits, the tone?

7. Harry and his voice-over, seeing Julie, losing her, meeting her, the meal and freeing the lobsters, making the date, meeting the grandfather and his genial tone, the grandmother? Going to sleep, the electric accident, the
clock not going off? His cigarette, the bird and the film? Waking late?

8. Harry's background, character, going to the diner, the types in the diner, the girl behind the counter, ringing Julie? Going outside, Chip's phone call and his answering it, disbelief, the credibility or not, his subsequent behaviour, telling everybody, the increasing panic?

9. Landa and her phone, her organisation, finding out the truth? Fred and the diner, his staff, threatening Harry with the gun, storing the truck with food, driving away frantically, taking Harry, pushing him off? The workers and their sex talk, disbelief, going? The transvestite and his decision to stay?

10. The encounter with Wilson on the highway, holding him up with the gun, his. stolen goods, driving frantically, going to the petrol station, the police arriving, his dousing them and the explosion, driving away, leaving Harry, going to get his sister, crashing into the department store, his death and his sister's death?


11. Julie not knowing, the grandmother with the gun, the grandparents reconciled and preferring to stay and die, their final quarrel, happiness? Julie's happiness? Julie and her discovering of the truth on the roof, running and searching?

12. Harry and his search for the pilot, the gymnasium, hiring the pilot, his wanting to take his male companion? His returning with the helicopter?

13. Scenes of looting, television interviews and the shooting of the announcer, the violence, the cars in the streets, the madness?

14. Julie and Harry going to the lift, the building, the helicopter, the explosion, the crash of the helicopter, in the tar pits, their hopes in dying together?

15. The visuals of the nuclear blast on Los Angeles? The impact? Leaving the audience with these visuals, sharing the experience of their hero and heroine, observing them? The point being made about nuclear war?

THE MIRACLE

US, 1959, 121 minutes, Colour.
Carroll Baker, Roger Moore, Walter Slezak, Vittorio Gassman, Katina Paxinou.
Directed by Irving Rapper.

The Miracle is a big religious melodrama, filmed in garish colour and Technirama in the late '50s. Originally it was a play by Karl Vollmoeller, produced on stage by the celebrated Max Reinhardt.

Director Irving Rapper (Now Voyage, Deception) said that he was unhappy that Carroll Baker was the star and had been imposed on the production by the producer. She had made a mark in Baby Doll and The Big Country. However, she is not persuasive in the central role of the novice who falls in love with the British Dragoon and escapes from the convent where the statue of the Madonna takes her place until she returns. She also experiences a range of lives in the Spain of the Napoleonic wars. Roger Moore is the dashing hero. The supporting cast, however, is where the strength of the acting is. There is a loud score by Elmer Bernstein and an atmosphere of Hollywood religiosity - thunder and lightning and religious choirs.

1. An entertaining piece of religious melodrama? As a religious film? As a romance?

2. The contribution of the colour photography, the atmosphere of 19th century Spain, the use of Technirama? The resounding score? The echoes of popular Spanish songs? The special effects - especially for the miracle itself and the accompanying meteorological furore?

3. Audience expectations of such religious films? Presuppositions about the Catholic church? 19th century Spain? Convents and vows? The nature of religious life? Devotion? How well did the film use conventions? Did it rely on stereotypes?

4. The title of the film and the focus on miracles and plausibility? The material of pious legend? The miracle presented credibly? Its contribution to the plot? The importance of Sister Teresa's dedication and the Madonna taking her place until she returned?

5. Carroll Baker's performance as Sister Teresa? Her place as a novice? Her background of being in the convent? Life in the village? Life in the convent? The devotion to the Madonna? Her encounters with Captain Stuart? His relationship to the Duke of Wellington? The background of the Napoleonic wars? The Sisters helping with the wounded? Her looking after Captain Stuart? The infatuation and falling in love? Her decision to leave the convent and follow him? Thunder and lightning and storms? Her not finding Michael? The encounter with the gypsy band? La Roca and her rescuing Teresa from the French troops and their drinking? The news of Michael's death? Teresa's marrying Guido? The angers and Guido's death? La Roca's shooting Carlitos? The friendship with Flacco the musician, her going to Madrid, Teresa becoming a celebrated singer, the encounter with Cordoba, Kasimir the rich aristocrat and her work on the stage? The affair with Cordoba and her telling him she did not love him? His death in the ring? The overall effect on Teresa and her sense of doom with those she encounters? Her popularity all over Europe? Her presence at Brussels, the Battle of Waterloo? The encounter with Michael, the news of the drought in her village, her repentance (how persuasive)? And her return to the convent? The Madonna's statue returned to its niche? The breaking of the drought ? and the return to normal life?

6. Roger Moore's portrait of Michael? The English officer, his presence in Spain, injury, his response to the nuns' care, to Teresa, his not knowing what had happened to Teresa? The later encounter? His telling her about her village? The separation?

7. The supporting cast? the gypsy band and the vitality and vigour of their life, the violence? La Roca and her angers? Her saving Teresa? The marriage to Guido? His regard for Teresa? The brothers' anger? The shootings? The gypsy musician?

8. Teresa's life as a celebrated star? in Madrid, the atmosphere of the bullfights, the stage, the salons of the wealthy? Her admirers young and old? Her fateful effect on them?

9. The sketch of the Napoleonic times, the invasions, the English battles ? even Waterloo?

10. The film's portrait of the Duke of Wellington and the historical circumstances of the time?

11. The piety in the legend of the Madonna taking Teresa's place? The portrait of the nuns in the convent and their way of life? The restoring of all things to order?

12. Audience enjoyment of this kind of religious legend? The overtones of popular piety and devotion, sentimentality?

MINNIE AND MOSKOWITZ

US, 1971, 115 minutes, Colour.
Gena Rowlands, Seymour Cassell, Val Avery, Tim Carey, Katherine Cassavetes,
Directed by John Cassavetes.

Minnie and Moskowitz is a film written and directed John Cassavetes. He has made such films as Shadows, Too Late Blues, Faces. He went on to make Husbands and a Woman under the Influence. His wife. Gena Rowlands. features in many of his films. So do many of the Cassavetes' and the Rowlands' families. In this film Minnie says the films set us up. She says they condition us to think of life as glamorous and that problems are solved at the happy ending. While the film has the happy ending, its characters are not glamorous. They are eccentrically ordinary. John Cassavetes focuses on his characters' faces, exploring their personalities in the details of their expressions and their conversations. Some of the sequences in this film are outstanding for this, hilarious but compassionate. Gena Rowlands and Seymour Cassell are memorable as two people whose story does not really amount to very much at all but whose troubles and happiness are everything.

1. How attractive was this film, how enjoyable? What was the purpose of making the film, what audience was it made for?

2. The detailed focusing on two characters? The structure of focusing on each, then bringing them together? What impact, how effective?

3. The importance of the film's style: the emphasis on realism, improvised dialogue, close-ups of the characters? The self-contained nature of many sequences, interesting and humorous episodes building up characters? A focus on characters and types? The role of monologues, the quality of dialogue? especially with the improvisation? The success of these techniques?

4. How interesting and likeable was Seymour Moskowitz? As first seen at his work in New York, what kind of man was he? His kindness, irritability, eccentricity? Going to see Bogart? The nature of his work and ambitions? Money? His love of cars? A lot of talking? His hippy appearance? The fact that he was getting older?

5. The insight via the encounter with the man in the cafe? The reciting of poetry? Seymour's buying him a meal? This as an indication of the atmosphere and way of life of Seymour? The New York atmosphere?

6. The change of atmosphere in California and way of life? Seymour's getting the money from his mother? California as the fulfilment of a dream? A goal for Seymour? What did he hope to achieve?

7. The first presentation of Minnie? How attractive? what kind of a woman? Her artistic work? Her going to see Bogart? (The different approach to that of Seymour). Her comments on films and real life? Her enjoyment of talking? Her relationship with Florence? Their drinking at how together? Happiness and unhappiness?

8. The importance of the encounter between Minnie and Jim? The insight into Minnie's emotional approach to life? Her dependence on men? Jim and his cruelty? Jim’s visit to the library and bringing his son? What insight into Minnie’s crisis did this encounter offer?

9. Minnie's date with Zelmo? His incessant talking? The manifestation of his needs? The development of this character even in short sequences? The impact on Minnie?

10.Minnie and Moskowitz coming together? Fate? His gallantry, the punches, taking Minnie off in the truck? Their impressions of each other?

11.The effect of Minnie on Moskowitz? Love and pushiness? Depression? Excitement? Erratic behaviour?

12.The effect on Minnie in terms of fear and embarrassment? Her inability to cope? The importance of the sequence with the Hendersons? The fight? The change of attitude of Minnie?

13.The progress of relationship to marriage? How credible? Were the two compatible? The two mothers? How enjoyable was this sequence? The Jewish background of Moskowitz and the Jewish mother? The WASP background of Minnie and Mrs. Moore?

14. The humour of the wedding? As a culmination for the film? The party and the hope for the future?

15. What would happen to Minnie and Moskowitz after the film? Would they have a happy life together?

16. What insight into men and women did the film offer? How valuable the insights?

17. The picture of American society? The various details and their nuances?

18. Insights into the nature of love and loneliness? The theme of hope and human nature? How particularly American was this film? Impact in America, on non-American audiences?