THE MAN WHO FELL TO EARTH

UK, 1976, 138 minutes, Colour.
David Bowie, Rip Torn, Candy Clark, Buck Henry, Bernie Casey.
Directed by Nicolas Roeg.

The Man Who Fell To Earth is quite exotic science fiction by former photographer, now director, Nicolas Roeg. The main impact is in the look and in the complex, difficult to follow technique of suggestion, short sequences not helpfully in sequence. In fact, style probably makes the basic plot of an extraterrestrial alien succeeding in business in our world in order to serve his own, but being overcome pathetically by earthly technology, alcohol and mean mindedness seem more profound than it is. David Bowie, in an acting role, is very well cast as the strange, ageless benevolent visitor and suggests much by his appearance and mannered style. Clever, stylish, a comment on technology and human disillusionment.

1. The impact of the film in terms of entertainment, visual style, cinema techniques, science fiction parable? The reputation of the director?

2. The inter-relationship between content and style? How important was the content, truisms, conventional material, sometimes cliche? How much profundity? How important was the visual style, the crosscutting and intercutting editing? The visual commentary of one sequence on the other? The cumulative effect?

3. The quality of colour, Panavision, American locations, New Mexico, cities, technology? A picture of contemporary America? The importance of the variety of musical comment? Popular songs, music, popular and classical? Snippets? The various placings? The television equipment, the multitelevision screens? The content on the television screens? The importance of film clips, eg Love in the Afternoon in the early hotel sequences, The Third Man during the discussion between Mary Lou and Bryce? Films and television and the mass communication world? What kind of atmosphere?

4. The quality of the film as science fiction? As science fantasy? How plausible was the basic plot? Extraterrestrial life, development, civilization? Interplanetary communication? Advanced technology on other planets? Visitors on the earth and their not being detected? Science fantasy as an interpretation of the present, science, technology, society, money making corporations, ruthlessness, human relationships?

5. The tone of the title, the visualising of it during the credits sequences? The recurring visual presentation of the fall? The New Mexico town as the location of the fall? Newton's revisiting it? (Who was the mysterious man watching his arrival?)

6. David Bowie as Newton? His physical appearance? Thinness, red hair, asexuality? English tone of voice? His style? Newton and the mystery of his arrival, the mystery of his identity and British citizenship? His walking down the hill, into the town, to the shop and the encounter with the old lady, the selling of the rings and their significance? The importance of money and building up money for his plan?

7. The contrast with his encounter with 0liver Farnsworth? The psychology of his pressurising Farnsworth into working for him? Farnsworth as a character, lawyer, person? Skill at his work? Understanding of the patents? His relationship with Trevor? The oblique presentation of homosexuality? His communication with Newton by phone? His success, his ageing? The confrontation with the corporation and Mr. Peters?

8. The introduction of Bryce? At the university, sexuality and the encounters with his students? His cynical approach? Why did he become curious about World Enterprises? His decision to change his job? His interest in Newton? Prying? The exhilaration of his work, his home? His impatience and communication with Farnsworth? The mysterious encounter during the night with Newton? His meeting and their discussions? His curiosity, photography? was it credible that he would betray him?

9. The presentation of commercial success, multimillion dollar empire, television, commercials, news items? The significance of this success? the American dream?

10. Newton as a person? His seclusion? The accidental significance of his fainting in the lift, his encounter with Mary Lou and the consequences of this? The balance between seclusion, communication by phone. business acumen, scientific inventions? His weak health? Did the audience really understand him as a person? How important were the memories of his previous life?

11. The visualising of his memories - the songs? Try to Remember and the presentation of happy life on his own planet, family (the appearance with the overtones of astronauts?), the changing of the seasons, the drought? The vehicles? His mission? The build up to his wife and children suffering? The means of communication from one planet to another, radio and television? The placing of the various flashbacks - extended, snippets? As a mans of understanding the emotions of Newton?

12. The character of Mary Lou? The chance encounter, her incessant talking, her helping? Her kindness? Helping him with his health, with the television? Their setting up house together? The possibility of joy? the significance of the church sequence? The gradual union with love? The change after this? (Comment on the technique of the love scene and the cross-editing from the lovemaking to what happened after? Was this better than a straightforward presentation?)

13. The transition then to the space plan? Bryce and his importance, Newton's sharing with Bryce and his hopes? The visualizing of the space project? The build-up to the blast off and the use of documentary footage to give an authentic atmosphere?

14. How did Newton go into decline before his possibility of escaping? The importance of his resuming his extraterrestrial appearance and the fright for Mary Lou? Her reaction to the discovery of the way of lovemaking? Audience response to his appearance, his face, head, eyes?

15. The importance of the visit to Bryce and Bryce photographing him? Newton's reaction after this? Decline in powers? The influence of alcohol?

16. The transition from success to kidnapping? The oblique presentation of the kidnapping? Motivation of the corporation and the sequences indicating Peters' motivation? The importance of the encounter with Oliver Farnsworth and the ludicrous nature of his death? the window not breaking at first? The killing of Trevor? The visual presentation of their falling to earth? The kidnapping of Newton and his imprisonment?

17. Audience response to so much medical testing? The motivation, the style? His pleas about his eyes? His being imprisoned in the hotel? The irony of the long tracking shot through the hotel, the table tennis? His being imprisoned and watching television? The contrast with Peters and the opulent luxury of his taking over, style of life? The justification of Peters' takeover because of financial equilibrium?

18. How ironic that Bryce should betray Newton?

19. The importance of Mary Lou's visit? Her ageing? Playing table tennis? Why had they fallen out of love with each other? Was anything else possible? Newton and his decline of powers, imprisonment, the years passing?

20. The impact and momentum of his escape? That people no longer cared about him?

21. The aftermath: Christmas and Mary Lou and Bryce living together, the Santa Claus sequence, Bryce's discovery of the record? Mary Lou living in ignorance? Bryce tracking him down and the pathos of their final conversation and Newton's decline, that he had suffered too much?

22. The significance of his failure? The importance of how much human beings rake what is mysterious suffer? The threat of the unknown and the unknowable? Man's destructive capacities? The irony that Newton said his fellows would have treated Earth visitors in the same way?

23. A cinematic achievement? Did it match the intellectual and emotional content of the plot and thews?

MAN OF THE EAST.

Italy, 1972, 125 minutes, Colour.
Terence Hill, Yanti Somer, Gregory Walcott, Harry Carey.
Directed by E.B. Clucher (Enzo Barboni).

Trinity fans will get a shock to find Terence Hill washed, tidy, quoting Walt Whitman and affecting a cultivated accent as Viscount Sir Thomas More, come to the West to settle. The film makers are again obviously having fun with Western conventions and cliches, audience expectations (and box-office takings). Somehow or other, they manage to have their cake and eat it too - plenty of fist fights and shooting (though no killings and practically no blood), but a message that intelligence is needed to succeed in the west. Fortunately, Sir Thomas - Tom - finishes by having everything. Light knockabout farce and some humorous satire.

1. The implication of the title - for a Western? was this typical for the humour of the film?

2. How interesting was it for Western fans to have Terence Hill do the opposite of his Trinity performance? How well did he portray Sir Thomas More? Was he a strong enough hero for the film? How did the film emphasize his style ? his posture, the trip in the train, his amazement at the West, his quoting poetry, his cultivated voice.. his behaviour towards the others in the town, his bicycle etc.? was he a convincing student from Cambridge? How ironic for Westerns was having an English cultivated hero in the West (portrayed by an Italian)? What laughs were being had at the expense of Western conventions?

3. Was the film in favour of intelligence in the West over brawn or was it anti-intellectual? Why? Which sequences could be used for either side of the argument?

4. How well did the film portray the background of Sir Thomas More's associates? How did this give the film a chance to have some humour and violence?

5. How straightforward was the romance? was it meant to be taken seriously? The romantic heroine and her father? The villain who was to marry her? Sir Thomas More and Byron's poetry? The sequences by the river? The slow motion riding ? what was being satirised here? The final fight? Was this a good satire on Western romance?

6. How interestingly did the film show the clash of values between what Sir Thomas stood for and in his education and the background of his associates and his father? His studies.. especially about insects and the lack of comprehension of his associates? Did the film take sides?

7. Why did Sir Thomas have to change into Tom? Was the change necessary? What did the month of change show about traditions of violence in the West ? of being a good fighter and good gun fighter?

8. Did the film have it both ways? By showing fights at length, in the saloon, in the streets? And then showing that brains should prevail over brawn?

9. The nature of the villain? Was he too sly? Was there satire in the presentation of the villain? The final showdown? Again did the film have it both ways? A strong stoush? And yet the good nun prevailing at the end?

10. What were the implications of the ending when Tom's associates found the sea and had to turn back? Did it prove he was right?

11. How seriously should films like this be taken? Are serious questions entirely out of place? or are they implied in the satire, even though it is meant to be good fun and box office success?

THE MAN OF A THOUSAND FACES

US, 1957, 122 Minutes, Black and White.
James Cagney, Jane Greer, Dorothy Malone, Jim Backus, Robert Evans, Roger Smith.
Directed by Joseph Pevney.

The Man of a Thousand Faces is a very interesting biography of Lon Chaney. James Cagney is very good indeed in the central role and communicates something of the background of Chaney's acting from his experience of his deaf parents, to his self-assertion and sad experiences of his life. Dorothy Malone gives a very good performance as his first wife. (She had won an Oscar for Written on the Wind at this time.) The recreation of Chaney's acting and especially his film roles as The Hunchback of Notre Dame and Phantom of the Opera are of great interest to audiences. It is interesting also to note that Robert Evans portrays very sympathetically the young Irving Thalberg, the producer who helped Chaney. Evans was to give up acting and become the producer of such films as The Godfather and Chinatown. An interesting biography showing something of the atmosphere of Hollywood in the 20s. (The Robert Evans story is shown in detail in the 2002 documentary on him, The Kid Stays in the Picture.)

1. Audience interest in Lon Chaney, Hollywood in the early decades of the century? The quality of this biopic? In film making and its history?

2. The timing of the release of the film. 1957? Lon Chaney in people's memories, the quality of this tribute to him at this time, the appreciation of his talent in the perspective of filmmaking of the 50s? The tribute to him now and silent film making in the perspective of longer developments?

3. The use of black and white photography and Cinemascope? The musical score and the background of the period? The re-creation of America, burlesque and vaudeville,, Hollywood in the early decades? The atmosphere and aura of Hollywood and film making?

4. The focus of the title on Chaney and his ability, the advertising gimmick for him in the late 20s? The ability of Chaney not only for make-up but for adapting his character and acting to his make-up? The importance of showing him with his make up skills? The familiarity of audiences with such characters as the Hunchback and the Phantom and many of the dramatic interludes of his life being played in this film in make up? The final impression of Chaney and his versatility?

5. The structure of the film and the opening with Irving Thalberg? Memory of Thalberg as the wonder producer of Hollywood and his early death? The quality of his tribute to Chaney and our seeing this throughout the narrative? The impact of the opening with Chaney's death? The tribute technique?

6. The initial focus on Chaney's family as deaf? The visualizing of many of the household scenes, the communication, the influence on Chaney in his interpretation of afflicted people? His fight as a boy and the reason for it, the symbolism of his fighting for his parents and himself and his identity?

7. The importance of the portrait of his parents: in themselves. their dignity, love, communication, the response of their children who could speak and hear?

8. The introduction of Cleva: her being late for the show, her slipping, the symbol that she had glamour but was not able to follow through, making mistakes? The happiness of the marriage, the build-up to the visit to the parents, audience reaction to her inability to cope? The failure of her appreciating the Chaneys? Her disowning her baby, the difficulties of the birth. the three weeks after the birth and the joy when the baby could speak? The film's technique of passing over five years with this atmosphere? Her decision to get a job, her reaction to Lon and also to the baby? Chaney's inability to hear her and her needs and the melodrama of the acid swallowing? Her absence then from her husband's and child's life? The pathos of her visits and the final presence of her son with her? What meaning did she give to Chaney's life and his understanding of character? How authentic a character was Cleva in the film?

9. The portrait of Lon and his skills? James Cagney's ability to communicate this? For example, the initial improvising and dancing with the model? His response to his parents in communicating, his love for Cleva and disappointment with her? His lavish attention to Creighton? His versatility in the shows? The importance of his personal character as being hard and dominant, blind? The bond that he made with his agent and his agent helping him throughout the years? People as being loyal to Chaney?

10. Creighton as the focus of difficulties within the family? The pregnancy and the difficulty of his birth, his love for his mother and father, the presents? His living at the stage door looked after by Hazel? The story sequence and Chaney dressing up as Granny? His being made the equivalent of an orphan, his sorrow at going to the home? The bond with Hazel? His growing up and accepting his father and Hazel? His love for make-up and wanting to be like his father? Their fishing scenes together, his discovery of the truth and Hazel's role in it? Hurting his father yet necessarily, returning to his mother? The importance of his being with his father at the end and receiving his heritage? How does this fare in the light of Lon Chaney Junior's subsequent film career?

11. The portrait of Hazel and the contrast with Cleva, her presence, as a chorus girl? The irony of her husband and his not having legs and Chaney's later use of this? Her absence from Chaney's life, visiting him, the proposal especially for Creighton, the happiness of their marriage? The home and Chaney's settling down? The encounter with Cleva and Hazel telling Creighton the truth? Her devotion as a wife?

12. The portrait of the agent, his abilities, his continued help with Creighton and with Hazel? His ideas for promotion?

13. The transition from vaudeville to film? Chaney's arrival in Hollywood, his being an extra and his versatility in so many films, eg. The Scarlet Car? The personality of the Duchess as typifying Hollywood and her helping him?

14. How well did Chaney make the transition from stage to film, especially with make-up? The importance of the scene for example when the healing occurred and seeing it being filmed and watching Cagney acting as Chaney acting?

15. His subsequent success and the reason for it? His sketches? What helped him portray afflicted people?

16. The presentation of The Hunchback of Notre Dame scenes and the irony of Cleva's visit?

17. The Phantom of the opera scenes and the discussion about the holiday?

18. His subsequent success and the posters around the room? The emphasis on versatility?

19. The illness and decline, Thalberg and his help, the desire to be busy, the final realization and his reconciliation with his son. his death?

20. The portrait of a man warts and all, understanding him and his strengths and weaknesses? How good a film biography of a human being?

MANNEQUIN

US, 1987, 90 minutes, Colour.
Kim Cattrell, Andrew Mc Carthy, Estelle Getty, G.W. Bailey, James Spader, Meshach Taylor.
Directed by Michael Gottlieb.

Mannequin is a comic piece of fluff. Kim Cattrall portrays an Egyptian who comes to life in a store window in modern Philadelphia. She helps the hero, Andrew Mc Carthy, in his designing windows. They fall in love. There are various sub plots in the screwball comedy tradition. Estelle Getty is enjoyable as the head of the shop, G.W. Bailey imitates his Police Academy style. There is an over the top performance by Meshach Taylor as a flamboyant window-dresser. James Spader, with a rest from his more villainous roles, portrays a prissy department head.

1. Enjoyable comedy? Broad appeal? Audience?

2. The use of Philadelphia, the department stores? Special effects and stunts for Emmy and her reappearing and her turning into a mannequin?

3. The implausibility of the plot - especially enjoyable? The prologue in ancient Egypt? Emmy and her refusal to worry her mother? Her coming through the centuries?

4. Jonathan and his work, his being sacked, the various jobs and disasters, saving the owner from the falling sign, getting a job, falling in love with Emmy, his success, her coming to life and their falling in love, the design of the windows, Richards and his attacks, the nights with Emmy and the designs, their playing together in the shop? Rambo and the pursuit, disasters? Roxy and her suspicions? The collage of the window designs? Hollywood and his help? The rivalry between the two department stores, the fights, the stealing of the models, Jonathan to the rescue, Emmy, alive, the happy ending?

5. Emmy and Egypt, coming alive for Jonathan, seen only by him, the adventures in the shop, Including hang-gliding? The times with Jonathan, the designs, falling in love, on the bike? Turning into the dummy when people looked? The kidnapping, almost destroyed, coming to life? Happy ending? Her stories about knowing Christopher Columbus, etc.?

6. The owner, the tradition of the store, saved by Jonathan, giving him a job, the threat of the takeover, their antagonism, the meetings, Richards, the sack? The final confrontation?

7. Richards and his being obsequious, in cahoots with, trying to sabotage the store, antagonistic towards Jonathan, using Felix but despising him, the sack, going to the opposition, the meetings?

8. Roxy as friend to Jonathan, being stood up, the pursuit by Armand, in the pay of the opposition, her spying?

9. Felix and the Police Academy satire on the veteran security guard, Rambo, the terminator?

1o. The world of shops, the big cities, window displays? Comedy and romance?

MANHATTAN MELODRAMA

US, 1934, 93 minutes, Black and white.
William Powell, Clark Gable, Myrna Loy, Leo Carrillo, Nat Pendleton, George Sidney, Isabel Jewell, Thomas E. Jackson.
Directed by W. S. Van Dyke.

Manhattan Melodrama is a famous M.G.M. film of 1934. Myrna Loy has a strangely-written role as the heroine. These stars worked together in many films, especially Powell and Loy in the Thin Man series. The technical credits are very good: the fire and sinking of the ship in the New York river, an example of stunt work with one of the stunt men on fire (thought to be a later technical development), photography by James Wong Howe and a Rodgers and Hart melody with lyrics which later became 'Blue Moon'.

The film has a certain notoriety as it was the film that John Dillinger saw when he was set up and shot down by the police (dramatised in The Lady in Red).

1. An entertaining 1930s gangster film? The glossy M.G.M. style compared with the many tougher Warner Bros. gangster films? Brisk action and sentiment and melodrama?

2. The film as a star vehicle for the M.G.M. cast? Black and white photography, gloss, smooth photography, brisk editing, action and special effects? The score and the Rodgers and Hart music?

3. The atmosphere of the '30s and gangster films, the sympathetic presentation of the gangsters yet the moralising against them? The warning to the public? Themes of integrity and honesty? The focus on the police, corruption, good government? The film seen in comparison with the gangster films of later decades?

4. The prologue: the focus on the two boys and the contrast between them, Blackie and his conman's way of getting money, his tricking the dumb friend (and later using him as his stooge in his career?) Jim and his continued reading? The fire and the atmosphere of the disaster? The boys losing their parents? The rescue by Father Joe, and the later rescuing by the priest, his continued friendship, Jim's helping Blackie and the final ironies about death? Mr. Rosen and his taking the boys after the death of his own boy? Themes of life, death and bonds of friendship? mutual responsibility?

5. The glimpse of their growing up, continuing in their studious and potential gangster ways? Rosen and the speech by Trotsky? The contrast between American freedom and the Russian way of life? Patriotism? Rosen being trampled to death and Blackie vowing to get even with the police? Was this theme of the grudge against the police followed through? (The point made about Jews, Catholics and Protestants living together)?

6. The split-screen technique for the two boys growing up and developing each in their separate ways and styles?

7. Clark Gable as Blackie, relying on his screen presence and style? His gambling place, the dramatic tension of the gambling for the yacht, the contrived raid, Eleanor's arrival, their arguments and her succumbing? Blackie as a hoodlum ? the example of his threats about payment? His henchmen? His relationship with the stooge? The bond between himself and Eleanor?

8. The contrast with Jim, the voting for his becoming District Attorney? The election and the presence of Father Joe and his support? Eleanor and her arrival in the taxi and the discussions about forever waiting for Blackie? The restaurant and their talk together? Her being impressed by Jim and being treated as a lady? The return and their talk? Eleanor telling Blackie that she would leave him? His accepting it? The build up to their marriage and the honesty between the two?

9. Blackie and his reaction, generally a winner? His friendship with Toots Malone? New Year's Eve and the confrontation with the hoodlum who wouldn't pay, the set-up and the death? The story about the overcoat? His congratulating Jim and lying to him? The build-up to the marriage and his absenting himself? The candidacy for Governor and Eleanor's meeting him at the races? His killing Snow? His motivation: loyalty? Violence and yet his pleasant disposition? A nice oafish criminal? The court scenes and the note from Jim and his returning the note? The prison and his friendliness? Moving to the final cell? The discussion with Jim and his pleasure in Jim's conning, forgiving him and refusing the commuting of sentence? Death suggested by the darkening of the lights?

10. Jim and his wedding, his candidacy for Governor, the threats by Snow? The prosecution of Blackie? The condemnation and the crisis? The appeals and his having to turn them down? Eleanor's leaving him and her reasons? The visit to the prison? His wanting to commute the sentence? The impact of Blackie's death? His offering his resignation to the Assembly? Eleanor's appreciating his principles and his application of his principles to himself and her return to him?

11. The background of hoodlums, gangsters, Snow and the corrupt police, the knowledge about Blackie's murder? The cleaning up of the police?

12. The comedy with the dumb henchman? The story about the overcoat? The dumb blonde and her comic remarks?

13. The background of politics, the law?

14. A topical theme for the '30s? Serious and moralising? As cinema entertainment: the blend of laughs, tears, serious themes and melodrama?

MANHATTAN

US, 1979, 96 minutes, Black and white.
Woody Allen, Mariel Hemingway, Diane Keaton, Michael Murphy, Meryl Streep
Directed by Woody Allen.

During the '70s Woody Allen has grown in reputation and success. His comic inventiveness, satiric observation and intelligent verbal humour are expert, used extensively here. with acknowledgement to Ingmar Bergman, he likes to explore inadequacy, fears and the transience and permanence of relationships. This is what Manhattan is about, as well as Allen's city which he loves (and lovingly photographs) and therefore has the right to criticise. Allen mocks the cultural pretentiousness and self-centredness of his characters - who are portrayed by a fine troupe in which Diane Keaton is again outstanding and Michael Murphy reprises his Unmarried Woman role. Manhattan requires more than one viewing.

1. The quality of the film and its reputation at the end of the '70s? One of the films of the decade and representing it?

2. Woody Allen and his growing reputation in the '70s? His status as writer, director, actor? His vision of human nature, America? The quality of his humour.. both verbal and visual, satire and the targets both American and New York? His observation of people especially in New York ? New York culture, art circles., literary circles? Pretensions? His admiration for Ingmar Bergman and his being influenced by him? His approach to intellectuals and yet his being within this situation? Woody Allen as nightclub entertainer, his humorous monologues. music? His status as an Oscar winner and nominee? The blend of the serious and the humorous?

3. The choice of New York and the title of the film? Woody Allen's city? The importance of the variety of openings with the vivid black and white photography and the various aspects of New York life, landscapes, skylines? The humour of the Raymond Chandler-like opening with the author beginning his book? The identification with Manhattan? The audience observing this? The variety of aspects of the city touched on,, their truth.. their falsity? The relative vision offered? The use of the city throughout the film ? as background to the characters and their situations? The overall view of the city itself, the buildings, parks, beauty and ugliness, the interiors of cafes, the planetarium etc.? The importance of the black and white styles of picturing New York?

4. The black and white photography and its quality, the use of Panavision? The emphasis on landscapes and cityscapes. the importance of the contrast with close-ups? The framing of the narrative with the views of Manhattan itself?

5. The use of the music of George Gershwin? Its associations with New York, the moods of the music, the lyrics? The selection of particular songs for particular characters and situations?

6. The importance of the opening and the audience finding the four characters in the club, the manner of their talk, content, interests? The indication of relationships? Authentic, superficial? The strengths of the characters? The oddness of the situations? Isaac with Tracey and her age? The introduction to New Yorkers at how in their city?

7. The film's focus on Isaac? New York being his town, his romanticising of it, his seeing it as a symbol of the 20th. century? Isaac as a Woody Allen persona? Small, 42, successful, his range of interests and judgment? Narcissistic? His work, television shows and the example illustrated, his humour? His resigning? Others' admiration for it? The repercussions for him? his love for writing, his inability to pay his bills, the new apartment? His ex-wives - especially Jill? His concern about her book, going to see her, the clash? His son and the outings, his son wanting the boat? His attitude towards the lesbian couple and arguing with them?

8. Isaac and American culture: museum and the discussion about art, his taste, the discussions with Mary at the opening,. at the museum, at the planetarium? Discussions with Yale at the bookshop? Yale's wanting to write a biography of O'Neill? The various outings? Restaurants? Isaac out, at hone? Isaac and his relationships? his dislike of Mary and her pretensions, her lack of seriousness in novelising film scripts etc.? His friendship with Yale and Yale's betrayal of Emily? His helping both Yale and Emily? Phone calls? Chatting with Emily and trying to understand the blame, taking the blame? The argument with Yale about playing God? The confrontation with Mary for her options? The visit to Jill and his antagonism, worry about the book? The liaison with Tracey, her adolescent and innocent approach, her being trained for art and drama? The nights with Tracey at how? Yet his ability to let her leave? Not getting in contact with her? The build-up to the final encounter with Tracey, his plea to her and her leaving? Allen's sympathy with his Isaac character? How much did he identify with Isaac? Isaac and the critique of this kind of character? How much was Isaac a New Yorker?

9. The complications of relationships and their patterns? Questions of fidelity and infidelity, love and commitment, confusion, planning relationships and planning the future?

10. The character of Yale as a New Yorker? Michael Murphy's presence and style compared with that of Allen? His work, his book and his unfulfilled ambitions? His love for Emily, not having any children? The outings and the lies? The relationship with Mary and the pretentious patter about culture and things not liked? Bloomingdale's? The break with Mary, Emily's suspicions? The phone calls? His seeing Mary again? The false introduction of Mary to Emily? His own personal torment and self-preoccupation? The argument with Isaac? His being left locked in himself? Whom did he care for? The film's comment on him as a human being, New Yorker?

11. Diane Keaton's presence in the Woody Allen film? Her characterisation of Mary? First impressions of her, her talk, her discussions about taste and pretentiousness? The long tracking shot in the New York street and Isaac's reaction to Mary and Yale's comments? Her hopes for being a novelist? Her actual work? Her Philadelphia background, manner of speaking, using Philadelphia as an explanation? Her relationship with Yale and then the separation? Isaac's attacks on her? The importance of his interest in her. the possibility of a commitment, their outing ? the walks with the dog, the streets, the planetarium? Their boosting each other's confidence? Sequences at home? The relationship and Mary still seeing Yale? Her lack of commitment, achievement? Her being all talk?

12. The contrast with Tracey, young, involved with Isaac, supporting him, interested in him, her adolescent chatter, her direct seeing of things especially the sexual relationship? Isaac seeing her as a compliment to him and his age? His decision to leave her be and take up with Mary? Her feeling thrown out, hurt? Isaac's seeking her out at the end? Her following his advice about drama school and London? His hurting her at the end? Her handling of the situation, Isaac's failing?

13. The presentation of Emily and Yale? their love for one another, Isaac being used, their both being hurt? His attempt to hold them together? Mary's presence at the outing? especially with the sequence about Jill's book?

14. The brief characterisation of Jill, her past relationship with Isaac, her self-discovery, criticism of Isaac? The clash in the street? The lesbian relationship and her lover? The son being brought up by the two women? The significance of the book and the arguments at Jill's house?

15. The New York background of restaurants, parties, openings? The guest appearance of Bella Abzug and her being a New Yorker? The film director and his talk? Interests, authenticity, phoniness?

16. So many sequences of walking in New York, communicating and not communicating?

17. The way the city was used ? the landscapes for these characters? How much did they explain them? The environment for their self-searching, relationships, self-preoccupation?

18. The importance of visuals for Woody Allen? Visual humour? The one-liners and their effect? A satisfying blend of laughter and seriousness?

19. The portrait of a significant group of people? Representative group? Strengths and weaknesses? Educated people, over-educated, literary? The importance of education and direct experience of life? What was the audience left with in terms of understanding Allen, New York, these characters?

MANHANDLED

US, 1949, 97 minutes, Black and white.
Dorothy Lamour, Dan Duryea, Sterling Hayden, Irene Hervey, Harold Vermilyea, Philip Reed, Alan Napier, Art Smith, Irving Bacon.
Directed by Lewis R. Foster.

Manhandled is a competent crime thriller directed by Lewis R. Foster. It is a dramatic star vehicle for Dorothy Lamour - a change of pace for her musical comedies, sarong pictures and teaming with Bob Hope and Bing Crosby. It is interesting, though the material of any TV episode of a police thriller. Sterling Hayden is the insurance investigator and Dan Duryea gives yet another performance as a snarling villain.

1. The popularity of the crime thriller? The style of the '40s? Comparisons with later decades and television episodes and series?

2. The black and white photography, the atmosphere of the city,, the psychiatrist's office, the apartments, the police, pawnbroker's etc.? Authentic atmosphere? Musical score?

3. The conventions of the film: the heroine who is mysterious, unwittingly involved in crime, put upon and eventually vindicated? The laconic hero investigator? The snarling villain who double crosses the heroine and threatens her? The police? The murder victim and the spoilt victim with the vindictive husband? The introduction of the psychiatric background as difference?

4. The plausibility of the plot: the criminal setting himself up as a psychiatrist, his employing the heroine without investigation., the breaches of confidentiality, the availability of files to the villain and to the police? The press conferences by the police giving detailed and confidential information? The more sophisticated approach in later decades?

5. The heroine and her background, her moving to New York, her work as secretary, taking notes, completing the files, her being framed? Carl and his insinuations? Getting her the job? Her being investigated - finding the jewellery and pawning it? The buying of the coat? Police interrogation and their roughness? Cooper and his investigations? Carl and her discovery of the truth, the conflict, the dangers and the rescue? The film as a Dorothy Lamour vehicle?

6. Sterling Hayden's Cooper - the laconic investigator, his being ahead of the police? His tactics, investigating Carl, saving the heroine?

7. The comic portrait of the policeman - his wife, the shopping, his taking the sleeping tablets etc.? The comic touch strengthening the film?

8. Dan Duryea as Carl - the police background, getting the heroine the job, getting information from her, the stealing of the files, his presence at the hotel, the robbery and the murder, the audience suspecting him? His hiding the jewels in the heroine's apartment, his lies and his cooperation with the police, double dealing, threatening the professor and his death, threatening the heroine, his being caught? A strong characterisation of a villain?

9. The psychiatrist? seeming authentic, listening to his patient and his dream, the files, the late night work? The interrogation by the police and the testing of the voices? The irony of his being the criminal? the flashbacks and the explanation? Carl pursuing him to his death?

10. The various witnesses and their testimony e.g. the young couple kissing in the hotel?

11. The background of the murder: the opening dream and Alton Bennett's involvement, murdering his wife? The discovery by the audience that it was a dream? The detailed information being given to the psychiatrist ?and the dream being fulfilled? Alton's arrogance, need of money? His wife's arrogance and her boyfriend's? Mutual taunts? Suspicions on Alton Bennett? The use made of the dream?

12. The competent Hollywood thriller? Stereotypes enhanced for the sake of the drama? Basic themes of intrigue, right and wrong, heroism and integrity?

THE MAN FROM THE DINERS' CLUB

US, 1963, 96 minutes, Black and white.
Danny Kaye, Telly Savalas, Martha Hyer, Cara Williams, Everett Sloane, George Kennedy.
Directed by Frank Tashlin.

The Man From the Diners' Club is the last of the typical Danny Kaye comedies. It is rather slight in comparison with Kaye's great successes of the '40s and '50s. The director is Franklin Tashlin, a noted director of slight comedies who worked often with Jerry Lewis. The screenplay was co-written by Bill Blatty who later became William Peter Blatty of Exorcist fame. The film is generally a pleasant Danny Kaye comedy with all kinds of routines and ironies (of the hoodlum chases the innocent hero variety).

1. The appeal of Danny Kaye as a character and as a comedian? The particulars of his style? The popularity and enjoyment of his films? This as his last major feature film?

2. The use of black and white photography? Music? The Runyonesque atmosphere? Comic gangsters and their exploits? Plus computers and work? The attitudes towards machines and computers in the '60s? (Plus the coffee break?)

3. The particular qualities of Danny Kaye in this film? How did he characterise Ernie Krenk? As a poor man of the '60s? As an individual, a weak man, a bumbler and a bungler? The importance of his confronting older gangsters and their style? His confrontation of modern machines? The type that would be conquered by both yet succeeds? The moral implications of the Danny Kaye portrayal of the little American man?

4. The character of Ernie Krenk as seen at his work and his relationship with Lucy, the delay of their wedding? The change of character in his pretence of going to the gym to be an instructor? His trying to remedy the situation of giving the card to a crook? In the light of his issuing a card to a dog? His encounter with Sugar Pye? The dangers? The challenge? The chase and his outwitting the gangsters? The success of the little man?

5. The comic devices in the film? Danny Kaye's skill in mimicry and impersonations? Comic lines? Slapstick humour?

6. The background of the Diners' Club and the world of finance, credit, standards for credit cards, the card as a symbol for the gangsters? The satire on money and its possibilities? Especially the gangsters using the card for
such wide purposes? The people involved and their dedication to computers and cards? Especially the girl who fainted when her system was wrecked?

7. The character of Lucy? Heroine, foil to Danny Kaye? Her friend and her acid comments?

8. The comic portrayal of the gangsters, especially Foots Pulardos, Telly Savalas and this kind of comedy? The various plots for death, making money? The gymnasium, its atmosphere and the people who ran it? The satire on the big feet? The satire on Sugar Pye and her relationship with Pulardos?

9. The scenes between Sugar and Ernie? Especially in the dumbwaiter and the police, with the hippy kind of party and poetry recital, in jail?

10. The build-up in the use of the cards, the elaborate scheme of escape, the satire on this escape and chase? The humour of Foots on the bike pursuing Sugar?

11. The importance of the climax of the chase in the gymnasium? The various details of Danny Kaye's escape, the car chase after the explosion? Drawing the police into the chase, the satire on the freeways and accidents happening there?

12. How appropriate was the happy ending for this kind of film? Appropriate for the success of the little man as portrayed by Danny Kaye?

MAN FRIDAY

UK, 1975, 115 minutes, Colour.
Peter O'Toole, Richard Roundtree, Peter Cellier, Christopher Cabot, Joel Fluellen.
Directed by Jack Gold.

What would Daniel Defoe have said to find 20th century pessimists about Western civilisation (and optimists about Third World cultural succession) taking his story about noble survival and telling it from Friday's (Richard Roundtree) puzzled and sometimes amused viewpoint? And what if he saw Peter O'Toole (mixing La Mancha and The Ruling Class) maintaining the eccentricities of English tradition on his remote island? At time, a very funny film in its satire and British self flagellation: at times, too hopeful in Friday's brand of authentic being oneself; but the film is worth seeing by those who appreciate a questioning and critical look at British self importance.

1. Audience interest in the Robinson Crusoe story? Its fable value? Initial response to the reversal of point of view? The 18th century as seen by a 20th century black man? The critique of the 18th century? Critique of 19th and early 20th century English optimism? The blending of the character of Crusoe and of Friday with this reversal of expectations?

2. Audience presuppositions about heroes? The screenplay's presentation of Friday as hero in contrast with Robinson Crusoe? Expectations of British outlook on hero and British heroics, empire, superiority? The contrast in presenting Friday as hero? Is he a modern black hero? Or, as some have suggested, a simple reversal of a black hero with white presuppositions? How does this alter response to the film?

3. The irony of seeing Friday first and concentrating on him? How does this jolt expectations? The flashback and the narrative from Friday's point of view rather than Robinson Crusoe's? Is the audience easily able to share Friday's point of view? his story to his fellow islanders, his plea for their acceptance of Crusoe, his comments on what has happened, his puzzle over Robinson Crusoe's ideas, behaviour, Christianity, standards?

4. How important was the colour photography, Panavision, the atmosphere of the island, Robinson Crusoe's home, way of work, clothing, games, rafts and wings? A realistic picture of the 18th century? Symbolic?

5. Was the structure of the film evidently based on a play or not? Friday's flashbacks, Friday's viewpoint? The general confining of the action to two characters? The strength of the dialogue and its ironies? Farcical and comic sequences? Stances taken? The role of the intruding natives, of the intruding slave ship crew?

6. Peter O'Toole's performance as Robinson Crusoe? O'Toole's style, madness, masochism, the Englishman? His tall and lean appearance? His being dressed as a hermit? A satirical presentation of Crusoe? A critique of the pretensions of the 18th century? His being visualized doing 18th century things but his more modern language and approach? His initial response in shooting all the animals, in preserving Friday's life, in naming him? His attitude towards Friday and colonial outlook? Teaching him English and the humour consequent on this, Christianity and its not being understood, the symbolism of teaching him games? Crusoe's determination to win at running, swimming? His effort and Friday's enjoyment? The mock of the big games prize giving? The ironies about Christianity? The teaching, the application and the hypocrisy? The importance of building the raft and the need to escape, the comedy in trying to fly? Treating Friday as a slave, the wages, shutting him up in a cave, chaining him? The irony of Friday buying him out and the reversal of roles? (symbol of the downfall of 20th century colonialism?). The possibility of a bond between them with the intrusion of the slaver and the captain? The discovery and their combined effort of saving Friday?

7. Richard Roundtree, the modern American black star, as Friday? A convincing Friday character? The background of the island, cannibal, savagery? His puzzle as to his survival? His puzzle as regards Crusoe's work ethic, win ethic, Christian predestination? His joy in winning? Participation in lessons, puzzle about Christianity, British styles and manners? The poking fun at English manners by Friday's trying to ape them? The house? The cave and his reaction, the money, his outsmarting Crusoe and reversing roles?

8. The dramatic importance of the arrival of the slaver? The intrusion of the captain? The callous attitudes towards slavery and the critique of these? The bond between the two, the deaths of the intruders yet no lasting success between the two? (the irony that a common enemy does not create lasting bonds?)

9. The detailed preparation of wings, the comic attempts at flying, the building of the raft and setting sail?

10. Crusoe's desire to leave the island, Friday's, Crusoe's wanting to join? His wanting to become part of the tribe? The reasons for their refusal?

11. The film had two endings in production: Crusoe killing himself, the ending with Crusoe going back alone and reading Genesis and some kind of ironic communication of being alone with God? Which the more appropriate ending?

12. How much did the film rely on the detail of satire on the island, the ironies of the dialogue?

13. An allegory of the 18th century, the noble savage idea, British success and colonialism? An allegorical tracing of the British going down with their own inner pride, the education of the natives and their eagerness and smartness in overthrowing their masters? How accurate a portrayal of what happened over the last 200 years?

14. The fable value of the Crusoe story, its being used as a symbol for myths about culture, race, human nature?

MANDINGO.

US, 1975, 126 minutes, Colour.
James Mason, Susan George, Perry King, Richard Ward, Brenda Sykes.
Directed by Richard Fleischer.

James Mason, Susan George, Southern plantations, action and romance. Looks good. But if you ever thought that the Deep South was a horrible world to live in, this will confirm it. Lust in the dust and sadism in the sand prevail in a film designed for popular consumption and which most audiences generally like a lot. It is said that the film lacks a lot of the flavour of the book - but it probably has more than enough flavour for most. The depressing thing is that in so many instances this is what a world (likened here to a decaying Roman Empire) of power, slavery, blatant sexuality and brutality was really like.

1. How interesting and appealing was this film? How enjoyable? It broke box office records on release. It received hostile film criticism. Did it deserve this?

2. The fact that it was based on a bestseller and a play? The thrills and flavour of the blockbuster best seller? what do audiences expect from such novels and their atmosphere? Characters, crises, melodrama?

3. Comment on the style of the film: the old South atmosphere, the sets, especially Falconhurst and New Orleans? The use of colour, locations. set pieces such as the presentation of the home, the fight in New Orleans? The style and use of colour and shadows, close ups etc? The contribution to the enclosed atmosphere of the South, its moral decay etc?

4. The focus on the title on the slaves: on the Mandingo himself, on the owners and their way of life? Did the film ask for audience judgement on the position of the slaves and their owners in the Deep South?

5. What point of view did the film take as regards slavery and this kind of society? Did it present the scene objectively for audience interest? What attitude to the 1840'sdid it take, approving or disapproving?

6. Audience reaction to the Deep South and its people: a world of aristocracy, a family loyalty and tradition and self-righteousness, the 'might is right' aspects of life, morality a law unto themselves, the use of other human beings as slaves, love and lust, power and oppression? How realistically and vividly were these aspects presented? Did the film present insight into them?

7. How symbolic was the house of Falconhurst and what it stood for?

8. The focus on Maxwell as the tyrant, his way of life, his emphasis on his son's future, his ambitions? The significance of his illness. his clinging on to power? His standards for Falconhurst? His presence at the New Orleans fight? The significance of his death and his being shot by his slave friend? What kind of man was he?

9. How like his father was Hammond? What had he inherited? How bad a character was he? The nature of his good facets? His relationship with Ellen and his love for her? His pledges? His attitudes towards children? His arrogance as owner? The nature of his plans, his fitting into his father's plans? The visit to New Orleans. the courting of Blanche, the significance of marriage for him? His taunts at her loss of virginity? His own double standards in behaviour? His demands on Blanche. his despising and neglecting her? Her attitude towards slaves and his buying of Meade? His ambitions for the fight? His being caught in this world and its cruelty? Catching Blanche? His poisoning her? The death of her child? The death of Meade and the death of his father? The overall effect on him and his future? How credible and interesting a character of this time and place?

10. Blanche and the significance of her name as 'white'? The filling in of her background, her loss of virginity, her marrying? Her attitudes of the South and ambitions for Falconhurst? The picturing of her neglect and her arrogance? Her boredom and drinking? The vindictiveness of her whipping Ellen? The vindictiveness of her seducing Meade? The pains of childbirth, the death of the child and her own death? What was the meaning of her life and its purpose?

11. The contrast with Ellen? Her being loved by Hammond? The origins of her relationship with Hammond during the trip? His support of her, yet her place because she was black?

12. How interesting a character was Meade? The first presentation at the auction, his being examined by buyers? His strength and capacity to fight? The fight in New Orleans? His subservience to his master and the attitude of the other negroes? His place in the revolt? His siring other children? His being used like an animal? Blanche's using of him? The inevitability of his death?

13. The picturing of the negroes and their plight? How much insight into the humiliation, the lack of human dignity? The place of the negroes on the plantations and their work? The significance of their song? Twentieth Century aspects of civil rights in this Nineteenth Century picture? The inevitability of revolution? The drama of the chase sequence and the hanging? The final killings? The American heritage?

14. Agamemnon as a sign of contradiction? His closeness to Maxwell and Hammond? His managing of the estate? The deep hatred inside? The final killing?

15. How much like the Roman Empire was the society of Falconhurst? The emphasis on lust, sadism, brutality? The visualizing of the fight in New Orleans? How decadent and decaying a society?

16. This kind of film as a visualizing of the American heritage? Did it have value in this regard?