LOVE STORY

UK, 1944, 112 minutes, Black and white.
Margaret Lockwood, Stewart Granger, Patricia Roc, Tom Walls, Reginald Purdell, Moira Lister.
Directed by Leslie Arliss.

Love Story is a pleasing wartime drama from Gainsborough Studios, best known for their costume melodramas to entertain wartime audiences (The Man in Grey, Fanny by Gaslight, Madonna of the Seven Moons). The same stars appear here, but in a contemporary setting - Margaret Lockwood as a concert pianist who has a terminal illness, Stewart Granger as a miner who has served in the war and is gradually going blind. Patricia Roc appears as the strong girlfriend. There is a strong supporting cast of British actors and actresses of the period.

The film boasts an attractive musical score, especially A Cornish Rhapsody written for Margaret Lockwood's character by Hubert Bath. The setting is Cornwall, a small town, the members of the community, their interactions, their patriotism, the putting on of The Tempest in a natural amphitheatre on the coast...

However, the focus is on the relationship between Margaret Lockwood and Stewart Granger, the love story. It is a doomed love story because of the illnesses of the two central characters. Done with flair, this is a tearjerking wartime morale-booster.

1.An entertaining love story of the '40s? In later decades? The atmosphere of the war, of Britain in the '40s, morale-boosting?

2.The black and white photography, the Cornwall settings, the town and the coast and the cliffs? The Cornish Rhapsody?

3.The title and audience expectations?

4.The tradition of films with terminal illnesses, relationships, sadness and despair, indifference and courage, hope? The illnesses and recovery as symbols of the experience of Britain in the war?

5.Margaret Lockwood as Lissa: her skills in playing the piano, her relationship with her manager, her wanting to go into active service, the tests, the revelation of her illness, her decisions?

6.The hotel, its old English style, the boarders, the townspeople? Her meeting Tom, their discussions, the bond of friendship?

7.Stewart Granger as Kit, the debonair Englishman? The ambiguity in the town? Lissa hearing about him, meeting him on the cliff, the mock rescue? The bond between the two, sharing ideas but not their illnesses? Judy and her relationship to each? Kit and his preoccupation with his freedom, his job? His not wanting to make any commitment for the mine? The theme of the Miller of Dee - and no attachments? The happiness of the two, sharing together? Kit's story, his behaviour, judged by the townspeople, Judy knowing the truth? Tom and his disappointment? Lissa and her dismay? Judy and the revelation of the truth? The mine, exploration, the disaster, leading the rescue? Lissa discovering Kit and the braille? The build-up to the operation, giving him confidence? Her moving away? Kit and his disappointment, the recovery, the decision to marry Judy, the final confrontation at the theatre?

8.Lissa and her discovering the truth about Kit, the confrontation with Judy? The farewell, the operation - the play and the performance and Lissa's inability to perform? The collapse? Her doing a deal with Judy, moving away, performing for the troops, being heard on the radio? The final concert? Kit and his arrival - Tom helping him to see the truth?

9.Judy, her love for Kit, devotion, knowing him for a long time? Matter of fact, the smoking? Putting on The Tempest, the theatre, the rehearsals, the preparations? The truth about Kit for Lissa? The hostility, doing the deal? The play and the collapse? The success of the operation, Kit's return, the possibility of marrying? The meeting in the theatre, her stepping back?

10.Tom, his background, accent, friendliness? In the hotel? Retired, the possibility of the war job, offering it to Kit? His judging him? The friendship with Lissa, with Judy? Discovering the truth? His apologies? His going to the theatre, helping Judy to see the truth about her relationship with Kit?

11.The background of the people in the hotel, the staff, the guests, men and women in war, the performance of the play?

12.A portrait of England in 1944, audiences identifying with situations and characters? The assessment of the morale-building war film in retrospect?

LOVERS AND LIARS (TRAVELS WITH ANITA)

Italy, 1978, 93 minutes, Colour.
Goldie Hawn, Giancarlo Giannini, Laura Betti.
Directed by Mario Monicelli.

Lovers and Liars (Travels With Anita) is a wry comedy drama from prolific Italian director Mario Monicelli (Mortadella, Let's Hope It's a Girl). The film is also a star vehicle for
Goldie Hawn. Her leading man is Giancarlo Giannini, the star of many films by Lina Wertmuller, the Seduction of Mimi, Seven Beauties, Night Full of Rain...

The film shows its hero as quite unsympathetic, caught in an unhappy marriage, driving to his father's dying bedside but caught up in his attraction towards women. By accident, he takes up with an American tourist, played by Goldie Hawn, but does not tell her the truth about his father's dying. The film is a sequence of incidents on the road, the two falling in love, arriving at the town and the hero having to cope with what was happening in the family without revealing the truth to Anita, installing her in a local hotel. His father has died before he arrived, so he has to cope with the family.

The film reaches a climax at his father's funeral, a confrontation by Anita, the revelation of the truth about the father and his growing sense of freedom from the constraints of propriety that Italian family life requires while it covers over hypocritical behaviour.

The film is leisurely, the two stars have strong screen presence and sustain what might otherwise be a very slight story.

1.The two titles of the film? Indication of themes? The focus on Anita?

2.The Roman locations, the Italian Autostrada to the north, the northern Italian towns, the finale in Pisa? Authentic atmosphere? The musical score?

3.The Italian background, social mores, the bonding of Italian families, proprieties, hypocrisies? The sense of confinement, the need for breaking out of the constraints?

4.Guido, his life in Rome, his work at the bank, the brittle relationship with his wife, his taciturn son? The news of his father's dying? Woken up in the middle of the night, the decision to go? His reluctance to go - even though preoccupied about his family, the opportunities he had to study and get a good job and not work in the local factory? His having kept his distance from his family? Going to Jennifer, an attempt at seduction, her resistance? His meeting with Anita, her wanting to go on the trip?

5.The trip, driving on the highway, his not telling Anita the truth? Pulling off the road and the sexual advance? Her resistance? The continued journey, telling his story? Going to the beach, to the island? The sexual encounter? Playing games with the locals, walking along the beach? Her change of attitude towards him? Getting closer to home? His story about his brothers, his name coming out of the hat, his having opportunities, their lacking them?

6.Anita, her background, friendship with Jennifer? The tourist ticket, her wanting to see Pisa, going with Guido? The TV commercial at the Trevi fountain, her fluffing her lines, her anger with being hit? Getting the money? Guido's exasperation? Her reaction to his advances? Going to the island, her change of mood? The sexual encounter? Listening to his story?

7.Guido arriving home, his bad mood? Putting Anita in the hotel? His plans? His father already dead, the reaction of the family? His having to cope with them? Slipping out to ring Anita, having to delay meeting her? The hotel encounter? Talking to the woman at the desk? The preparation for the funeral? The encounter with his father's mistress, the discovery of the truth, allowing her to come in? His discussions with his brothers?

8.Anita and her bewilderment, being abandoned by Guido? In the hotel, her reactions? Talking with the woman at the desk, going to the movies? Guido's phone calls? The meeting, the dinner? Her discovery of the sign and the information about his father's death? With the truck driver, going to confront him at the funeral?

9.The funeral procession, the family and their being disturbed by Anita's presence? Marching together, the prim and proper talking? Guido and his constraints? His telling the truth about the father's mistress? The argumentation, the reaction of the priest? Stopping at the level crossing? Guido telling the truth about his mother putting only his name in the hat to go to study? His having discussed this with his mother? The family confrontation? Resolution?

10.The finale at Pisa - the free Guido, Anita in love with him? A future together?

11.The film's wry comment on Italian family bonds, opportunities? Marriages, relationships? The mother knowing about her husband's relationship? The presence of the mistress at the funeral? Proprieties and hypocrisies? The need to break free?

LOVERS

Spain, 1990, 105 minutes, Colour.
Victoria Abril, Jorge Sanz, Maribel Verdu.
Directed by Vicente Aranda.

Lovers is an erotic drama from Spain at the beginning of the '90s. It also has strong political and social comment. It is set in Madrid during the 1950s, the period of Franco's dictatorship and the repression of human freedoms. The focus is on a young man, Paco (played by Jorge Sanz, who was to appear in a number of Spanish films including La Belle Epoque). His life is very ordinary. He has a young fiancee, played by Maribel Verdu (who, over ten years later, was to be the lead in the erotic Mexican drama And Your Mother Too). The star of the film is Victoria Abriel as a widow. She begins an affair with the young man and it turns into an obsession.

The film is both erotic and violent as the impossible love comes towards a melodramatic climax. The performances are strong and carry the film. It is based on a true story.

1.The impact of the film? Based on a true story?

2.The Spanish settings, the city, the countryside, the country town? The variety of workplaces? Homes and apartments? Mansions? The atmosphere of Spain in the '80s? The musical score?

3.The title and its ironies? The relationships between Paco, his landlady and Trini?

4.The film as a portrait of Paco? His age and experience? Background, family, his relationship with his mother? His experience in the army and leaving the army? The relationship with Trini and her expectations of marriage? His response to her more puritanical way of behaviour? Not responding to sexual advances? His looking for work? His searching for a flat? His meeting the landlady and her taking a shine to him? Going to his job, leaving the job? At home, the meal, his allowing himself to be seduced by the landlady? The intensity of their relationship? The effect on each? His visits to the household and to Trini? Her suspicions? The landlady and dressing him up, the clothes and the suit? The gang that she belonged to and the situation, his becoming entrapped? His continued lies? The meeting in the cafe? The landlady and her need for money? His plan? Trini and her coming to the flat, her allowing herself to be seduced, hoping to hold Paco? His story of the plan for the restaurant and her believing it? Her giving him the money? The meeting with Trini and her death in the snow? Paco's going to the train, meeting the landlady, his arrest? A callow young man without values? Naive, selfish?

5.The landlady and her background, allowing Paco to come in, her routines, expectations of him? The seduction? The sexual relationship? The gang, her need for money? Playing on his obsession with her? The jealousy with Trini and Trini's visit? Her revelation that she had murdered her husband? Her needs, using Paco, conniving with the murder of Trini? Meeting Paco at the station, the seeming happy ending - and the arrest?

6.The contrast with Trini, the good young woman, working as a maid, her expectations of Paco and marriage? Her serving the military man and his wife? The wife giving advice - especially about infidelity? Her decision to go to Paco's flat, give herself to him? Her suspicions of the landlady, her jealousy? Her being hurt? Listening to his plan, the hopes for the restaurant, getting her savings together, giving them to Paco, sitting, disillusioned, in the snow and dying?

7.The General and his wife, the wife and her advice to Trini? The General's past behaviour? A mirror-image of what might have happened with Paco and Trini?

8.Paco and his visits to his family, his mother?

9.The film as a parable about relationships, sexuality, people using one another, greed? Its amoral tone? The moral made at the end with the arrest of Paco and the landlady?

LOVE ME TONIGHT

US, 1932, 104 minutes, Black and white.
Maurice Chevalier, Jeanette Mac Donald, Charles Butterworth, Charles Ruggles, Myrna Loy, C. Aubrey Smith, Elizabeth Patterson.
Directed by Rouben Mamoulian.

Love Me Tonight is an early sound musical - but one which has a strong reputation, deservedly so. Direction is by Rouben Mamoulian (Applause, City Streets at this time). In these films he showed his skill with camera, fluid movement, imaginative use of the screen. This is evident in this musical.

It is a star vehicle for Jeanette Mac Donald and Maurice Chevalier, who had appeared in One Hour With You and The Love Parade. There is a very solid supporting cast led by Charlie Ruggles, Myrna Loy, C. Aubrey Smith.

The musical score is by Rodgers and Hart, which includes such perennials as `Isn't It Romantic', `Lover' and `Mimi'. The staging of the songs is highly imaginative for its time - collage effect, rapid pacing and editing, different scenes, characters illustrating themselves by their song. It is not always that one has C. Aubrey Smith singing `Mimi'. The other songs include the opening song of `Paris', `Apache', `The Son of a Gun is a Tailor' and the title song.

While dated, a fairy tale of the '30s, it is well worth seeing for cinema techniques as well as '30s entertainment.

1.A film of the '30s, the skill of Rouben Mamoulian? The stars?

2.Black and white photography, Paris, the chateau? Sets, costumes and decor?

3.Rodgers and Hart score: `Paris', `Lover', `Isn't It Romantic', `Mimi', `Love Me Tonight', `Apache', `The Son of a Gun is a Tailor'? Insertion in the plot? The characters singing the songs? Visual techniques?

4.The plot as a fairy tale: the princess and the commoner, the castle, Sleeping Beauty, the end - and a more egalitarian '30s ending of the fairy tale?

5.The importance of the visuals: the collage of Paris awaking, the development, the number of sounds and their being orchestrated? Maurice singing `Isn't It Romantic', the succession of people singing it so that we move from his shop to the chateau? Jeanette Mac Donald riding and `Lover'? Maurice Chevalier and `Mimi' and its reprise by the whole cast? His shadow for `Apache'? the split screen and the dreams for `Love Me Tonight'?

6.Maurice and his work in Paris, singing, his customers, friendly? Gilbert and the race, the suit? Creditors? Going to get the money, the car breaking down, the encounter with the princess? His arrival, being well liked, Gilbert calling him a baron? Persuaded to stay, the ball, the `Apache' song? The hunt, the wild horse, looking after the deer? The hunting suit and his fixing it? The truth, his leaving, the princess chasing him in the train, happy ending?

7.The princess in the tower, her being a widow, aged husband, ill, the doctor recommending marriage, pampered by the family, the hunt, the ball, the riding suit and the tailor being insulted, the dream, rejecting Maurice, chasing him on horseback?

8.The uncle and his bluster, the snobbery of the aristocracy, eligibility of suitors for marriage? The three ladies - and the echoes of Macbeth's witches? Yet the comic touches?

9.Gilbert, in the race, his debts, persuading Maurice to stay, the truth? The countess, her place in the household, her charm, the ball? The suitor and his researching the baron?

10.The staff, their snobbery, their songs?

11.The atmosphere of the '30s? A fairy tale? Social comment? Setting traditions for musical comedy?

LOVE LEADS THE WAY

US, 1984, 99 minutes, Colour.
Timothy Bottoms, Eva Marie Saint, Arthur Hill, Susan Dey, Ralph Bellamy, Ernest Borgnine, Patricia Neal.
Directed by Delbert Mann.

Love Leads the Way is a family telemovie about the origins of the seeing-eye dogs. The film opens in Nashville, Tennessee, with Timothy Bottoms as a young man suddenly blinded in an accident. He hears about the work of Dorothy Eustace in Switzerland in training seeing-eye dogs and goes over to Europe to be trained himself. On his return, he attempts to focus the American public on the potential of seeing-eye dogs but runs into prejudice against animals in public places, restaurants and offices, finally confronting the New Jersey legislature.

The film has a strong supporting cast with such stalwarts as Patricia Neal and Arthur Hill as his parents, Eva Marie Saint as Dorothy Eustace, Ralph Bellamy and Ernest Borgnine as senators. Susan Dey appears early as the hero's girlfriend.

The film is presented in Reader's Digest style, a story full of sentiment for the widest possible audience. The focus on Buddy, the seeing-eye dog who is faithful to the hero for so many years, finally dying, gives a tearful dimension to the popular response. The film was directed by veteran Delbert Mann, whose films credits include Marty, Separate Tables, Dear Heart.

1.Popular telemovie for the family? Blindness, the seeing-eye dogs, the help for blind people?

2.Nashville, Tennessee in the '20s? Morristown, New Jersey, in the '30s? The Swiss locations? The musical score?

3.The title, the focus on the seeing-eye dogs and their devotion? The effect on the human beings associated with the dogs?

4.Morris, his brother, his family? The plan to be married to Beth? His training, the boxing bout, the accident and his blindness? No hope? His personal bitterness? Keeping Beth at a distance? The help of his parents? His going to the institute and their recommending him to read Braille? His silence, sarcasm? His eventually being persuaded to go out, the devotion of Beth? His resisting her? His reliance on Jimmy, moving around, trying to sell insurance? Prejudice against the blind? Jimmy letting him down by being delayed and his antagonism towards him? His change of heart? Jimmy showing him the article about Mrs Eustace and the seeing-eye dogs? The change in his life, the determination, writing to Mrs Eustace? The reply?

5.His going to Switzerland? Mrs Eustace and John? The sequences of their training the dogs? Audiences understanding the techniques, the training, the rewards for the dog? Seeing Buddy in action? Morris introduced to Buddy? His impatience, his having to learn how to work with the dog? The trial in the town - especially with the runaway horse? Success? The bond between Morris and the dog - not letting it on his bed (and later changing heart when it had saved his life)?

6.His return home, not allowed in the taxi, the bus? Travelling with the freight? People's prejudice against the dogs? His appointments and being late? His impatience - but Buddy stopping him falling down the lift well? In the car, the accident? Buddy dragging him from the burning car? The newspaper reporters - and the article, publicity, phone calls?

7.Dorothy Eustace and her coming to Nashville? Deciding to set up the seeing-eye centre? The number of dogs, the training? The decision to move to a cooler climate? Morristown, New Jersey? The prospering of the institute?

8.Morris and his involvement, Beth and her marriage? His loneliness? The friendship with Dorothy Eustace? The meeting with Lois, chatting with her, the rapport? Her decision to give her time for the legislation and the cause? The discussions with the senator at the vet - and his interest, the private members bill? Morris and his taking Buddy to the restaurant and their being ousted?

9.The senator, the resistance of the legislature? The discussion with the hostile senator? The challenge for the test? The irony of Buddy becoming old and sick? The scenes at the vet? The plan for the test - and Morris encouraging Buddy? The dog's shrewdness in avoiding the obstacles - and then returning through them? The applause of the legislature?

10.The film as a human and humane story? Hope for those who are handicapped? The pioneering work in such ventures as the seeing-eye dogs? Public prejudice and trying to break down the prejudice? The lasting success?

LOVE HAS MANY FACES

US, 1964, 104 minutes, Colour.
Lana Turner, Cliff Robertson, Hugh O'Brian, Stephanie Powers, Ruth Roman, Virginia Grey.
Directed by Alexander Singer.

Love Has Many Faces is a mid-'60s attempt at a lurid melodrama. Filmed beautifully in sun-drenched Acapulco, it is more glamorous than lurid. However, it has a hothouse atmosphere - and was produced just at the time that Hollywood was beginning to make more permissive sounding and looking films. This is a story about promiscuity, beach gigolos in Mexico, affairs as well as suicides and a mention of abortion.

However, it comes across as a likely steamy entertainment.

Lana Turner in her mid-40s looks exceedingly glamorous - with Edith Head gowns (changing her costumes with rapid regularity) and Sidney Guillarof hairstyles. Cliff Robertson and Hugh O'Brian are the middle-aged gigolos. A young Stephanie Powers makes an early appearance. Veterans Ruth Roman and Virginia Grey are women on the loose in Mexico. The screenplay was written by Marguerite Roberts (whose credits include the screenplay for True Grit).

1.Entertaining melodrama? Acapulco settings? The steamy atmosphere? A film of the mid-'60s?

2.The Acapulco settings, the beauty of the region, the beaches and the water, homes, affluence? The Mexican countryside, poor villages, bullfighting, ranches? The musical score?

3.The title and its suggestiveness, ambiguities? Pete not using the word `love' - and his conversation with Carol? The finale and the relationship between Kit and Pete?

4.The death of the gigolo, found on the beach, relationship with most of the characters, murder or suicide, the police investigation, Carol and her coming to claim the body? The beginning of conflicts and tensions?

5.Kit, Lana Turner and her glamour? Wealth, the boat, the house, her lifestyle? Marrying Pete and the tensions in their relationship? Relationship with Hank? Her background, her telling her story to the maid, her pregnancy, abortion, inability to have children? Her moodiness and jealousy? The locket with the dead man? Her antagonism towards Carol? Fearing that she was losing Pete? Jealousy at the volleyball, going home, the party, sending away the guests? The clash with Carol, going to the bullfight? Her being gored? The reconciliation with Pete?

6.Pete, his background, change of lifestyle, relationship with Kit, interest in Carol, going to see Carol, late home? The friendly discussions with the policeman? Clashes with Hank? Pursuing Carol, sending her away? The reconciliation with Kit after saving her from the bull? His partnership with the policeman with the boat?

7.Hank, the gigolo, his friend, on the beach, surfing, seduction? Margo and Irene? Escort, sexual encounters? The cheque and the discussions with Margo? The dalliance with Kit? At her party? Telling her where Pete was? His friend pulling out? His future? The life of the American gigolos in Acapulco? Immoral but not illegal?

8.Margo and Irene, the middle-aged women going to Mexico, on the lookout for the men, wealth, escorts, relationships? Paying off the men?

9.Carol, relationship with the dead man, youth, naivety, hostility towards Kit? Investigations, attracted towards Pete, with him, falling in love, the clash with Carol? Going to the ranch, the balls, her not liking it, leaving? Wiser?

10.The Mexican police, investigations? Friendships? The ranch owners, society, the bullfighters? The ranches, the training of the bulls, local atmosphere?

11.How well-drawn the characters? Believable? Moral standards and values? Promiscuity, true love? The characters in this Acapulco context?

LOVE AFFAIR

US, 1939, 89 minutes, Black and white.
Charles Boyer, Irene Dunne, Maria Ouspenskaya, Lee Bowman.
Directed by Leo Mc Carey.

Love Affair is considered a classic '30s romance. It has the familiar ingredients, but is presented with lightness and wit. The success of the film comes from Irene Dunne in the starring role, her screen presence, skills as a comedienne as well as with sentiment and feeling. She also sings. The film also relies on the charm of Charles Boyer, who had made such an impact in Hollywood in the late '30s.

The film has the popular ingredients of the shipboard romance, the island stopover in Madeira where Boyer visits his grandmother, Maria Ouspenskaya. The couple are to meet in six months' time at the top of the Empire State Building. Boyer is there, Dunne has an accident on the way and loses her legs. They encounter one another - and the audience waits for Boyer to learn the truth. While there are comic and light touches, the ending is tearjerking. The film was directed by Leo Mc Carey, veteran of a wide range of comedies and dramas with sentiment in the '30s, from Duck Soup to The Awful Truth. He won his Oscar for Going My Way. In the mid-'50s he remade Love Affair in Cinemascope and colour as An Affair to Remember with Cary Grant, Deborah Kerr and a song by Johnny Mathis.

Warren Beatty remade the film with its original title in the 90s. He starred with his wife Annette Bening. Katherine Hepburn made a cameo appearance.

1.Popular romantic classic of the '30s? A film of its time? Perennial qualities?

2.Small budget, black and white photography, studio sets? The boat, Madeira and the mansion, New York City? The musical score, the songs - and the song of love?

3.The title, its plainness and focus? Audience expectations?

4.Terri, her vivacity, on board ship, the first encounter with Michel? Her standing on her own feet in the relationship, their talking, meals, drinks, dancing? The shipboard romance? Mutual appreciation? Her background, singer, friendship with Ken, buying in Europe? The farewell - and the plan to meet in six months? Her reasons? Renewed friendship with Ken, going to Philadelphia, singing? Back to New York, going to the shop? On her way to be married - and her not turning up? Hospital, her refusal to let Michel know? Her work with the orphans, teaching them to sing? The chance encounter with Michel at the concert? The tension? His coming to her apartment, her not getting up, their roundabout talk, the fact that she did not go to the Empire State? His future, leaving, her grief? His talk about the painting, realising that it was she who got the painting, the reconciliation? Hope for a future? The importance of the visit to Madeira, meeting Michel's grandmother, the peace of the mansion, getting to know them both, the chapel, his art, the gift of the shawl? An attractive heroine?

5.Michel, the newspapers and his reputation, his engagement? On board ship, the autograph-seeking girls, the chance encounter with Terri? The growing bond between the two, his being himself, in her cabin, meals, dancing? Life story? The visit to his grandmother, his family background, love for his grandmother, the chapel, the song, the scarf? Farewell to her? New York, the encounter with his fiancee? His getting a job, painting signs? His own paintings and his dealer? The painting of Terri? Empire State Building, her not turning up, the rain? His disillusionment, going to Madeira, his grandmother's death? The scarf? Return to New York, the concert, his fiancee? Coming to Terri's apartment, his gallantry, his disappointment? Love for her, the gift of the scarf? The painting and his realisation of the truth? A future?

6.The grandmother, on Madeira, her welcome to Terri, the song, the bond between them, the gift of the scarf? Her support of Michel?

7.Lois, the relationship with Michel, society woman? The theatre outing? Ken, his love for Terri, letting her go, supporting her in the accident, the evening at the theatre?

8.Popular ingredients of the love story, American style?

LOVE AND MONEY

US, 1980, 95 minutes, Colour.
Ray Sharkey, Ornella Muti, Klaus Kinski, King Vidor, Armand Assante, William Prince.
Directed by James Toback.

Love and Money was written, produced and directed by James Toback, an idiosyncratic writer of such odd films as Fingers, Exposed. His more naturalistic film was The Pickup Artist.

The film focuses on an average American - and then involves him in international intrigue, both an affair with a multinational boss's wife as well as economic difficulties and political assassination with a teenager friend, now a president of a South American country.

The film will appeal either to those who are interested in love, the long sequences of the affair, or those interested in money, the focus on international intrigue and multinationals in Latin America.

Ray Sharkey is energetic as the hero, Ornella Muti beautiful as the wife of millionaire, Klaus Kinski at his most civilised and menacing. Armand Assante is very good as the president. There is a delightful cameo from veteran director King Vidor (The Big Parade, War and Peace). The film takes some time to get audiences involved - but at the end it is interesting, offbeat entertainment.

1.The title: focus on relationships, finance, the involvement in both?

2.The work of James Toback, writing, directing? Offbeat view of life?

3.American locations, Latin American locations? The contrast between the two worlds?

4.The portrait of Byron: in himself, his care for his grandfather, the relationship with his girlfriend, seeing him at work, the phone call, Blair and his proposal, the dinner meeting with Frederick, refusing the deal? His grandfather's and girlfriend's reactions? The encounter with Katherine, his impulsive statement about killing her, the ideal woman, the affair, the torrid affair, the detail, the consequences on his relationships at home, at work, his being fired? His decision to take the job? The flight to Latin America, the meeting with Lorenzo, the private meeting, on the beach, reminiscing, Lorenzo's sexual encounter, testing Byron? Singing the national anthem? Byron warning him about the assassination? The banquet, his relationship with Katherine, going off in the car, Blair being ordered to shoot him, his warding off the killing of Frederick? The arrest, his imprisonment, the firing squad, Lorenzo freeing him, his telling the truth to Lorenzo about his being a tyrant? Return home? The girlfriend moving out, going off with his grandfather? Meeting Katherine - and the affair not being able to work?

5.Frederick as the multinational, the silver mines, the history of the work in Latin America, deals, arrogance, fascist style? The deal with Byron, the flight, the arrival and the greeting of Lorenzo, the memories of Lorenzo's father, the banquet and his anger, threatening Lorenzo, the attempted assassination? The film's comment on multinational bosses?

6.Katherine, her relationship with her husband, sexuality, relationship with Byron, the torrid affair, sharing ideas and experiences with him? The flight, in the hotel room, the truth about the husband using her? The end and her saying the affair could not work?

7.Lorenzo: the South American president, his television interviews? His reputation, his past, friendship with Lorenzo, the meeting at the airport, accommodation and hospitality, the walk along the beach, sexual encounter, singing the national anthem? The deliberate lateness at the banquet, his story of the three men on the boat and his father rigging votes, his plan to have Frederick assassinated, freeing Byron? His final comment to Byron? The sketch of Latin American dictators?

8.The girlfriend and her relationship with Byron, the packing of the books? Leaving?

9.The sketch of the grandfather, his living in the past, his lack of memory, sitting and resting, his comments, his wisdom, the end and the singing of the American anthem? Going off with Byron?

10.Blair, his association with Frederick, the planned assassination?

11.Themes of international financial dealings, America and Latin America, personal relationships? Intensity? Integrity?

LOVE ON THE RUN

US, 1936, 81 minutes, Black and White.
Clark Gable, Joan Crawford, Franchot Tone, Reginald Owen, Mona Barrie, Ivan Lebedeff, William Demarest.
Directed by W.S. Van Dyke.

Love on the Run is a screwball comedy of the '30s, MGM style. Direction is by W.S. Van Dyke, veteran of so many films from MGM of the '30s and '40s. Clark Gable and Joan Crawford make a romantic pair and had appeared together in Dance Fool Dance, Dancing Lady. Joan Crawford had also appeared with her former husband Franchot Tone in a number of films including Sadie Mc Kee, Gorgeous Hussey. William Demarest has an early role as an editor.

The film is the usual story about runaway heiresses, newspaper reporters (echoes of It Happened One Night). There is also a touch of international espionage with British and French settings. An enjoyable piece of '30s fluff.

1.Enjoyable comedy? Screwball comedy of the '30s? Heiresses and newspaper reporters? Espionage?

2.Black and white photography, MGM production values? Settings, cast, score?

3.The title and its humorous overtones?

4.Michael and Barney and their work? In England, paper correspondents? The wedding? The international flight? Their characters? Buddies? Outwitting each other? Barney as the fall guy? Mike and his shrewdness, outwitting Barney, Barney falling for all Mike's ploys?

5.Sally as the wealthy heiress, running away from the wedding, her would-be husband and his pleas? Encountering Mike, being helped by him? Hating reporters? Disguising themselves as the aviators? The flight, the crash? Their adventures on the run in France? Changing clothes, shelter, the police? Barney catching up with him and Mike outwitting him, turning Sally against him? Ultimately in Paris, the newspaper reports? The spies? Sally caught, Mike confessing, her hostility? Sally and her escape? Mike and his coming to the rescue? Happy ending?

6.Mike as reporter, tough American style, sentimental? His friendship with Barney - and the final phone call?

7.Barney, pleasant, the fall guy? Willing victim?

8.The editor and his campaign, the headlines, his exasperation? Firing himself? Coming back on the job?

9.The spies, the interviews, their suave manner? The truth, the pursuit, the capture? Sally and her attempt to distract the spy? Their being finally caught?

10.Popular ingredients of the '30s? '30s style? Impact now?

FOR LOVE OF MONEY

US, 1963, 108 minutes, Colour
Kirk Douglas, Mitzi Gaynor, Thelma Ritter, William Bendix, Gig Young.
Directed by Michael Gordon.

For Love of Money is an easygoing romantic comedy of the early '60s from Universal Studios. It seems very similar to the Rock Hudson-Doris? Day style comedies, so popular at the time. In fact, star Kirk Douglas refers to Rock Hudson during the film.

Kirk Douglas shows a neat style of comedy. Mitzi Gaynor is an attractive heroine. There is enjoyable support from Thelma Ritter and William Bendix. Gig Young is there, yet again, as the best friend. Julie Newmar and Lesley Parrish are two sisters.

The film is one of those American fairy tales where the man preoccupied with money falls genuinely in love. It is one of those enjoyable American fairy tales. Direction is by Michael Gordon, director of the Doris Day-Rock? Hudson Pillow Talk.

1.Enjoyable romantic comedy? Affluent San Francisco settings? The stars?

2.The atmosphere of the American city, affluence, big business? The musical score?

3.The title and its choices, and the fairytale touch?

4.Kirk Douglas and his comic style as Deke Gentry? The yacht, his Sunday off, lazing? The phone call, Mrs Brasher and her demands? His following orders? Hope for money? Taking the job, the interview with each of the sisters? Their not getting rid of him? His technique with Kate? The insinuations, criticism of her mother, her falling for the tricks and employing him?

5.Mrs Brasher and her style, the tough widow? Joseph as her adviser, detective? Pressure on Deke? Listening in on conversations? The lure of money, her bet with Joseph? Mrs Brasher and her relationship with her daughters, their resentment of her? Her plans for their marriages? Telling Gentry about the husbands and commissioning him to make the engagements? Kate's breakdown, weeping with her mother, Mrs Brasher's inability to help her? The happy reunion, the marriages?

6.Gentry and his manoeuvres, meeting each of the sisters, promising them money, arranging for the husbands-to-be to turn up? Timing, fostering the romances? The sisters and their turning to him? Kate and her resistance, her psycho-seduction and buyer motivation? The arrangements for the dinner with Sonny, the mistakes? Falling in love with her? Going to the boat, falling in the water? Her turning against him after discovering the report? The antagonism? With Sonny, the dinner and the fights? On the boat, everybody listening in on the radio? Falling in the water - and the reconciliation? The happy marriage? The change of heart in Gentry?

7.Kate, her wealth, antagonism towards gentry? Her work on motivation? Her collaborator, their film and people and their buying habits in supermarkets? Interest in Sonny? Willing to help Gentry, thinking that there was something wrong with him, trying to help, going to his apartment, seeing her sisters? Turning against him? Sonny and his courting her, the flowers and the invitation, the dinner and the dancing? Her seeing through him? At sea?

8.Sonny, the playboy, the women, the yacht, following Bonnie home, missing out on the dates? Friendship with Gentry? Attracted towards Kate, courting her? On the yacht? The clash between the two? His being the best man?

9.Bonnie, the body-building, Harvey and the tax returns, helping him, falling in love? Jan and her being way out, art and the San Francisco art scene, poking fun at it? Sam and his book about the prisoners? His clash with Jan, their falling in love?

10.The predictable situations, the verve of the writing and acting - and audiences enjoying this kind of predictable romantic comedy?