LAW AND ORDER

US, 1953, 80 minutes, Colour.
Ronald Reagan, Dorothy Malone, Preston Foster, Alex Nicol, Russell Johnson.
Directed by Nathan Juran.

Law and Order is a routine western from Universal Studios of the early '50s. It is straightforward in its plot and characterisation - and quite enjoyable in its way. It was a star vehicle for Ronald Reagan as he moved from stardom to appearing in B-movies, westerns and adventures in the '50s, prior to his political career. It is interesting to look at the movie and listen to the dialogue in the retrospect of his career.

1.Entertaining western? The frontier? American heritage? Violence, law and order?

2.Colour photography, the western settings? The town? Musical score?

3.The title, the focus, the western towns, the criminals, the marshals? Violence and dangers?

4.The focus on Frame Johnson as marshal? Getting the Durango Kid, the fistfight, bringing him to town, stopping the lynching parties? His relationship with his brothers? The relationship Jenny and his retirement? Moving from the town, meeting the Durlings? The past, clashes? Lute becoming marshal, his death? The judge and Frame taking the job? The confrontations, shoot-outs? His moving on to the house? With Jenny? A western figure? Ronald Reagan's style?

5.Jenny, the saloon, relationship with Frame, love, hoping he would move from law and order? Coming to the town, support, happy ending?

6.Lute and Jim, their relationship with their brother, moving, law and order, Jim in the jail, the shoot-out, the arranged escape, Frame pursuing him and bringing him back? Lute's death?

7.The Durlings, owning the town, gambling, confrontations? Frank, his bitterness? His sister? Love for Jim, Jim shooting Frank?

8.Denver, the funerals, support of Frame? Going back to his job? The judge and the people in the town, trying to administer law and order?

9.Impact of this kind of western in its time? Now? Picturing of the American heritage?

LAURA LANSING SLEPT HERE

US, 1988, 95 minutes, Colour.
Katherine Hepburn, Karen Austin.
Directed by George Schaeffer.

Laura Lansing Slept Here is a pleasant telemovie - but a star vehicle for Katharine Hepburn at the age of 79. She is still a marvel to watch - and the character is probably based on a lot of the star's own characteristics.

She plays a celebrated author who is dared to live with a normal family for a week. She does, interfering at a great rate, but gradually sensing what was happening to each of the people in the family and offering her help. Needless to say, she is able to write a great and popular novel - and finally joins them watching a talk show on television. There is a good cast who play up to Katharine Hepburn and her star status.

The film was produced and directed by George Schaeffer, who did the same for Katharine Hepburn's 1987 telemovie, Mrs Delafield wants to Marry.

1.Pleasant American style comedy? Star vehicle for Katharine Hepburn? Entertaining?

2.New York affluent locations, the contrast with Hicksville and ordinary suburbia on Long Island? The film highlighting the contrast between the two? The world of the affluent author, talk shows, soap operas? Musical score?

3.The title and its humour - echoes of George Washington as well as of the famous celebrity?

4.The film as a star vehicle for Katharine Hepburn: her age, her screen presence and assurance (despite her illness)? Playing the grande dame used to all of life's luxuries as well as life's independence? The parallels with Miss Hepburn's own life? Her entourage, her success with her novels? celebrity? Her manner, entering into people's homes, rearranging everything, rearranging their lives, introducing them to `finer things'? And the effect on her and on them?

5.Laura Lansing as successful novelist, hearing her on the talk shows, the failure of her novel, her need to write? Discussions with Larry, the bet? Her secretary and wariness about the whole experiment? Her going to the household, meeting them, Melody and her fainting? Her going into the house, the champagne, taking over? The rules for the use of the bathroom? The meals and her changing things, the enormous shopping load? Her offhand remarks showing her affluence? Her irritation with everybody and the noise? The clash with Annette and her changing her attitude? Her wanting to type - yet watching the soap opera after being told plainly by Melody? Becoming involved? Discovering the truth about water, her phone call to Larry and inquiries about Violet, confronting him in the bathroom? Her arranging for the soap star to come and have lunch with Melody? Her style? Melody and her going to visit the star, Laura and her intervention, being able to reconcile husband and wife? Talking over problems with Annette? Friendship with Walter Junior? Malcolm and his forever crying - and her telling him the little story and her loving the child? The effect on her, writing the novel - and watching the talk show with them?

6.Larry, the New York agent, the bet, with Walter, discussing with him, the status of his family, organising the stay? His suspicions of Walter and Violet? The happy ending?

7.The office, Walter and Violet? His marriage, his children, his fascination, going to her apartment - and the failure? Irritation at home, the challenge by Laura? Seeing Violet for who she was, his jealousy, punching the soap star, the reconciliation? Melody as wife and mother, pleasant, her household, giving every credit to Walter, childhood sweethearts? The neighbours coming in? (And Laura's graciousness with irony to the neighbours?) Her lack of suspicion, the cuisine, her style, the soap star coming, her enjoying it, going to his apartment? Leaving? The reconciliation, the truth? Her pregnancy?

8.Annette as the typical teenager, her dislike of Laura, her room disrupted, the furniture? Her problems - and being able to talk with Laura? Walter Junior, his disliking Laura, having to do the dishes, etc., her showing interest in him? The baby?

9.The sketch of the soap star - on the show, in real life, favour for the dinner, his seductive style (using the soap opera words)? The lunch and Walter's attack?

10.Laura's staff - working for her - but seeing through her?

11.The light comic touch? Old themes - pleasantly done?

L.A. TAKEDOWN

US, 1989, 93 minutes, Colour.
Scott Planck, Alex Mc Arthur.
Directed by Michael Mann.

L.A. Takedown is a tough police story about a young Los Angeles police investigator and a young Los Angeles criminal. They track each other, they meet, they confront each other. The film is an interesting telemovie - what makes it different from the usual police story is the confrontation of the two men as well as the style of writer, producer, director Michael Mann. Mann was responsible for the contents and look of Miami Vice (tough, stylised, colour co-ordinated). Mann's other films include Jericho Mile, Thief, The Keep, Manhunter (which L.A. Takedown resembles). Effective of its kind.

1.Interesting police story? Telemovie?

2.The work of Michael Mann, visual style, crime and the streets, the psychology of the police and the criminal?

3.The look of the film, the use of the streets, the stunts for the crime work? The musical score? Editing and pace?

4.The focus on Vince, his work, personality, collaboration with other police? Relationship with Lilian? His wanting his work to make a little difference? His disgust with the violence, the murder of the teenage prostitutes? His anger with Lilian? The robbery, the deaths of the guards and the police? The informers and his contacts? Tough attitudes with them? The lead on Patrick, following him? Patrick deceiving him? Their meeting, discussion, each side of the fence? The build-up to the robbery, his being deceived? His shrewdness in understanding the contacts, the informants? Waiting for Patrick? The final confrontation? His contribution to L.A. law and justice?

5.Patrick, the initial robbery, the members of the group, the giveaway, the shooting of the guards? His family life and social life? His meeting the girl, her introducing herself, the affair? What motivated him, his friends and their family? The plan for the final robbery? The police on to him, eluding them, misleading them? The meeting with Vince? The build-up to the confrontation? The robbery and its achievement? Deaths? The girlfriend and her disgust? His going after the informant? The violent confrontation, his death?

6.The other members of the gang, their deaths, their skills, things going wrong? Their families? Patrick and his arranging for the money to go to the families? The outsiders, the brutality, the giveaway? These violent criminals, their behaviour and motives, violence?

7.The execution of the robberies, the skills of the police? The life of Los Angeles in terms of crime, investigation and justice?

THE LAST WARRIOR

US, 1989, 94 minutes, Colour.
Gary Graham, Cary- Hiroyuki Tagawa, Maria Holvoe.
Directed by Martin Wragge.

The Last Warrior will remind audiences of Heaven Knows, Mr Allison, the American soldier stranded with the nun on an island in World War Two, as well as Hell In The Pacific, where Lee Marvin as an American soldier confronted Toshiro Mifune as the Japanese soldier and symbolised the futility of war and fighting.

It is a strange choice of a film for the late '80s, there is good location photography, the creation of atmosphere for the American as lookout on a Pacific island, the establishing of the life of the mission on the island. The Japanese soldiers are also well portrayed. The film builds up to a climax of honour between American and Japanese, symbolising the end of the war for both powers.

Quite well made of its kind - but familiar material from the past.

1.Impact of World War Two? Its memory in the '80s? The purpose of this film? Americans and Japanese? The war, honour?

2.The beauty of the island, the jungle and the mountains, the sea? The use of the locations? The wrecked ship? Musical score?

3.Scenes of battle, action, the duels between Japanese and American?

4.Initial information about the war, names and dates? The voice-over commentary? The war strategy? The purpose of the lookout on the island, the dangers, communication? The islanders and the mission? The Japanese navy and repairs? The final information about the end of the war?
5.The introduction to Gibb, as lookout, the widower, with the Polynesian girls, his painting? Contact with the missionaries? His easy style? The radio communication? Seeing the boat, his instant action, the warning to the mission, the escape, the capture of the missionaries? Katherine left behind? Taking her to the wreck, using it as a headquarters? The struggles, the loss of the gun? His being stalked by the Japanese soldiers? Hiding, the need for food? The clash with the Japanese, their deaths? His hut and the booby traps? The cliffs and the fighting? The build-up to the confrontation, using his wits? His being weaker? The duel with the swords? Japanese soldier wanting to train him? Katherine and her fears, angers? Their being together? The torture from the Japanese, the fight to the death?

6.The presentation of the Japanese soldiers, ordinary, photos, their deaths? The hero and the voice-over, wanting to teach the American soldier, what was fitting, fate? Death with honour?

7.Katherine as a nun, her Swedish background, admiration for the missionary? Left behind, her fear, awkwardness? Food, clothing, water? With the gun? Alone? Back to the chapel? The fear of the Japanese? Her dependence on Gibb? The end?

8.A portrait of World War Two? With the perspective of the '80s? Relationships with the Japanese? Themes of honour, the martial arts?

LAST SEEN WEARING

UK, 1987, 103 minutes, Colour.
John Thaw, Kevin Whately, Peter Mc Enery, Glyn Houston, Frances Tomelty.
Directed by Edward Bennett.

Last Seen Wearing is a very entertaining murder mystery, done with great British style. It is part of the Inspector Morse series. Morse is played by John Thaw (The Sweeney) and won a British Film Academy award for his performance.

The film is set in Oxford, in a school, has a great number of complexities in the plot. Inspector Morse is an almost burnt-out case, who nevertheless responds with some ingenuity in investigation. There is an excellent supporting cast led by Peter Mc Enery. The film was directed by Edward Bennett. Fine entertainment.

1.Interesting police drama? In comparison with other British police dramas? Mystery and investigation? The strength of character drawing, police at work, the ethos of the police?

2.The British style: location photography, editing and pace?

3.The style, the wit of the screenplay, authentic characterisations in a contrived plot? The musical score?

4.The Oxford and London settings, homes, the school, the streets? Realistic atmosphere?

5.John Thaw as Inspector Morse: at home, listening to music, reading the classics, drinking? His reputation? The burnt-out touch? Tired, alone? His manner, personality? Clashes with authority? On the case, his pessimistic view? Working with Lewis, the interaction between them? Presuming the girl was dead? The examination of the files? The visit to the school, the encounter with Miss Baines, with the headmaster? The interview with the girls, using the newspaper articles, eliciting points of view from the girls? The teacher who moved to the Catholic school? The encounter at the door with his wife? The discussions with him? Going to see Mr Craven on the building site, his attitudes towards Craven? Wealth, aristocracy? The newly rich? Visiting his wife and the interview? The explanation of her marriage, relationship with her daughter? Tracking down Maguire, going through his flat? The interrogation, the accusation about the pregnancy? His ability to follow up clues, the forging of the letter? His various theories? His not having theories? Lewis and his theories? The superintendent and the clash?

6.Lewis, straightforward, his theories, prudish, working hard, seeing him at work, the clash with Morse? The apology?

7.The picture of the police, the control by the superintendent, the links with the rich and the investigation of the Craven case?

8.The girl and her situation, the clues, the letter, its not having a heading, the reassurance that she was well? The emergence of the pregnancy? The question of the abortion? Her relationship with Maguire? With the schoolteacher and her mother not permitting abortions? Her relationship with her parents? The irony that she was at the door of the teacher's house? Her finally coming back, reconciliation with her parents?

9.The sketch of the headmaster, the dapper and charming style, the girls infatuated with him? His relationship with his wife, their answering Inspector Morse's questions together? His family? The news of the affair with Grace? His stories, style, lies? Tracking down his wife, it emerging that she visited Miss Baines? His explanations, being a suspect? The visit to Grace, being overheard by his wife? His attempts at clearing himself? The blackmail, the antagonism towards Miss Baines, her death? His being taken away?

10.Craven, his work, wealth, the emphasis on having dirty feet and getting to work, his antagonism towards Inspector Morse? Grace, the Irish background, her openness - yet concealing the truth? The encounter with the headmaster's wife? Her telling of the truth?

11.Miss Baines, at work, good teacher, becoming deputy, her relationship with Julia and being idolised by her, the lesbian background, the blackmail and hold over the headmaster? The sending of the letter to reassure the girl's parents? The confrontation with the headmaster and her death?

12.The teacher at the Catholic school, his attitudes, theories, the irony of his being in the town the night Miss Baines was killed, the truth?

13.The detail of the character drawing and studies? The wit of the screenplay? The authentic touch?

LAST HOLIDAY

UK, 1950, 88 minutes, Black and white.
Alec Guinness, Kay Walsh, Beatrice Campbell, Gregoire Aslan, Bernard Lee, Wilfred Hyde White, Helen Cherry, Sidney James, Muriel George.
Directed by Henry Cass.

Last Holiday was written by J.B. Priestley. It offers a starring role for Alec Guinness, who was at the beginning of his very successful film career. After working in David Lean's Great Expectations and Oliver Twist, he made the move to comedy with Kind Hearts and Coronets and was to be a mainstay of British comedy during the early '50s with The Lavender Hill Mob, The Man in the White Suit, Father Brown, The Ladykillers.

The film has a touch of irony: a doctor making a mistake about a diagnosis and telling a young man that he has only months to live. The young man decides to live in style before he dies - and his goodness and charm have an effect on a whole range of people at the hotel where he lives. The diagnosis proves incorrect - but the young man ironically dies in a car accident. Alec Guinness shows his qualities of screen presence, acting talent as well as comic style.

1.Entertaining British comedy of the '50s? The work of J.B. Priestley? Alec Guinness as star? British character actors?

2.Black and white photography, the English countryside, the luxury hotel? The workplaces? Musical score?

3.The title, George and the diagnosis, his holiday - and the irony of his reprieve and then death?

4.Alec Guinness as George Bird: his work, the ordinary young Englishman, alone? The diagnosis and his acceptance? His giving notice? Taking the money, the luxury hotel? His friendship with the manager? His stay, enjoying himself? Interaction with the guests, transforming them? The gambling and winning the money? His friendship with Mrs Poole? The possibilities - jobs being offered him, reliance on his expertise? His encounter with Lampringham, the irony that he did not have the disease? The return to the doctor, his reactions? Driving - and the freak accident, his death? People's response to him - friendly, self-critical after his death, beginning to doubt that they should have been friends with him? And yet the good that he did in his last holiday?

5.The hotel manager, foreign, guests? The way people treated him? The strike - and the guests entering in and doing the work? The friendship with George?

6.Mrs Poole, her work at the hotel, her wisdom, friendship with George, attraction? The problems with the staff? Her meeting him, the discussions, her discovery of the truth, her sympathetic response?

7.Chalfonte, his jovial style, friendship, encouragement, the possibility of a job? Sir Robert, the ministry, the interest in machinery, his getting advice from George?

8.Joe and Daisy, their loud style, jovial? The gambling? Wanting George to come in as partner?

9.Miss Fox, her friendship with George, relying on him? Lady Osmington and her haughty style? Miss Fox subservient? George urging her to stand on her own feet - but her going back as Lady Osmington's companion?

10.Lampringham, his style, authority, arrogance? With the guests? With George, the diagnosis?

11.Sheila and Derek, Sheila's attraction to George, the marital problems, the money difficulties, the police investigating Derek? Derek and his reforming?

12.The hotel as a microcosm, England at 1950? The range of people, hopes for post-war England, traditions? George as a sign of contradiction, helping people, their responding well, their difficulties?

• Sheila and Derek, Sheila's attraction to George, the marital problems, the money difficulties, the police investigating Derek? Derek and his reforming?

LAST BUS TO WOODSTOCK

UK, 1988, 105 minutes, Colour.
John Thaw, Kevin Whately, Anthony Bate, Terrence Hardiman, Fabia Drake.
Directed by Peter Duffell.

Last Bus to Woodstock is one of the earliest of the Inspector Morse series. John Thaw is establishing his personality as Inspector Morse and Kevin Whateley as Sergeant Lewis.

The film has a good cast, including Fabia Drake as an elderly observer and witness. The film was directed by Peter Duffell, whose cinema credits include England Made Me.

The film establishes the atmosphere of Oxford and its environment, life at the university, in business, students - a credible atmosphere for a murder mystery.

1.The popularity of Inspector Morse? The subsequent series? Personality, investigations?

2.The series, the characters, the atmosphere of Oxford, the role of the police, detection? The development of Morse's character?

3.The local atmosphere, people, companies, the university?

4.The setting and the credits: the weather, the elderly lady at the bus stop, Sylvia and Mary, the lift, the pub, John Sanders, the tutor at the bar, the death? People's reactions - Sanders' illness, the questions, the tutor and his objections? The staff at the hotel?

5.The portrait of Morse, in himself, bachelor, detective work, introverted, grumpy, with Lewis? Interest in Rochester? The shrewdness, Lewis and his education and practicality? Morse and his going on television to explain the situation? The interviews with Sanders, with Sylvia's mother, with Jennifer Colby, with Clive, Angie, Max, Mary? Morse and Lewis adapting their methods for the people being questioned?

6.John Sanders and his illness, talking, protesting his innocence, his stealing the money, the reaction to the death, buying the billiard cue and the clothes? The competition and the fight? His arrest? Interrogation and the pressure put on by Morse? The truth?

7.Sylvia's mother, her grief, the ransacked room, Morse's visit, packing up? Her perspective on her daughter?

8.Crowther and his lecture, Rochester the rake, the reform? His associate? Crowther's wife, gaining the chair, her pressure? The television program, the truth? Crowther and his relationships with women? Picking up Sylvia, the fight, running over her? His relationship with Mary? Her not telling him the truth? With his wife and getting rid of the tyre? His heart condition?

9.Jennifer and her work, the relationship with Clive? Their responses to Morse? The affair? Jennifer and her boarding with Angie and Mary, the easy relationships between the women? Sylvia and her work, passing on the envelope from Crowther? The final clash with Clive? The truth?

10.Angie, student, flirting, her attraction to Morse and the discussions, the visit to the tutor's room, his advances, her reactions, talking with Jennifer?

11.Max, the deliveries of the letters, playing pool?

12.The elderly lady, her observations, the discussions with Morse - and being ahead of him? The car, enjoying giving the testimony? Discovering the car and reporting it?

13.Mary, the truth about Sylvia, the money, her arm, going to hospital - and the relationship with Mary? Mary and her telling the truth?

14.Satisfying murder mystery, detection, sufficient clues, reasonable resolution?

THE LAKE

US, 1998, 90 minutes, Colour.
Yasmin Bleeth, Haley Joel Osment, Robert Proski, Marian Ross.
Directed by David S. Jackson.

The Lake is very much Dean R. Koontz territory. A young nurse returns to look after her estranged father in a remote town. She remeets a past boyfriend, the local doctor. However, she knocks down a man in an accident on the highway - the police do nothing and the next morning he is quite well. Then her father, an alcoholic, recovers and her neighbours turn strange.

It emerges that there is a parallel world to this one, the equivalent characters from the other world are entering into this one and sending the humans into the other world, destroying them in a vortex in the lake. The nurse and the doctor try to prevent any more destruction and with the help of the young boy (Haley Joel Osment from The Sixth Sense) they eventually have to come to the replicas of themselves and escape to freedom.

The film is a popular telemovie - but quite entertainingly done.

1.Popular thriller - the touch of science fiction and horror?

2.The Californian settings, the small town, the homes and hospitals, the shops, the lake itself and the special effects for the vortex? Atmospheric score?

3.The title and the focus on the lake, the vortex in the lake as the doorway between the parallel worlds? The characters being destroyed in the lake? The replicants coming out of the lake?

4.The plausibility of the plot? Audiences suspending disbelief? The realism of the vortex from one world to another being in a remote American lake?

5.Jackie and her work at the hospital, the initial operation, news about her father, the drive home, the alienation from him? The accident, the victim, the police not doing anything? Her concern, discussions with the doctor? Meeting her father, his offhanded manner? Her pursuing the case, meeting her friend the mayor? The interviews? Her friendship with Herb and his wife? Meeting Dylan and his mother?

6.The strange recovery of her father? Herb's wife worried about him after the fishing night? Her change of personality? Dylan and the replicant young boy? Everybody trying to get her to leave the town? Her examining the medical records? Her discovering more about the replicants?

7.The audience knowing more than Jackie - Herb on the lake, the police and putting him into the lake and getting his replicant? The mayor and her control, the police? A town full of replicants?

8.The chases, Jackie and her being pursued by the police, by her replicant self? Being tricked by the replicant Jeff and Dylan? The speech-making in the town and the townspeople in pursuit?

9.The final confrontation on the lake, the boats, Jackie being freed, in the water? Her replicant father and his loving her, wanting to save her, giving his life for her?

10.Popular ingredients for a thriller - human nature in response to alien experiences and horror?

LADY OF THE TROPICS

US, 1939, 92 minutes, Black and white.
Robert Taylor, Hedy Lamarr, Joseph Schildkraut.
Directed by Jack Conway

Lady of the Tropics is a glossy MGM production for a creaky old Indochinese melodrama of the late '30s. Surprisingly, it was written by the celebrated Ben Hecht.

The film is a star vehicle for Robert Taylor and one of Hedy Lamarr's earliest films. (She was not as assured on screen as she was in later films.) Joseph Schildkraut, recently Oscar-winner for The Life of Emil Zola as Dreyfus, is the villain.

The film's screenplay has a great deal of early dialogue about mixed-race people - from a particularly condescending point of view judged from later decades. The film highlights the superiority of the Americans - and, at times, only European and American visitors seem to be seen in Saigon of the '30s. However, the plot takes us up-country towards Cambodia, enabling some reconstruction of ancient sites and a bit of local colour. However, it remains a very dated curiosity item of the period. Direction is by veteran Jack Conway.

1.Popularity of this kind of romantic melodrama in the '30s? Americans and Asians? Eurasians? Mixed-race love? Self-sacrifice?

2.Black and white photography, MGM production values? Studio sets - suggestion of Saigon, of Asian ancient monuments? Musical score? Songs - and the opera interlude?

3.The title and the focus of Manon, the Eurasian caught between races?

4.The focus on Manon, Hedy Lamarr's screen presence? The explanation about mixed-race people in Indochina. Fish out of water, not accepted by either tradition? The French background? Her place in society, with Delaroch? The Harrisons and their suspicions of her? Her clothes from Paris? The encounters with Bill, the attraction, dancing? The romance? Delaroch and her relationship with him, wanting a passport? Sailing up-country, the romance on boat with Bill? As a princess, the rituals and ceremonies? Her decision to go with Bill? With Father Antoine, the marriage? Getting Bill the job, the pressure from Delaroch, the opera, the newspaper reports? Her passport? Delaroch planting the information, Bill's acceptance, suspicions? Her hurrying to Delaroch, confronting, shooting, her own death? With Bill, the blessing of the priest? The picture of the Eurasian - and the ideal of becoming European, marrying the American, escaping from Indochina? Self-sacrifice for the man the only possible dramatic escape?

5.Robert Taylor as Bill, American hero, with the Harrisons, the playboy, attracted to Manon, defending her against the Harrisons? The romance, shipboard, discovering who she was, the pressure on her, leaving, the marriage? Hard work, the return, suspicions and putting them aside, disappointment, going to confront Delaroch? Manon not wanting him to go to jail for Delaroch's murder? Her dying in his arms?

6.Delaroch, wealthy, mixed race? Despised by people yet his facility in moving in society? The relationship with Manon, getting the promise from her to marry him? Her escaping him? The pressure, the opera, the passport? The final confrontation and his death?

7.Nina, in Saigon, friendship with Manon? Her songs, support?

8.The Harrisons - Americans on tour in the '30s? Fascinated by the Oriental? Their superior attitudes? The young girl and her sarcastic comments? The discussions with Manon - especially about shopping?

9.Popular melodramatic ingredients for exotic melodramas of the period?

LADY LUCK

US, 1946, 97 minutes, Black and white.
Robert Young, Barbara Hale, Frank Morgan, James Gleason, Don Rice, Harry Davenport, Lloyd Corrigan.
Directed by Edwin L. Marin.

Lady Luck is a pleasant comedy about gambling, mid-1940s style. It is a star vehicle for Robert Young and Barbara Hale with enjoyable support from Frank Morgan as a gambling grandfather. James Gleason, doing a familiar turn, leads the supporting cast.

It is a moral fable - but very much of its time in its presentation of gambling and attempts to try to wean somebody from the problem.

1.Enjoyable comedy? Romantic? Satiric? Gambling?

2.Black and white photography, the 19th century locations and sets, 20th century - New York, Los Angeles, Las Vegas? Musical score?

3.The title and gambling - and focus on Mary and her relationship with Larry.

4.The prologue with Mary and her grandfather, the gambling and the Civil War, losing the plantation, losing all the skins? The Wall Street crash? Preparation for the story of Mary and Grandpa?

5.Mary, resistance to gambling, setting up the bookshop, Grandpa and his running away, help from Larry? Falling in love, the phone call, the marriage? Las Vegas, seeing Larry gambling, her turning against him, the set-up, her gambling, winning, getting the casino? Involved in the gambling, her partners, anger with Larry? The confrontation, Grandpa playing poker, losing, finding out the truth - the happy ending?

6.Larry as the bookshop, with Grandpa, arrested, wanting to give it up - marrying Mary, romantic? The wedding, helping somebody out, Mary's anger with him, his trying to resist her? Getting Grandpa's help? The return to Las Vegas, disappointment, giving her an ultimatum? The happy ending?

7.Grandpa, the long line of gamblers, in the bookstore, taking the money, paying his debts, setting up a booking shop? Helping out Mary, the poker-playing, losing to Sam?

8.Sam and the gang, gamblers, Las Vegas, their schemes, helping Mary win, trying to make her lose? Sam and the confrontation with Gramps - and bluffing him? The friends, the boys and their gambling?

9.The atmosphere of Las Vegas, the casinos, even the judge gambling?

10.A film of its period, the point about gambling, romance and reform?