SWEETHEARTS

US, 1938, 114 minutes, Colour.
Jeanette Mac Donald, Nelson Eddy, Frank Morgan, Ray Bolger, Florence Rice, Mischa Auer, Herman Bing, Reginald Gardiner, Fay Holden, Allyn Joslyn, Lucile Watson, Gene Lockhart, Kathleen Lockhart.
Directed by W.S. Van Dyke.

Sweethearts is one of many MGM musicals starring Jeanette Mac Donald and Nelson Eddy. They had already made Naughty Marietta, Rose Marie and The Girl of the Golden West. They were to go on to such films as New Moon, Bitter Sweet, I Married an Angel.

The film is very much of its period, with the popularity of operatic musicals at MGM. Jeanette Mac Donald excelled at these and was very popular during the 1930s and 1940s. She worked well with Nelson Eddy, though he was often criticised for being too stolid.

The film is adapted from a 1913 operetta by Victor Herbert (The Vagabond King, The Student Prince). It is brought into the present time – with a couple in their sixth year of performing Sweethearts on Broadway. Their manager is played by Frank Morgan – anticipating The Wizard of Oz (and Ray Bolger is a singer-dancer, with his own turn at the beginning of the film, soon to be the Scarecrow).

The film is about Hollywood and its enticing performers away from Broadway – a strange phenomenon in the 1930s where so many of the films were deprecating the call to Hollywood (even though they were Hollywood films) and glorifying Broadway. As in this film, many presented the musical sequences as if they were staged in the Broadway theatres, lavish, costumes, colour, an enormous cast and sets.

The film is fairly conventional in the sense that Reginald Gardiner plays a Hollywood agent, coming to New York to meet his rival, Frank Morgan, and entice the couple away to Hollywood. With all the pressures of engagements, the pressures of their eccentric acting family, they decide that it would be more peaceful to go to California. However, there are various plots to undermine their moving away, especially with playwright, Mischa Auer, concocting a play whereby the wife becomes suspicious of her husband and separates and goes on tour. When the play flops, the two realise that they were set up – and a happy reconciliation.

Of interest, one of the co-writers of the film was the acerbic writer, Dorothy Parker.

Direction was by Woody Van Dyke, a veteran of so many genre films at MGM with a larger cast than usual of character actors from MGM.

HOUR OF THE WOLF

Sweden, 1968, 90 minutes, Black and white.
Max von Sydow, Liv Ullmann, Erland Josephson, Ingrid Thulin.
Directed by Ingmar Bergman.

Hour of the Wolf comes at the end of the 1960s, a grim time in world history, grim for Bergman with such films as Persona and Shame as well as Hour of the Wolf. Bergman had been grim in the early part of the 1960s with his trilogy, Through a Glass Darkly, Winter Light and The Silence. He then did the light touch with Now About All These Women (also in colour). These films are significant in Bergman’s career and throw light on the issues and questions of the 1960s.

He uses many of his regular cast, highlighting Max von Sydow in these films of the late 60s and introducing Liv Ullmann to his films. Erland Josephson and Ingrid Thulin were regulars in his films.

The advertisement for Hour of the Wolf indicates that this is the hour between night and dawn, when most people die, the hour when the sleepless haunted by their deepest fear, when ghosts and demons are most powerful. Bergman is illustrating this in the life of an artist with his crisis, his nightmares, his telling his story to his wife.

1. The work of Ingmar Bergman? His career? Personal investment in his films? Psychological? Religious?

2. Black and white photography, for reality and dreams? The style, the editing, the music (and Mozart)? The use of the boy?

3. The framework of the voices: information, Alma and the talk? The build-up to the ending – and yet the people present?

4. The interest in personality? In a remote situation? The island? The artist? Alma – and the meaning of the word ‘soul’?

5. The boy, identification? Dreams, demons, cannibal? Reality and fantasy, destructive? In the hour of the wolf? Alma and her listening? Her own experiences?

6. Borg, the artist, his artistic style? Ordinary, arrival, the marriage, the seven years?

7. Moving to the extraordinary experiences? The diary and the people, especially Veronica Vogler? The boy, issues of homosexuality? Murder? The baron and the others? Visitations and invitations?

8. The visits, the meals, conversation, art and compulsion, torment?

9. The drawings, the dreams, the demons? The kinds of demons? The woman with no face? Veronica Vogler and the issues of sexuality? Participation in the dreams? Real or symbolic?

10. The character of Alma, her visits? Participating? Sharing her husband’s fear?

11. What had to be destroyed? What was destroyed? What disappeared?

12. Alma and her final speech?

13. The issues of the conscious, the unconscious, the subconscious? Ordinary and extraordinary experiences? Communication and sharing?

14. A film about truth, about fears, survival, love – and some optimism?

THE BANDIT OF SHERWOOD FOREST

US, 1946, 85 minutes, Colour.
Cornel Wilde, Anita Louise, Jill Esmond, Edgar Buchanan, Henry Daniell, George Macready, Russell Hicks, John Abbott, Lloyd Corrigan, Eva Moore, Ray Teal.
Directed by Henry Levin and George Sherman.

The Bandit of Sherwood Forest is a mid-40s matinee action adventure. The performances, dialogue, action scenes are all designed for the widest possible audience.

Cornel Wilde was emerging as a star in the mid-40s, having just been Chopin in A Song to Remember. He portrays Robert Hood, Robin Hood’s son, in the sparkling teeth, laughing cavalier manner. Jill Esmond (formerly married to Laurence Olivier) is the Queen Mother and Anita Louise, a star of the 1930s, is her lady-in-waiting, who falls (rather instantly) in love with Robert Hood. Veteran Russell Hicks is the older Robin Hood, investing him with some dignity, memories of the past, and a place at the Council of Barons, defying the Regent, played in a sinister way by Henry Daniell, and his offsider, Fitz- Herbert, played also in a sinister manner by George Macready. (Both of them look different from their usual performances with mediaeval hairstyles and beards.) There are also the merry men as well as Mother Meg (played by Eva Moore, the mother of Jill Esmond). Edgar Buchanan is a lively Friar Tuck.

The film has two directors – though it looks as though only one was actually needed.

One of the many Robin Hood stories and television series – but, Errol Flynn seems to have been the classic Robin Hood in the 1938 Adventures of Robin Hood.

1. An entertaining mediaeval story? The legends of Robin Hood? His son?

2. The sets, Hollywood style? England, the 13th century? Sherwood Forest? The castles? The action scenes? Derring-do? The musical score?

3. The information about England, Robin Hood and the confrontation with King John? The Magna Carta? Twenty years later, the Regent, William of Pembroke, and his dominance, wanting to be king? The boy king, his mother? The abduction of the boy, his planned murder? The Queen Mother’s escape with her lady-in-waiting? Fitz- Herbert and the army? The setting for a new confrontation?

4. The meeting of the barons, their subservience to the Regent? Stopping Magna Carta? Robin Hood defying him, being exiled?

5. Robert Hood, his appearance, dashing, laughing? His skill in archery? Defying the soldiers, defying the notices about Magna Carta? His encounter with the two women, not knowing who they were, attracted by Catherine, her leg and the river? His manner, her slapping him? Taking them to Mother Meg’s? Their setup? His going into the forest, encountering the merry men, the fight with Friar Tuck and winning? The revelation of who he was? Meeting his father again?

6. The plots against the king, his being separated from his mother, in the west tower, the plan for his being murdered? The Sheriff of Nottingham and his fear of the Regent?

7. The Regent, his plans, the backup of Fitzherbert?

8. Allan- A- Dale going to the castle, the minstrel, getting the information? The forest, Robin Hood and the plan? The prioress and her travels? Catherine disguised as the prioress? Their going to the castle, being let in?

9. The military, discovering the real prioress, going back to warn the Regent?

10. The plan for the rescue of the king, firing the arrow and the rope, rescuing the king? Allan, Robert and Catherine being captured? Imprisoned?

11. The three days, the combat with the Regent? Catherine and her getting the food to Robert? His pretending to be weak? The fight? Robin Hood and the changing of the guards? The plan to shoot an arrow at Robert?

12. The foiling of the plans? The death of the Regent? The arrow at Fitz-Herbert? The rescue of the king – the restoration? The happy marriage? And a matinee enjoyable time for all?

PIPE DREAM

US, 2002, 90 minutes, Colour.
Martin Donovan, Mary- Louise Parker, Kevin Carroll, Guinevere Turner.
Directed by John Walsh.

Pipe Dream is an entertaining light film. It’s central characters are not one hundred percent likable – but they are likable, especially as they go through the process of trying to find their better selves.

This is a New York story. Martin Donovan portrays a plumber, seen going about his jobs – not without getting some extra money for overcharging (later revealed in a television expose). He feels that people don't see him. This is especially true of an encounter with writer Toni (Mary- Louise Parker). He feels that film people get all the attention and are recognised – and, in discussions with his schooldays friend, R.J. (Kevin Carroll), he puts him up to setting up a casting session with the plumber acting as a director to see what happens, and to make some dates with girls.

The plumber also decides to steal some pages from the screenplay by Toni. Eventually she joins in and the auditions are a great success. Word gets around that Pipe Dream is to be a successful independent film, people want to invest, people want to be in it.

The plumber later uses the analogy of Cyrano de Bergerac to explain what happens on the set. He says the words. However, Toni is saying the directions in his earpiece. After the television expose, the film is about to fall flat on its face but the investor feels that he will be made a fool of and so employs the plumber again. However, Toni is to be the director. He is to be the caterer. At the end, they go off hand in hand discussing possible scenes...

1. A blend of reality and fantasy? An entertaining story of finding one’s true self?

2. A New York story, plumbers, class distinctions, their work, being ignored? Not recognised? The world of agents and staff? The film world and casting, auditions? Film-making, the sets, the equipment, the crew? The media? The investment world?

3. The light touch, the charm of the story, the dialogue, the characters and their mistakes, recovery?

4. The title for each of the central characters? Wish fulfilment?

5. David, his work, his clients, the woman on the phone (and later discovered to be the wife of the agent who does not recognise him when he pays him)? Parts and expenses, overcharging – and the later TV expose? His helping Toni, her anger with her boyfriend, listening to her, the sexual relationship? The morning, hearing her on the phone, resenting her comments about plumbers?

6. R.J. and his friendship, the meal, discussion about the cheque, the deal, the invisibility issue, the idea of having a casting session, the girls, David as a director? The casting organisation, Toni and the pages, David copying them? Toni finding out? Her becoming part of the setup?

7. The auditions, the performances, the text being funny? The star – and her being rejected in favour of Marlis? David and his being coached to say a few words? The effect? His wanting Marlis – and the callback?

8. Toni, her skills in writing, the truth, going along with the pretence, sitting in, getting out from Marlis’s audition, the fact that she worked with her in the office?

9. Toni, her work, discussions with Marlis, the lawyer who wanted to date her, her using him for the contracts? The agent? The office work? The outings with the lawyer?

10. The money offer, the investor, his working on the internet, his motivations? The talk about the film, the gossip, people phoning, the go-ahead, the crew, the interviews, the building of the sets?

11. The Cyrano de Bergerac story? Its effect? Toni and her direction, David saying the words? Her encouraging him? The car being towed away? The food, the status of the caterer, seeing himself as invisible? The stars? Marlis and her being rather dumb? David encouraging her? The meal, the sexual encounter, her being bothered afterwards, David trying to help, the kiss, Toni and her jealousy, Toni helping Marlis, later realising her misjudgement?

12. The scenes, their success, finding the right words, the congratulations?

13. Plumber jobs, David having to go off, the wife of the agent? The television comments? The phone calls? His being exposed?

14. David as a director, his being noticed, his language, the media interview, the change in him? His being fired, called back?

15. The caterer, his character, the discussions? David becoming the caterer?

16. His going back, the truth, working with Toni, the collaboration – and the final scene of them walking off together, the friendship, love, working together?

KID GALAHAD

US, 1937, 102 minutes, Black and white.
Edward G. Robinson, Bette Davis, Humphrey Bogart, Wayne Morris, Jane Bryan, Harry Carey.
Directed by Michael Curtiz.

Kid Galahad is a strong boxing film from the 1930s. It focuses on a young bellhop, an innocent and naive young man, who is propelled into the boxing industry. The film focuses principally on his manager, Edward G. Robinson, in one of those ultra-dynamic fast-speaking role. His mistress is played by Bette Davis, very interesting in a totally sympathetic character and performance. She in some ways is able to balance Robinson’s temper. However, the villain of the piece is played by Humphrey Bogart, a rival manager who is in essence a gangster. Wayne Morris portrays the bellhop with a strange name, Ward Guisenberry, which everybody laughs at. However, Bette Davis refers to him as a Galahad and that becomes his boxing name. In the supporting cast is Jane Bryan as Robinson’s sister, the romantic connection with Kid Galahad. Harry Carey is the sympathetic trainer.

The film was directed by Michael Curtiz, the Hungarian migrant who directed an enormous variety of genres at Warner Bros, winning an Oscar for Casablanca.

The film was reworked for the Humphrey Bogart vehicle in 1941, Wagons Roll at Night, with the setting as a circus. The film was remade as a vehicle for Elvis Presley, keeping the essence of the story and characters, plus some songs. Because of the Presley vehicle, the 1937 film was renamed The Battling Bellhop for television distribution at the time.

1. The popularity of boxing films? This film in the 1930s, something of a pioneer? Setting up the tradition?

2. Warner Bros production values, the 1930s, black and white photography, the tough and unvarnished style, the strong cast, the score?

3. Boxing in the 1930s, the industry, managers, trainers, the fighters themselves? The gangster backgrounds? Money, betting, promotion? The role of the media? The public?

4. Edward G. Robinson’s portrait of Nick, his appearance, fast-talking, saying there were to be no feelings in the boxing world? His temper, firing people, his treatment of Silver? His distance from his family, yet protective of his sister? His relationship with Louise, calling her Fluff, her supporting him, speaking the truth to him? His watching the bouts, the bets, Turk and the rivalry, the party after the fight, the discovery of the truth about Turk and the betting? A put-up job? Seeing Ward, the KO, the possibilities for him to be a fighter?

5. Bette Davis’s performance as Fluff, sympathetic, singing songs in the clubs, her controlling Nicky, her kindness at the party, helping Ward, calling him Galahad? His name, her infatuation with him? His not noticing?

6. Nick and Silver, the letting go of the initial boxer, taking on Galahad, Galahad’s ambitions, happy to be a champion, the training, the fights, the knockouts, Nick and his control, Galahad obeying him? Galahad and his going to Nick’s home, the mother, the sister? Nick’s anger? His vicious behaviour? Setting up the media information, the betting against Galahad? The attack? Louise and Marie at the bout, their anxiety? Their being able to change Nick’s attitude, Galahad winning?

7. Ward, his name, the innocent, awkward, not knowing about the drinks, defending Louise, the knockout, Turk and his humiliation, cutting his trousers, everybody laughing? His accepting Nick’s proposal? Louise trying to talk him out of it? The fights, the effect, the money to buy a farm?

8. Winning the initial bout, escaping to New York, going to the farm, Nick’s mother, Marie, falling in love? Marie going to New York? Nick driving to the farm, his anger? His trying to dominate Marie? Their going to the nightclub, Louise singing, Turk and his boxer, the clash, the photos, the media treatment?

9. Humphrey Bogart as Turk, vicious, his gangster background, the bets, the bribes, provoking Ward? The media, setting up the championship fight, the photographer after the victory, the setup, Galahad in the shower block, Turk with the gun, Nick and his intervention? The confrontation, the shootout? Turk dying? Nick and his final words?

10. Marie and Galahad, the happy ending? Louise and her walking alone along the street?

LE TEMPS RETROUVE/ TIME REGAINED

France, 1999, 158 minutes, Colour.
Catherine Deneuve, Emmanuelle Beart, Vincent Perez, John Malkovich, Pascal Greggory, Marcello Mazzarella, Marie- France Pisier, Chiara Mastroianni, Arielle Dombasle, Edith Scob, Elsa Zylberstein, Christian Vadim, Melvil Poupaud.
Directed by Raoul Ruiz.

Le Temps Retrouve is based on the works of Marcel Proust. All commentators agree that it is practically impossible to translate the memoirs and states of mind in Proust’s novels to the screen. However, distinguished Chilean director, Raoul Ruiz, has a strong reputation for bringing literary works to the screen and has adapted parts of Proust’s story.

Clearly, this is not a film for Proust purists. However, for those interested in getting to know something of Proust, his characters, his style, the film is welcome.

The film has a very powerful cast of principally French actors. Marcello Mazzarella plays Proust himself. The focus is on John Malkovich as the Baron de Charlus, and his relationships, especially with Emmanuelle Beart, Catherine Deneuve, Marie- France Pisier and Chiara Mastroianni.

The film goes back to France in the 1890s, the Belle Epoque. The film recreates the atmosphere in design, sets, costumes and decor.

The film is particularly French in its style, the focus on characters, interactions, relationships.

Volker Schlondorff made a version of part of Proust’s memories with Swann in Love during the 1980s. It starred Jeremy Irons and Ornella Muti.


1. The status of Marcel Proust? His literature? Cinema adaptations?

2. Proust and words? His use of images? Transferring to the screen? The use of music?

3. The characters on the page, actors and their interpretation?

4. Consciousness, shifts of consciousness, memories? The role of memories? The editing? Forgetting, memory regained, refound?

5. The title? Its relationship to Proust’s writing?

6. Proust and his death, Celeste and her faithfulness? The detail? His dictating? The milk, the voice, the photos? The comment?

7. Proust in himself, observing people and life, the role of gossip, the dilettante? Illness, chronicling? An interpreter of the times? Moral perspective? Non-moral?

8. The family, close, the closed circle? The discoveries, the human comedy?

9. The structure: time shifts, the role of imagination, characters and their faces?

10. 1914-1920? The experience of World War One? France and the desire for glory? France defending itself? Spies? The trenches? Violence? Heroism? Loyalty?

11. The contrast with Proust as a boy, his relationship with his parents? Odette, Gilberte and the sexual relationship? Charlus? His uncle and Odette? Robert? The adolescent and Charlus? Observations?

12. Odette, her characters, relationships? Gilberte? Social? Friendship, how she was regarded? The deaths? The prince and the prisoner?

13. Gilberte as a girl, talking to Marcel? The place of Robert? Marriage? Brittle? Death and the aftermath and how it was interpreted?

14. Rachel, the recitation?

15. The theatre, mistresses?

16. Society, the hostesses, the concerts and the salons?

17. Robert, Gilberte? The mistresses? The talk about death and heroism? The men? The brothel? Eating and talking? Dying and the effect on Marcel?

18. Charlus, his character, eccentricities, giggle, homosexuality, effete? The whipping? Payment? Love, decay?

19. Charlus, friendship, the deserter? The later snobbery? Marcel and the writing?

20. Jewish background, the changing of a name? The prince reacting to the writing? The wife and the United States?

21. The character of the aunts? Their place in the family?

22. The meaning of life and relationships, wealth, position, manners? The portrait of a past era, pro and con?

MERCY STREETS

US, 2000, 106 minutes, Colour.
Eric Roberts, David A.R. White, Cynthia Watros, Shiek Mahmud- Bey, Stacy Keach, Robert La Sardo.
Directed by Jon Gunn.

Mercy Streets is a crime thriller with a difference. The crime thriller is rather conventional – but this is a Christian film, made by committed Christians, wanting to reach the target audience of American audiences who like thrillers but who want some kind of values, even explicit religious language.

The character played by Shiek Mahmud -Bey, a reformed crook-become-policeman, goes to church and talks about Jesus values, probably symbolises the kind of target audience the film intended.

Eric Roberts is a sinister criminal, involved in fraud, murder, counterfeit money. It is the kind of role he can do in his sleep. Comedian David A.R. White plays identical twins, one an Episcopal deacon about to be ordained, the other a criminal released from prison, working for Eric Roberts. The plots get them to change roles, the deacon having to work for Roberts in order to save his brother, the brother resenting his twin because he felt that he had abandoned him when they were abducted when they were very young.

There is a romance, the earnest deacon in love with an artist but clashing with her about her sense of career. When his twin takes over, he seems to warm to the girl, but then is aggressively violent towards her.

The film shows something of a conversion for the criminal brother, especially when he encounters a sympathetic priest, Stacy Keach in a cameo role.

The film relies on the conventions of crime thrillers, mistaken identities, drama and romance. Most audiences will find it fairly conventional – but it would appeal to those who want Christian-oriented films to take advantage of the genres and conventions that people enjoy.

1. The impact of the film? As a crime thriller? As a conversion story?

2. The title, the streets of the city? The contrast between the church, ordinary life in the town with the world of criminals, prisons, meeting-places, counterfeit warehouses? The musical score?

3. The plausibility of the plot? The identical twins? Their growing up? The incident when they were fourteen, John presumed dead, Jeremiah blaming himself for his brother’s death, not trying to help him? Jeremiah going on to Episcopal ordination? John and his working for Rome, in prison, getting out?

4. John’s story, prison, Rome meeting him, his wanting to get away? T.J. and the pressure? The Japanese and his assistant? The plan for the counterfeit money? John and his skills – defrauding the man in the street with the trick about getting change? His trying to get away from Rome? Rome pursuing him, suggesting that he shoot him? His going to his brother’s church? His being mistaken for his brother? His cutting his hair, putting on the clerical dress? His behaviour, the interchange with Sam? The discussions with Tex? With the ministers? Going to the church, his being on the spot with the sermon, his preaching about money, the need to raise money? His change of heart, clashes with Tex? His abrupt behaviour with Sam?

5. Jeremiah’s story, his biblical lesson (and having an error in the generations in Matthew’s Gospel for Jesus, getting only twenty-eight when there are forty-two)? His small congregation? Sam and Tex? The preparation for ordination? His love for Sam, unwilling to go to Chicago with her? Her wanting to move on? His being taken by Rome, Rome discovering the truth, getting Jeremiah to take John’s place in the fraud? His having to raise the money, going to the bank? Desperate in the street, bashing the vendor? The effect on him?

6. Rome, conventional criminal, Eric Roberts’ style? His hold over the men, his using them? T.J? The Japanese and his assistant? The plan, its failure? The shooting?

7. The incident with Father Tom, John encountering him, the talk, talk about God?

8. Tex, his reform, his earnestness as a policeman? Thinking there was something wrong with the brother? Discovering the truth, the confrontation? Preaching to him?

9. The final confrontation? The two brothers? The shooting of Rome? The police? Jeremiah going to prison for his brother? The issue of the money? Jeremiah coming out of jail? Meeting Sam again – a future?

10. The impact of this kind of American Christian film-making, using popular genres?

THE ROLY POLY MAN

Australia, 1986, 84 minutes, Colour.
Paul Chubb, Les Foxcroft, Susan Lyons, Peter Braunstein, Zoe Bertram, Frank Whitten, Jane Harders, John Batchelor, Rowan Woods, Valerie Bader, Sarah Lambert, Deborah Kennedy, Roy Billing.
Directed by Bill Young,

The Roly Poly Man is a tongue-in-cheek parody of the private eye genre, written by Kym Goldsworthy. It was directed by veteran actor Bill Young.

The film is a star vehicle for Paul Chubb, a big roly poly man. He makes the part his own, the private eye Dirk Trent, a bit slow on the uptake, helped by his ageing friend, Mickey, played well by Les Foxcroft. They are doing small surveillance work and come across a mysterious case which the police want to ignore. As they investigate further, they go to the morgue and find an ally in Sandra Burnett (Susan Lyons as a femme fatale). While she doesn’t want to date Dirk Trent, she goes along to help the investigation. This leads to a sinister doctor, played in a sinister way by Frank Whitten, and expeditions into the Amazon to bring back leeches which can be inserted into the brain to stop clots. However, the treatment ends in the brains exploding – hence the mystery.

The film has quite a number of veteran Australian actors in supporting roles, Deborah Kennedy as the very masculine Chantal, John Batchelor as the odd assistant in the morgue, Roy Billing – who is killed of very quickly in Dirk Trent’s office. Dirk is also married, to another femme fatale, played by Zoe Bertram, and has a number of children who he is supposed to look after.

The film is witty in its parody of the private eye one-liners. It also has the touch of the vulgar – and some subplots which have come in from B-budget science fiction.

The film was an interesting attempt to poke fun at a popular genre – and, with the presence of Paul Chubb, it works quite well.

1. The popularity of the private eye genre? Its conventions? How well used here? Parody?

2. The title, Dirk and his appearance? Expectations of him? Paul Chubb’s presence, performance? The tone of the voice-over? His experience, a slob, his clothes, the rumpled suit, the hat, the office in a mess? His relying on Mickey and his range of equipment? Slow, failures, hopes? The encounters with his wife and children, her power of seduction? His infatuation with Sandra, victim of a femme fatale? The mystery of the deaths, the clues, the villains? Ultimate success?

3. The Sydney settings, the harbour bridge – made of used cigarette butts? Offices, homes, the morgue, the streets? The dingier aspects of the city? The musical score?

4. The dialogue, smart, parody, witty, crass? The blend?

5. Dirk and his work, the credits, the video and the surveillance, the situation with the man dressed as an Indian? His death? Informing the police? The search of the motel, the police not believing, the room clean? The motel manager has a harridan? His wife turning up, her come-on? The further deaths? The interview with Lewis’s secretary?

6. The rocker, his bashing his head against the wall? The second man and his accident? Dirk and his taking the brain tissue from the morgue? In his pocket during the dinner? Washing up afterwards?

7. Sandra, her work at the morgue, pleasant, diligent, Axel as her odd assistant, his behaviour, attitudes with the corpses? Her agreeing to go to a date with Dirk? The brain? Her wanting to help, the discussions with Mickey? The team?

8. The visit to the doctor, mad, the intense interview, the background of the Amazon, the leeches, the patients?

9. The leeches, the professor at the university, his explanation? His being murdered?

10. Dirk’s wife, her being killed? His having to look after the kids – putting them on the Sydney tourist bus and their going round and round? The dead policeman?

11. Mickey, his character, equipment, IT, the microscope, the printer?

12. Getting the list of patients, printing it out, the range of visits, the nun, the various houses, being too late? Finding Sandra’s name on the list?

13. Going to the laboratory, the professor dead, Axel, the story of the voyage, Sandra revealing that she was the villain? The deaths at the lab? The pursuit through the tunnels, the giant leech, Mickey to the rescue, Dirk and his helplessness? The leech devouring Sandra?

14. The touches of B-budget science fiction combined with private eye, Australian style?

RETURN TO MACON COUNTY

US, 1975, 89 Minutes, Colour.
Nick Nolte, Don Johnson, Robin Mattson.
Directed by Richard Compton.

Macon County Line is an unexpectedly effective little drama. The setting is the 50s, the heroes two young men on the verge of settling down, the heroine an attractive hitchhiker. Their story begins comically and lulls the audience into responding to ephemeral incidents laced with homespun philosophy. But gradually we are led into violent melodrama, police brutality and senseless deaths consequent upon American fondness for guns and lethal solutions to problems. The cast is virtually unknown but competent. The follow-on film Return to Macon County is by the same director and company but uses the title for box office purposes only. It is not a sequel, but uses similar ideas.

1. The title and its emphasis that this was a sequel? Comparison with the original? Exploiting the original and its title?

2. The quality of this film as a small piece of Americana? The 50s as revisited by the 70s? The view of youth, cars, he-men, music, police? The values underlying the people concerned? The truth of the memory?

3. Bo and Harley as young men of 1958? Purpose in life, easy rolling, their dedication to the cars, their friendship? Strengths and weaknesses of character?

4. The character of Junelle? First meeting her at her waiting, creating havoc, her decision to leave, her impulsiveness, capacity for easy thrills? Her use of the gun and her smartness? Growing relationship with Bo, jealousy of Harley and his encounter with the girl? Her experiencing it all and then going off for more? A credible girl of the time?

5. The melodrama of the drag race, the betting, the cheating, turning ugly, the bashing? Young men trying to prove themselves with the car? Junelle's getting the money back?

6. The introduction of Whittaker? The generation gap, the police, his obsession, his chasing the young men, his disobeying orders, the violence of his mistake and his final shooting? A credible obsessed policeman? The judgement on him?

7. Junelle holding up the store, more than the boys expected? Everything being more than they expected?

8. The final irony with Tom and his vengeance, taking the car and being killed in ugly America?

9. The final fiasco with Whittaker being taken away? A pessimistic outlook on the events and the times?

10. The film's comment on America in the 20th century?

THE MAN WITH THE GUN

US, 1955, 83 minutes, Black and white.
Robert Mitchum, Jan Sterling, Karen Sharpe, Henry Hull, Emile Mayer, John Lupton, Barbara Lawrence, Ted de Corsia.
Directed by Richard Wilson.

Man with the Gun is a modest but very effective classic 1950s western. Robert Mitchum is in his element as the loner, the gunfighter who has become a town-tamer. Confident in his ability to bring peace to a western town, law and order, getting rid of the villains – especially by being quick on the draw. He has a human touch to him, having been married to Nelly, who is now the madam at the saloon. She is played by Jan Sterling. A strong group of supporting actors brings the rest of the cast to life. Angie Dickinson appears in a brief scene.

The film raises the issues of law and order, the loner hired by the town to rid itself of the violent landowner and his gunmen – echoes of High Noon.

The film was written and directed by Richard Wilson, a director of an eclectic number of films including Raw Wind in Eden, Al Capone, Pay or Die, Three in the Attic.

1. A classic 50s western? The portrait of the western town, law and disorder, the town-tamer?

2. Black and white photography, the strong cast, the musical score?

3. The title, its plainness? The emphasis on the masculine hero? His way with the gun?

4. Sheridan city, the farms, the small farm owners, the ranchers, the gunfighters, the saloon and the girls, the madam? Not seeing the villain until the end – and his being large and violent?

5. The opening, the gunmen, the boy and his dog, the gunmen shooting the dog, going to the saloon, laughing and telling the stories, the girls imitating the incident? The introduction to the town and its situation? The boy, the doctor going to help, the blacksmith?

6. Robert Mitchum as Clint Tollinger, his look, walk, way of talking, his reputation, the town-tamer, his methods, his past with Nelly, wanting to see her, ask her the question, their daughter? His finally hearing the news that his daughter was dead? The effect on him – and his behaviour as the tamer?

7. The people of the town, their talk, the council meetings, the variety of opinions, the views on whether to have a town-tamer, Tollinger and his being present at the back, the vote, the contract?

8. Jeff and his building, the gunmen and the shoot-up, later burning the building? His engagement to Stella, the plans, his independence, wanting the home for him and Stella, wanting a small farm? Stella and her fears? Jeff and his wanting to stand alone? His being injured, taken hostage, the exchange for the gunmen?

9. The hotel manager, his worries, the various delegates for the council, their change of heart, fears about business?

10. Tollinger and the saloon owner, the confrontations, the personality and his accent, the chandelier, the knife-throwing, burning the saloon?

11. The gunmen, their disdain, their being taken hostage, the exchange for Jeff, the final confrontation of Tollinger, drawing their guns? Deaths?

12. Nelly, serious, the girls, Ann and her being dumb, her being used by the salesman and his working for the villain? The setup and her participation, her being bribed?

13. The performance by the girls, cut short, the end of the saloon girls, their moving on, Kitty and her going on the coach?

14. The final setup, the villain and his carriage, the gun, the gunmen, Ann, the signal, Jeff and his shooting the villain?

15. Tollinger and his being wounded, Nelly’s concern, Jeff and the future with Stella?

16. The minor characters and their contribution, well delineated, the marshal and his inability to do things, supporting Tollinger? Saul, the blacksmith, Stella as his daughter, his support of Tollinger? Jeff, his independence? The range of gunmen and villains?

17. The popular ingredients of westerns of the period – effectively done?

THE MAN WITH THE GUN

US, 1955, 84 minutes, Black and white.
Robert Mitchum, Jan Sterling, Karen Sharpe, Henry Hull, Emilie Meyer, John Lupton.
Directed by Richard Wilson.

The Man With The Gun is a small-scale western, predictable, but nonetheless effective. It was written and directed by Richard Wilson.

It is a star vehicle for Robert Mitchum as a town-tamer~, Jan Sterling is quite stern as his ex-wife and now madam in the town. There is a strong supporting cast.

The film has the town as its focus, has crisp black and white photography, has an atmosphere of tension (akin to High Noon and so many other films of the time) and has an exciting climax.

A typical enough western of any decade - but especially of the '50s.

1. Interesting and enjoyable western? The lawless town? The town tamer? A film of the '50s?

2. Black and white photography, the settings of the town, action sequences? Musical score?

3. The title and its focus on Clint? The reason for his taking the gun, the death of his unarmed father, his reaction, vengeance, his reputation as a town-tamer, his use of the gun, Jeff's use of the gun?

4. The setting of the town, its lawlessness, the rider killing the dog, the business people being afraid, the town council meeting, the possibility of hiring the town-tamer, reluctance, the vote? Leaving Clint to do his work? The interactions with the people? The man with the gun and his rules? Dangers, final confrontation?

5. Robert Mitchum as Clint, drifting through, his reputation as a town-tamer, his story about his father's death and the burning of the house, his own reactions? Being hired? Not wanting intervention? His seeking out Nellie and her refusal to give information, the truth about their daughter? His reaction and the burning of the saloon? His-relationship with the blacksmith, with individual members of the council, at the hotel? With Jeff and Stella and Jeff’s pig-headedness? Stella's attraction? The absence of the town boss? The confrontation with Lescau at the saloon? The deaths of the riders? The final plan, the lawyer and his watching Clint's behaviour? The girl and the set-up? Dade and his coming into town? The shooting, Jeff killing Dade? Clint being wounded, Nellie's contribution to helping foil the plot? Their going off together?

6. Nellie and her bitterness, the death of their daughter, businesswoman, strict with the girls, not wanting scandal, the women of the town wanting them out, the closing down of the saloon, her leaving, her hearing of the plot, trying to foil it? The gallery of girls (and Angie Dickinson in an early role)? Anne and her part in the plot, her fashions and jewels, her being upset?

7. Jeff as the town hero building the house, stances, being shot at, in the hospital? Relationship with Stella? Her concern about him, wanting Clint to help? The capturing of the gunman and the exchange for Jeff? The gratitude? Jeff finally killing Dade? The town council, their business, the blacksmith and his friendship, relationship with his daughter?

8. Dade as the boss, his death? The gunman (including an early role of Claude Akins)? Lescau and his working at the saloon, the knife, his attempt to kill Clint?

9. The picture of the lawless town, the need for justice, the role of the town tamer? The western heritage?