HEAT AND DUST

UK, 1982, 124 minutes, Colour.
Julie Christie, Christopher Cazenove, Greta Scacchi, Julian Glover, Susan Fleetwood, Shashi Kapoor, Madhur Jaffrey, Nikolas Grace, Barry Foster.
Directed by James Ivory.

Heat and Dust is a beautiful and elegant film. It was written by Ruth Prawer Jhabvala, based on her own novel. She is a frequent collaborator with producer Ismael Merchant and director James Ivory (The Europeans, Quartet, Roselands). The team made films in India in the '60s and '70s, moved to the United States and England in the late '70s. Their body of work, especially that of director Ivory, shows a westerner's understanding of India, society and history.

The film re-creates the period of the Raj in the 1920s (the period of A Passage to India). The film moves forward to the '80s and the two strands of the screenplay illuminate each other - the period, attitudes and stances, relationships between British and Indian, between British women and Indian men. The contrast of the 60 years is quite striking.

The film has an excellent cast, Julie Christie at her best in the '80s period, Greta Scacchi (Coca Cola Kid, Burke & Wills) in the 20s. Shashi Kapoor is the Nawab and Indian actress Madhur Jaffrey is his mother, the Begum. There is an excellent supporting cast led by Nickolas Grace (Brideshead Revisited). The colour photograph by Walter Lassally and the Indian music contribute to the atmosphere and the beauty of the film.

1. The film's acclaim? Impact? Audience interest in India? The many films focusing on India and the Raj in the 80s?

2. The work of Ruth Prawer Jhabvala, her novel, her screenplay? Insight into Indian society, history? Her insight into British women and the impact of India on them? The work of James Ivory, his understanding of India, his visualising of it? Ability to communicate to the western audience some of the realities of India?

3. Location photography, the atmosphere of the 1920s, the British, the Indians? Royalty and wealth? Style and manners? The contrast with the free-flowing '80s? The 60 years of chance? 80s India as national and cosmopolitan? The importance of the editing and pace, the comparisons and contrasts of the two strands of the story? The contribution of the atmospheric music?

4. The structure of the film: Harry and his memories, Anne and her research, the meeting of the two periods, the paralleling of the periods, the persons, the women, the relationship of English women to Indian men, the contrast of attitudes, freedoms? The conception of children - and their future?

5. Harry as observer, his participating in the action, his being an outsider to both British and Indians, his ability to cross cultures? His interviews with Anne, the memories of an old man, critical and cynical? His own experience as an outsider, his eccentric manner, his fastidiousness, illnesses, delight in food and drink, delight in high society, being a confidante of the Nawab? His support of Olivia? The voice-over commentary?

6. Julie Christie as Anne? Her work as a BBC researcher, interest in India? A 1980s woman? Independent, career? Her getting Olivia's letters and reading them? Interest and effect? The interviews with Harry? Her decision to go to India? Busy India of the '80s? Going to the places of Olivia's experience, re-living the letters? Seeing the change of buildings and their use? Perceiving the meaning of the past? Empathy for Olivia? Her own relationship with Indian men, with Inder Lal, his being her guide, the family, his wife, her illness? Indian customs and lifestyle, her adapting? Language? The encounter with Chit at the river, relationship with him, the American culture, a flower child. rebuffing his sexual advances, his illness, urging him back to America? Inder Lal's wife? Inder Lal seducing her? Her allowing it? The effect on her, comparing herself with Olivia? The question of abortion or having the child? Going to the mountain retreat, her decision to have her child - its future? A symbol relationship between Britain and India - in the light of the past?

7. Inder Lal, the young Indian man of the '80s, his wife and her illness, his mother, the household, his working with Anne, attraction towards her, the seduction? The British-Indian? relationship? The child and its future?

8. Chit and his presence in India, the American background, the midwest, the flower-child attitude? Trendy? His visit, his hope for Inder Lal's wife, his own illness and not being able to adapt to India? His advances towards Anne, her rebuffing him? Persuading him to return home?

9. The contrast of the '80s with the '20s, the Raj, Indian affluence and style, the British and the preservation of English society in India, the emphasis on manners and good form, style, the aftermath of Empire? The British attitude towards India, possessiveness, mastership, despising the Indians? The film's critique of the attitudes of the British?

10. The portrait of the Indians, their old kingdoms, wealth, manners and style, attitudes towards the British, customs, authority? The Nawab and his own authority, using the British, relying on them? The flashback to the violent story of the massacre? The Begum and her manner, her cigarette and holder, her shrewdness, her observations of the British, her authority? The comparisons between British and Indian formality?

11. The portrait of Olivia, as a young woman, her English background, her hopes, her marriage, her love for her husband, the quality of the relationship, her being dissatisfied emotionally? Her husband and his authority, his work, his attitudes? Her finding the Raj stuffy, too formal, stifling? Her being a victim of the period? The women and their expectations, society? Her wanting her own life, setting her own standards, behaviour? The meeting with the Nawab, the attraction, his courting her, the outings, the visualising of his story and its colourful violence? The picnic? The effect of the Nawab and his romantic aura? The affair, the consequences? The baby? The attitudes of the community, the women, the military men, the doctor? The abortion? Olivia as victim of the ATawab, of society? Her becoming an outcast and exile? Greta Scacchi presence, charm, vitality - the credibility of the young Englishwoman coming to an alien country, out on her own, making her decisions, betrayal, love?

12. Douglas and his love for his wife, his work, his identifying with British values and standards, the clash with Olivia, the estrangement, the attitude of the British community, their supporting him? Separation and leaving his wife?

13. The British community, the women and their lifestyle, acting as wives, expectations, the British equivalent of Indian Purdah? The men and their military style, administrators? The doctor and his sympathy? The reality of the British in India at the time - caricatures?

14. The Nawab and his position, authority, exercise of power? His manner, treatment of the British? His eye for Olivia, courting her, the Picnic, the seduction, the child? The influence of his mother? The Begum and the ladies of the Purdah, their influence? The focus on Indian women, the formalities and restrictions of the past? The change by the '80s? British women?

15. The title, the focus on India, Indians, British, victims, conquerors, reconciliation and hopes?

THE HOT ROCK (OR: HOW TO STEAL A DIAMOND IN FOUR UNEASY LESSONS.)
US, 1972, 101 minutes, Colour.
Robert Redford, George Segal, Zero Mostel, Ron Leibman, Paul Sand.
Directed by Peter Yates.

The Hot Rock is an unusual film - one that can be generally recommended without the least reservation. Yes, it is another robbery story, although it takes four attempts to get the jewel (the "hot" rock), what one character calls "the habitual crime". And then screenplay is by William Goldman (of Butch Cassidy fame) and contains similar deadpan wit which is always enjoyable. And director is Peter Yates who gave us cars in Bullitt and a plane in Murphy's War. Here he keeps the pace moving, throwing in a helicopter ride through New York skyscrapers to show his touch. And Robert Redford and George Segal bring the caper to ultimate success.

1. The emphasis of the title? The alternative English title was: How to Steal a Diamond in Four Uneasy Lessons. Which is more appropriate?

2. The film as an example of the robbery-comedy genre? The explanation for its popularity? Use of conventions, satirising them, for successful entertainment?

3. The importance of the New York background, its visual presentation, colour and Panavision? The helicopter ride? The musical background?

4. The quality of the deadpan and witty dialogue? The irony? The success of the characterisations and the satire on the screen images of the stars?

5. The importance of suspending judgement on morality and immorality for the success of the film? The standards for heroes and the standards for villains? Where were audience sympathies directed? How?

6. The film's focus on John Dortmunder? Robert Redford's personality and style? The sequences of his leaving prison, pursued in the car by Kelp? What type of criminal was he? His involvement in jobs? The challenge and the creative plan for jobs? Outward cool but interior ulcers? His relationship with Kelp and his sister? His leadership of the other criminals? His shrewdness in gaining ultimate success? A hero-villain?

7. The contrast with the character of Kelp? His dreams, daffiness, relating to John? The praise of his hands in the robbery of the jewel? His getting caught in traps? The ideas man?

8. Murch and his car and road mania? His contribution to the robbery? His impersonation of the patient? The helicopter ride etc.? A crazy comic?

9. The contribution of Alan Greenberg? Explosives, his role in the robberies, swallowing the diamond, trusting his father, in prison, the escape, tricking his father?

10. The satire in Abe Greenberg? His legal mind, his double-dealing, robbing the diamond, succumbing to the pressure of the lift shaft, double-dealing with the African statesman? Inevitable that he be tricked? The villain of the film?

11. The character of Dr. Amusa? His explanation of African politics, United Nations, traditions, the reason for the robbery? Their consulting him for more material? His comment on habitual crime? His deal with Greenberg?

12. The success of the comedy and action sequences: the robbery and the glass case, the pretending of the accident, the hospital escape, the helicopter attack on the police station and the reaction of the police, the credit card and the examination of the box in the bank?

13. Why is this kind of film enjoyable? Its exploration of values and turning them topsy-turvy?

THE HOUSE THAT DRIPPED BLOOD

UK, 1970, 102 minutes. Colour.
1. Method for Murder: Denholm Elliot.
2. Waxworks : Peter Cushing.
3. Sweets to the Sweet: Christopher Lee, Nyree Dawn Porter.
4. The Cloak: Jon Pertwee, Ingrid Pitt.

The House that Dripped Blood contains, believe it or not, not one visible drop of blood. Instead this over-sensationally titled film is an enjoyable horror-thriller containing four separate episodes with some of the stars of British horror-thriller movies. The stories are modern equivalents of Poe, each well done with Peter Cushing Christopher Lee, Denholm Elliot and, finally Jon Pertwee in a funny send-up of vampire films. The film shows successfully (for both adult and adolescent audiences) the creepy thrills of horror stories (and that over-gruesome sequences are not always necessary) that everybody enjoys a good scare. And then the film draws a moral at the end.

1. Was this merely a collection of horror stories built around the central interest in the house, or was it more?

2. Author Robert Bloch writes horror stories as 'moral fables' - to entertain audience, to appeal to their fear, to their consciences, to learn by the fables. How is this evident here? Is the film successfully contrived to be a prod to conscience?

3. Does the house itself become a 'character' in the film? How?

4. What moral was drawn at the end? How is it illustrated in the four stories?
a) the character, madness, obsessions and jealousies of the writer;
b) the past murdering the prim stockbroker and his fascination with his past love. the murderous jealousy of the proprietor;
c) the sinister in the middle of angelic appearances. the horror of the innocent-looking little witch. the inadequate father and his suffering. the uncomprehending governess;
d) the satire on the actor and his absorption with his role. Even the final succumbing to Carla by the Inspector. 5. What effective techniques did the film use to gain its horror effects successfully - especially. light and darkness. colour. satire. jokes - the agent in Stoker! Audience presuppositions about horror films? 6. Did you notice that not one drop of blood was visible during the whole film? Did the film need blood visible or not?

THE HOUSE ON SORORITY ROW

US, 1983, 90 minutes, Colour.
Eileen Davidson, Lois Hunt, Robin Meloy.
Directed by Mark Rosman.

The House on Sonority Row is one of many multiple-killing thrillers popular in the late '70s and early '80s after Halloween and Friday the 13th. Many of these were merely exploitive sex and violence melodramas. Others were used by young writers, producers and directors for experimentation and gaining experience in film-making.

This particular film is better than the average of this kind of thriller. It focuses on a group of nurses at their graduation - eventually, of course, they are terrorised and most of them brutally killed. The film has better characterisation than usual - and audience interest is generally maintained. There is a mad landlady who is the obvious villainess. However, by some complications that are very difficult to follow, she is not the murderer - it is
her son. The heroine of course remains alive until the end to
confront him.

While an average thriller with touches of grim brutality, the film is an interesting exercise in cinematic devices for suspense and shock.

THE HOUSE ON GARIBALDI STREET

US, 1979, 96 minutes, Colour.
Nick Mancuso, Chaim Topol, Martin Balsam, Leo McKern?, Janet Suzman, Charles Gray.
Directed by Peter Collinson.

The House on Garibaldi Street was one of the last films made by prolific director Peter Collinson. He made many films over fifteen years in many parts of the world, including Australia with The Earthling. The film shows the search for Adolf Eichmann, the trap for him in Argentina and his being kidnapped from Argentina for trial in Israel. The film is based on the memoirs of Isser Harel, the Chief of Israeli Intelligence.

The film is emotional, was made in the atmosphere of the very popular television series Holocaust and is sympathetic to the Jewish searching out and extraditing of war criminals. There is an international cast led by Topol. Martin Balsam is Harel, Leo McKern? has a short role as Ben Gurion and Alfred Burke gives an interesting performance as Eichmann. Screenplay was written by Steve Shagan, writer of screenplays like Hustle and author of the novel and screenplay of The Formula. This might have been an effective detective story but the film opts for the melodrama of chase and kidnap plot.

1. Audience knowledge of and interest in Nazi war criminals, the long decades of search for criminals and their being brought to trial? The receding background of World War Two. the persecution of the Nazis, the Jews and the holocaust? Audience knowledge of Eichmann? The impact of this material in the late 1970s?

2. The use of Israeli and Spanish locations for South America? The atmosphere of the early '60s, the look of South America, atmosphere and feel? The Musical score and its atmosphere?

3. The use of an international cast - how effectively? The Israeli view point, the moralising dialogue? The technique of using names and dates? Documentary tone, impact of sentiment and horror?

4. The authenticity of the film - based on Harel's memoirs? The establishing of characters by information? The credits? The character of Harel and his discussions with Ben Gurion? The transition from Israel to Buenos Aires? The management of the investigation, the kidnap, getting Eichmann out of Argentina? Harel's control of the operation, the final decisions at the airport?

5. Collaboration between Israel and Germany? Information given from Germany about war criminals? The relationship of Israel and Germany from World War Two, through the War Trials, the seeking out of the criminals, their trials? The Israeli squads for capturing prisoners of war? The personalities involved in such squads? Their memories - especially of concentration camps? Wanting justice to be done? Attitude towards world interest, world apathy? The importance of bringing like Eichmann to trial in the '60s? How much justice, how much vengeance? The reality of the neo-Nazis in South America? Collaboration of the Argentinian Secret Police?

6. The choice of Topol for the central character? His reputation in Israel, throughout the world? The particularly Israeli emphasis of the film through him? The character of Michael - his ideal, dedication, discovery of Eichmann’s whereabouts, his methods, photography, following Eichmann, the elaboration of the plan, the capture, the treatment, listening to the tapes, the strong feelings and wanting to execute justice, the suspense of waiting? Collaboration with Ari, Hedda and the other members of the group? The significance of his achievement? The type of justice he represented?

7. The variety of people in the group: Ari and his emotionless contribution, his explanation of his story? Hedda and her looking after Eichmann? Her relationship with the members of the group? Lazar, the fat man. the ~ pilot? The deals, the range of negotiations? Establishing of information. following suspects. false passports, disguises, accidents? The final collaboration of the Argentinian airport official?

8. The Nazis in Argentina - their way of escape.. establishing a new life., bringing up their families, their seclusion and hidden identities, covers for working, establishing wealth? Eichmann and his work and family? The Generals like Lischke and their success in Latin America? The neo-Nazi movement?

9. Eichmann and their discovery of him, the clues, the ruse of the gifts? His capture? His wanting to collaborate, his asking for wine, eating the rice? His speaking on tape? The build-up of his ideas? The disbelief about his methods about his methods in the concentration camp and his calm presentation of these in the name of humanity: the Strauss music, the better poison? His aims in the concentration camp? His personal jealousy at not being raised in the Nazi hierarchy? The figure of pathos?

10. The growing information about the Nazis, their ethos.. attitude towards the Jews, the horror of the holocaust? The placement of Michaels story, Ari's story?

11. General Lischke and his hold over the police in Argentina? The police and their pressures? Examination of documents?

12. The success of the plan., the accident, the smuggling of Eichmann onto the plane., the suspense of the plane being held, the split-second decisions and responsibilities?

13. The information about the aftermath of Eichmann's trial? Justice being done, being seen to be done? The response of the world?

14. The impact of the film as a slice of history. as melodrama, as a late 20th. century reflection on the events of World War Two?

THE HOUSE ON CARROLL STREET

US, 1986, 97 minutes, Colour.
Kelly Mc Gillis, Jeff Daniels, Mandy Patinkin, Jessica Tandy.
Directed by Peter Yates.

The House on Carroll Street has an interesting basis: the smuggling of Nazi war criminals into the United States in 1951, especially by people involved in the right-wing and the UnAmerican? activities inquiry. The screenplay was written by Walter Bernstein, himself a victim of the black list in the '50s, author of the film The Front, with Woody Allen. Direction is by Peter Yates who has made some good thrillers, including Eyewitness (The Janitor) and Suspect. The cast is arresting with Kelly McGillis? as the heroine, Jeff Daniels as the F.B.I. man and Mandy Patinkin sinister as the right-wing villain. Jessica Tandy has a good supporting role.

However, while the film is enjoyable while on screen, though seemingly a bit farfetched, it does not hold up so well in retrospect. It attempts realism of 1951, but the spirit of the heroine and her adventures are more in the spirit of John Buchan's Richard Hannay and such stories as The 39 Steps. This doesn't seem to combine well to make a persuasive thriller. The climax v in Grand Central Station is reminiscent of Buchan's climax on Big Ben in The 39 Steps.

Enjoyable, but an opportunity missed.

1. A piece of Americana? the atmosphere of the '50s? American thriller?

2. Plausibility of the plot and characters, the events, behaviour, treatment?

3. New York city and the period, the streets, Carroll Street, the houses, Grand Central Station? Musical score?

4. The political atmosphere of the time: unAmerican activities, the hounding of the left, questions of civil liberties, the right-wing and the exercise of power, senators and political ambition? Nazis, war criminals, migration?

5. Kelly McGillis? as Emily (called after Emily Dickinson): in herself, her work at Life Magazine, the unAmerican hearings, her withholding evidence, the advice of her lawyer, the interrogation by Selwyn? her being sacked from her job for prudence sake? Her arriving early for the job application, the lady hiring her to read? Her skill at reading? The F.B.1. pursuing her? State Department surveillance and files? Personal self-sacrifice? Her curiosity about the young man that she met in the street, overhearing the conversation next door, seeing Selwyn? Her curiosity, getting the young man to talk on the street, ingratiating herself, discovery of the names, the beginnings of the plot? The man's appeal to her for help, their escape, going into the theatre, disrupting the play, his death at the theatre door? The names in his pocket? The F.B.I. and their pursuit, comment? Her giving information? Her reading companion and using the binoculars to search the empty house? Going into the house, the confrontation, her being saved by Mike? Names and addresses, their going to the wharf, the migrants coming off the boat, following them to the wedding, Emily overhearing everything, being taken, going to Selwyn? His talking, her return home, the explosion? once again saved by Mike? At his place? The decision to go to the 6 o'clock train, at the station, caught in the carriage, the chase, the heights, Selwyn's confrontation, his death? Friendship with Mike, support, her saying they were not compatible, leading her own life? Heroine?

6. The plot, Selwyn and the hearings, his ambitions, reassuring the ambitious senator, contacts with the Nazis, the names from the tombstones, the irony of Jewish names for Nazis, the deaths, the stabbed man , the pursuit of Emily, his talk with her and blaming her for the deaths, the station, the melodramatic chase, his fall?

7. Mike and the F.B.I., his awkwardness, from the mid-west, working with his partner, following Emily and her refusal to answer questions, saving her in the house, and the investigation of the murder, working out with his partner the information about the boat, going to the wedding, the dancing, his research and finding the photos of the Nazi doctors, saving Emily from the explosion, his going back to Idaho?

8. The F.B.I. and their role, surveillance?

9. The war criminals, Nazi background, experimentation during the war, official permission to come, dead persons' names, their alleged contribution to post-war America? Selwyn's fascist ideas of America and World War III?

10. Jessica Tandy as the old lady, hiring Emily, helping her in the surveillance of the house?

11. Old-fashioned heroics, liberal-minded heroines, the evil right? Working well for 195P In the perspective of the '80s?

HOUSE OF WOMEN

US, 1962, 85 minutes, Black and white.
Shirley Knight, Constance Ford, Andrew Duggan, Barbara Nichols.
Directed by Walter Doniger.

House of women is an interesting if routine film about a women's prison. The classic of its kind is Caged. There have been many film about women's prisons, e.g. I Want to Live, but the staple of this kind of entertainment is in the detail of the way of life, the characters of the prisoners, the clashes with authority. This film at times seems highly melodramatic but melodrama of this kind is always interesting and a vehicle for exploring human values. The resemblance to many subsequent television series is obvious. The film boasts good performances from Shirley Knight (Oscar-nominated at this time for The Dark at the Top of the Stairs and Sweet Bird of Youth), Constance Ford. The screenplay was written by Crane Wilbur and the film was directed by writer-director of small action films, Walter Doniger.

1. Audience response to films about prisons? The tradition of films about men's prisons, women's prisons? The popularity of the theme on television series? Melodrama? Insight through crises and interactions? The overtones of soap opera and the cumulation of crises? The importance of situations, characters, clashes?

2. The atmosphere of the '60s? Behaviour and language? Violence? The treatment of prisoners at the time? Social issues? Criminality, mad~ ness? The need for social change and the improvement of treatment of prisoners?

3. What insight did the film offer? Compassion? Stances taken? Message?

4. Black and white photography, the atmosphere of the prison, the cells, the yard, the dining room, the sewing room? The offices and the home of the warden?

5. Audience response to women put together in prison situation? Sensitivity and sensibilities? Interaction and emotional flaring? Rivalries within the groups? The leaders and the led? The interaction with the wardens? Administration? The particular focus of this prison on the mothers with their children? The differences that this made to the style of the prison?

6. The background of the women's crimes being taken for granted? Brief explanations? The focus on the women within the prison context? Their fears, the effect of their punishment? The importance of the parole board? The importance of Candy's speech to the parole board and her not wanting to leave the prison because of the difficulties for ex-cons? The particular focus of the rules about children and their adoption? Possibilities of rehabilitation?

7. The basic set-up and social interaction in prisons: isolation, punishment, rules and regulations, repression? The communication by loudspeaker? The distance of the warden? The warden with his particular philosophy of life, the bitterness of experience imposed upon the prisoners? Mrs. Stoughton and her strict administration of the warden's rules? The importance of strict interpretation or benign interpretation? The build-up to breaking point? Demonstrations, riots, hostages? The violent confrontation in order to achieve improvements?

8. The focus on Erica - her arrival, the benign treatment of the doctor, her pregnancy? Her behaviour in the prison? The later revelation of the truth about her story and her pleading guilty? Her trying to cope in the prison, her care for her child, the hopes for retaining custody? Her reaction to the warden? Her work in his home? His change of attitude? Her using him and reacting to him? The party for her daughter and the pathos and pain of her daughter being taken away? The demonstration and her collapse? The warden abusing his office and his affection for Erica and refusing her custody and, parole? Her violent reaction? The stances against authority? The confrontation with Sophie and the possibility of her getting parole? The innocent girl victimised and becoming the victim of experience? A realistic portrait of a prison victim?

9. The contrast with Sophie and Tommy? Her violence and leadership? Her anguish after the treatment of Erica, her leading the riot, the solitary? Her gradually going mad? The pain of the death of Tommy (and its being prepared for by his going up onto the ladder previously)? The pathos of her final collapse after the threatening of violence? Candy and the background of her stripping and entertaining - her cheekiness to the warden? Her speech to the parole board and not wanting parole? The glimpse of the other prisoners? Their fights, rivalries, clashes? The incident in the dining room? The demonstration after the party? The importance of their being treated as mothers?

10. The staff: Mrs. Stoughton and her strict interpretation, Jennings and her having to do the job for the money, the various wardens? The doctor and his alcoholism and his benign attitude?

11. Governor Cole and his harshness, strict interpretation of the law, seeing him at home with the prisoners, especially his reaction to Candy, his relenting towards Erica telling her his story, being benign because of her? The credibility of his change of heart in preventing her parole and his becoming strict again? His behaviour during the riots and his impositions on the prisoners? His selfishness?

12. The picture of the parole board and the justice of their discussions? Mrs. Hunter and her role? Her being taken as hostage? The risk of her death? Her comforting Sophie when she was safe?

13. The selection of dramatic incidents? The build-up to the demonstration? The outside authority and the dialogue? Newspaper headlines? Sophie's violence going too far and the reaction of the other prisoners?

14. The entertainment value of this kind of melodrama? Popular entertainment? The basic values of good and evil, the confrontation of good and evil? Stereotypes but insight into stereotypes via conventions?

HOUSE OF SECRETS

UK, 1956, 97 minutes, Colour.
Michael Craig, Julia Arnall, Brenda de Banzie, David Kossoff, Barbara Bates, Gerard Oury, Geoffrey Keen, Anton Diffring.
Directed by Guy Green.

House of Secrets is an average but entertaining thriller of the mid-50s. It is a typical enough J. Arthur Rank dramatic production of the time. However, it has the added production qualities of colour and Vistavision. It was produced by Julian Wintle, later associated with The Avengers series. Writer and director Bryan Forbes was a co-writer and later thriller director Sidney Hayers edited the film. It was one of Michael Craig's earliest leading roles. There is enjoyable support from a range of British supporting character actors and actresses, especially David Kossoff and Brenda de Banzie. No better, no worse than many of its kind - but an attractive production.

1. An entertaining thriller? International espionage? Police work? A typical film of the '50s? Comparisons with later thrillers? Television thrillers?

2. The production qualities: Vistavision, colour photography, English and European locations? Musical score? Special effects for action?

3. The conventions of the police thriller, the espionage, the action adventure? The film relying on its conventions and types?

4. The plausibility of such international thrillers? Sufficient for action, character, issues, mystery, resolution?

5. Larry Ellis as hero: his work as a naval officer, his resemblance to a counterfeiter? His arrest and the violent treatment by the police? The death of the criminal and its repercussions for Larry? The persuading of him to impersonate the criminal? The danger in his assuming the identity? The tests, the training, the difficult situations? The encounters with Madame Ballu? His contributing to plans? The double-dealing and the revelation of Larry's identity? His being taken on the plane? The discovery of the substitution of the counterfeit money? The explosion on the plane? His bailing out? Relationship with Diane? Judy? The final heroism? Conventional British hero - Michael Craig style?

6. The women - romance, heroines, victims? Diane and Judy? The international flavour of the leading women?

7. The supporting characters and their double roles: Madame Bally and Brenda de Banzie's suave style? David Kossoff's ambiguity as Van Der Helde? The contribution of the assorted police and criminals?

8. The suspense, action thrills, double-dealing and mystery? The build-up to the final climax?

9. The British style of this kind of action thriller?

HOUSE CALLS

US, 1978, 98 minutes, Colour.
Walter Matthau, Glenda Jackson, Art Carney, Richard Benjamin.
Directed by Howard Zieff.

What an odd couple for light comedy/romance, Walter Matthau and Glenda Jackson - yet they blend and carry it off very well, she with her charm and breezy Touch of Class style, he, often hilarious with his exceedingly characteristic hangdog slouch-gait, wisecracking personality. There is background satire on poorly-run hospitals and avaricious medical staff (with an enjoyable caricature by Art Carney). But this does not dominate what is really a love story for the middle-aged. Director Howard Zieff (the engaging Slither, Hollywood Cowboy and Main Event) gives the conventions the pleasant touch and relies very much on the vigour of the stars to carry it all along briskly.

1. The title, expectations: the focus on doctors, homes, patients? The stars and the expected tone from their reputations? How well were expectations fulfilled?

2. The opening quotations from the Hippocratic Oath: the truth, the irony, the satire on it throughout the film? How telling the satire, how critical?

3. How could the film best be described: comedy, romance, satire? Which aspect dominated? How well did the aspects blend?

4. The characteristics of the stars governing audience response? Walter Matthau and his comedy style, Glenda Jackson and her reputation and serious style? Their comic qualities? Blending, the background of the satire on the hospital? How satisfying?

5. Audience response to Charlie Nicholls during the introduction? The song 'The Sunny Side of the Street', the plane ride? The quick information about the hospital. his reputation there. surgeon, the death of his wife? The women's attraction towards him? As a person, as a doctor? Friendship with Norman and the scenes between the two illustrating his character? Norman's critique of him? The relationship with Willoughby and his control of the hospital? The scenes of his dating the various nurses, the money spent, a fashionable doctor with reputation and wealth? The presentation of this type of doctor and the implied critique? Audiences identifying with him, interested in him? The comedy touches in action and dialogue?

6. Art Carney's style as Willoughby? His running the hospital, the nature of his incompetence, the authority that he had? His absent-mindedness? His mistaking the names, the visit to Ann Atkinson, his not remembering Norman's name? His scheming, manoeuvring to remain head? His attitude towards the patients? The Ellen Grady situation and her husband's death, the money? His behaviour at the meeting,, politicking? His acceptance speech and Charlie turning against him? How effective a satire on hospital administration and this type of authority?

7. The importance of Norman, his place in the hospital, comments, Charlie bouncing off him, part of the status quo of the hospital?

8. The introduction to Ann - her hospitalisation, fracture, the discussion about the treatment? Her recovery? The chance encounter at the television program? Her attitude towards Charlie as a person, as a doctor? Her incessant talk and the validity of her criticisms? Her background, divorce, son? Going to work at the hospital? Advising patients against having surgery? The breaking down of the barriers between the two? Charlie and his car and his seeking Ann's help? Dinner. the night together - the watching of the basketball, the humour of the demonstration of the cinema kissing techniques?

9. The quality of the bond between the two? The nature of the contract? The collage and the effect of their sharing so much together - romantic, humorous? The use of the TV commercial style and its appropriateness here? The similarities between the two, their contrasts, the effect on each?

10. The Grady situation - the comedy of his being a patient in the hospital and the irony of the negligence in his death? The meeting, the attitude of his wife and her hard line, the lawyer? Charlie's charm and the background of Brooklyn and her changing? The satire on the funeral at the sports field? Charlie and his plans to persuade Ellen to give the money - the comedy of the night together: her hopes, his behaviour?

11. His duplicity towards Ann? The climax and his waking up on the billiard table, coming back, the shower? Her hiding his clothes and what that meant? Her son turning up? The comedy of his having to dress in her clothes and get the taxi - his appearance, Walter Matthau-style comedy? His arrival at the hospital?

12. His behaviour at the meeting, status quo? The reason for his change, the influence of Ann and her attitudes? His going in search of her?

13. What future did they have together? Their love for one another, marriage? A genuine portrait of two people in these situations?

14. How effective and important was the hospital background with its presentation of venal authorities,, grants, politics? The importance of the television argument?

15. The final effect of the film and what the audience was left with?

HOUND DOG MAN

US, 1959, 87 minutes, Black and white.
Fabian, Stuart Whitman, Carol Lynley, Arthur O'Connell, Betty Field, Royal Dano, Jane Darwell, Edgar Buchanan, Claude Akins.
Directed by Don Siegel.

Hound Dog Man is pleasing relaxed matinee material for the family. It was a vehicle to set singer Fabian on a film career - with mixed success e.g. North To Alaska, Mr. Hobbs Takes A Vacation. The title role is played by Stuart Whitman with the relaxed style that he showed in many films of the '60s. There is quite a gallery of character actors who seem to enjoy themselves in this folksy story: Arthur O'Connell, Betty Field, Jane Darwell. Direction is by Don Siegel who had made Riot In Cell Block 11 and The Invasion of the Body Snatchers during the '50s. He made Flaming Star with Elvis Presley at this time. He was to become a cult director in the '70s, especially with his series of films with Clint Eastwood.

This is pleasant undemanding Americana - full of good nature and optimism, emphasising sentiment but avoiding sentimentality.

1. An entertaining piece of Americana? The American way of life in the countryside? Family values? The footloose hero settling down? The adolescent boy growing up? The view of life from childhood? How well did the film combine these themes?

2. The widescreen colour photography? Location atmosphere? Farms, forests, towns? The musical score? The title and other songs and their insertion into the plot? Fabian and his singing? The pleasant country and western overtones of the score?

3. The conventions of this kind of film and how well used? The wandering hero, his leading the growing up young man and boy, his skills, his avoiding commitment, falling in love, temptations and fights, good resolutions at the end? The sturdy-minded heroine wanted marriage? The young man growing up and wanting to move away from family dependence? The young boy enthusiastic about hunting, fishing? The folksy families? The clashes in the small town? The optimism of the film?

4. The atmosphere of authenticity about the story - the kind of plot that could happen anywhere? Credible characters? Situations? Audience identification with characters and plot? Enjoying the optimism and hope implied in the film?

5. Blackie as hero: Stuart Whitman's strong lazy and easy-going style? Blackie and his reputation, his skills in hunting and fishing, taking Clint and Spud out hunting? The encounter with the heroine and the mutual antagonism - culminating in the wildcat sequence during the meal? The importance of her saving Blackie's reputation during the dance? His being mistrusted by the Kinneys? The outback American hero - strengths and weaknesses?

6. The heroine - her strong-mindedness, growing up, setting her sights on Blackie, the encounters at the farm, her taunting him at the meal, her dissatisfaction with him at the dance, saving his reputation? Her admiration for her father - looking after him? Discussions with her mother? The prospect of a happy marriage?

7. Fabian as Clint? The popular singer in a pleasant dramatic role? How well handled? The growing up son and his wanting to move away from father and mother? Enjoying the hunting adventure with Clint? With Spud? His adolescent behaviour with his girlfriend and his jealousy? Riding for the doctor and the humour of the pulling of the tooth? His place at the dance, singing, moodiness? Drinking and fight? His decision to go back home? Relationship with his parents?

8. Spud as his younger brother, the exuberance of the hunting experience, the love for the hound dog, persuading his mother to let him keep it? The Kinneys as nice folksy parents? The wisdom of the mother and her hard attitudes - relenting? The father and his kindness, his strong stance to the angry man with the gun and the dance? Clint's admiration for him? The heroine's parents - the eccentric and artistic father playing his violin and understanding his daughter? Her hard-working mother with her doubts?

9. The action sequences - scenes of hunting, fishing, the open air life? The dangers with trespassers, angry men shooting, accidents and the need to set a leg?

10. The family sequences - especially meals? The build-up to the dance and its atmosphere of jollity? The range of characters from the town? Their being introduced during the leg-setting - with the humorous touch? The more dramatic touch at the dance? Blackie and the angry man's wife and her flirting?

11. The final resolution of the issues in a quiet and gentle way? A glimpse into the ordinary way of life of a small farming town and community?