HIGH SOCIETY

US, 1956, 107 minutes, Colour.
Bing Crosby, Grace Kelly, Frank Sinatra, Celeste Holm, John Lund, Louis Armstrong, Louis Calhern.
Directed by Charles Walters.

High Society is a popular remake in musical comedy form of the 1940 Philip Barry success, The Philadelphia Story which was directed by George Cukor. The original featured Katherine Hepburn with Cary Grant and James Stewart as the leading men. (James Stewart winning an Oscar for his role.) Grace Kelly in her last film takes the Hepburn role - and as a society heroine it is exactly suited to Grace Kelly's style. Bing Crosby takes the Cary Grant role with Frank Sinatra taking the James Stewart role. The stars blend together very well.

There are some Cole Porter songs added to the film and these are well done, especially "What a Swell Party This Is" with Bing Crosby and Frank Sinatra working well together. The song "True Love", sung by Grace Kelly and Bing Crosby, was specially written for this film. Louis Armstrong makes an appearance with a song on the history of jazz sung very effectively with Bing Crosby. Celeste Holm brings her brittle style of comedy to the role of the assistant newspaper reporter. Direction is by Charles Waters, a choreographer who had directed such films as Lili, Easter Parade, The Tender Trap. The film is very entertaining and glossy.

1. The popularity of this film as a musical and comedy? Audience response to the stars, the music, the frothy plot?

2. The film as an example of a musical of the 50s? The colour and gloss, the impact of Bing Crosby and Frank Sinatra at the time, Louis Armstrong, the impact of Grace Kelly in her last film? Cole Porter's music and frothy songs and dialogue? why do audiences find this enjoyable?

3. The film was based on a sophisticated play and film: The Philadelphia Story. Did the film use the original well? Transferring it into the SOS?

4. The Louis Armstrong framework for the film: his initial comments and introduction, his arrival in the film and the jazz interlude, his final comments in the film and its plot and resolution?

5. The atmosphere of Newport, high society styles, houses and parties, manners and morals, and values? The pros and cons of this way of life? The effect of high society on people and their behaviour?

6. The contrast with "Spy" magazine, uncle Willy, the blackmail about the reporters covering the wedding, the two reporters and their way of life and style compared with that of high society?

7. The background for this kind of frothy comedy of the themes of marriage, divorce, dominance, man-woman relationships, love? How wittily and enjoyably were these themes examined during the film?

8. Did audiences like Tracy? Grace Kelly's personality and style? So much fitted to this role? The spoilt kind of heiress, the icy woman, so demanding on her husbands? Her attitudes towards her father and judging him? Making such demands for 100 per cent success on husbands? The reason for her changing of her attitude? Mellowing? Did she become more real? Was her dependence on Dexter more convincing at the end? How much light insight into this kind of character?

9. The contrast with Dexter: an ordinary type, the reasons for his loving Tracy, the divorce? Her attitudes towards his music and crooning? His success with music, failure with his marriage? His determination to spoil the plans, his success, his support of Tracy? How pleasant a character, how credible?

10. Micky and Frank Sinatra's style? As a reporter for "Spy" magazine? His infatuation with Tracy, his songs for her, his helping her, the compromising situations and the happy resolutions?

11. The contrast with George and his stuffiness? Would he have dominated Tracy or would Tracy have dominated him? His swift judgment on the compromising behaviour? The inevitability of Tracy's not marrying him?

12. Mickey’s associate reporter, the witticisms of a lady reporter? Her being pursued by Uncle Willy? Being charmed by Dexter?

13. The contribution of Tracy's mother and her observation of situations? Her love for Tracy's father? Tracy's father and his bad reputation? His return? Uncle Willy as the womanizer? Tracy's sister?

14. The contribution of the songs and their popularity? For example: "You're Sensational", 'What a Swell Party This Is”, “True Love", The History of Jazz?

15. The comedy in this film, the contrived farcical situations, bedroom farce? The quality of this kind of froth and audience response to it?

HIGH ROAD TO CHINA

US, 1983, 100 minutes, Colour.
Tom Selleck, Bess Armstrong, Jack Weston, Wilford Brimley, Robert Morley.
Directed by Brian G. Hutton.

High Road To China is action adventure - an '80s equivalent of Saturday matinee material. It was one of the first action adventures made after the success of Steven Spielberg's Raiders of the Lost Ark. There are more than passing resemblances. In fact, the star Tom Selleck (of Magnum P.I., Lasseter) was the original choice for Raiders. He is a pleasant laconic, tongue-in-cheek hero. He is more than matched by Bess Armstrong as vigorous heroine (The Four Seasons, Jaws III). There is entertaining support from Jack Weston as Struts, the hero's buddy, from Robert Morley, Brian Blessed masquerading as an Afghanistan chief, and Wilford Brimley. There is good location photography (Yugoslavia was used) and many action and stunt sequences. Direction is by Brian G. Hutton, best remembered for such action adventures as Where Eagles Dare and Kelly's Heroes. He also directed dramas The Pad, X, Y & Z, The First Deadly Sin.

1. Entertaining action adventure? '80s matinee material? The audience entering into the good spirit of the characters, the action, the stunts?

2. Location photography? The use of Yugoslavian landscapes? Recreating the atmosphere of Turkey, Afghanistan, China? Action sequences? Planes, cars, bombs? Stunt work? The special effects? The rousing musical score?

3. Audience acceptance of the genre and conventions? The wilful heroine? The laconic hero? The battle of the sexes - 1920s adventurer style? The evil British businessman? The Afghanistan chief? The lost father? Action along the way - characterisation for the situations and adventure?

4. The implausibility of the plot - Istanbul 1920, the Roaring '20s, people stranded in Istanbul? Murder attempts in the streets, Eve Tozer and her seeking her father, Patrick O'Malley as an ex-air ace, ladies' man, despising the rich, his planes, his buddy? The control of Bentik from England? The adventures along the way, tribes, intrigue, action in China? Sufficient for the plot, for action adventure?

5. Tom Selleck's style as O'Malley? In Istanbul, the adventurer, his planes? money deals? The antagonism towards Eve - obviously heading towards love but with much altercation and suggestion along the way? Friendship with Struts? Overcoming difficulties, terrain, arriving in China, finding Eve's father, the action adventure and the wars? The happy ending?

6. Eve as the stirring wealthy heiress and adventuress of the '20s? Boldness, style, wealth? Her capacity for flying? Her always one-upping O'Malley? Antagonism, the battle of the sexes - leading to love? The humour of their battles? Finding her father? An admirable heroine?

7. Jack Weston's comic style as Struts? Visual and verbal humour?

8. Bentik as villain - with the exaggerated but enjoyable Robert Morley touch? The arch-evil manipulator? Greed? Callous in his keeping his dastardly deeds at a distance?

9. The streets of Istanbul, the Turks? The Afghanistanis - and the swarthy and adventurous Barbarians! Hospitality? Covetousness and lust? The bombings and the battles?

10. The Chinese sequences - Eve's father, his reputation. China. the wars and siege?

11. An entertaining blend of action adventure? Send-up humour? A reinforcing of the roles of hero and heroine - but with the '80s feminist touch?

HIGH MIDNIGHT

US, 1979, 90 minutes, Colour.
Michael Connors, David Birney, Christine Belford, George di Cenzo.
Directed by Daniel Haller.

High Midnight is an effectively grim telemovie. It takes the police styles of '70s films and telemovies and combines them with the personal vengeance and justice themes. It can also be related to Sidney Lumet's Prince of the City with its emphasis on special squads, especially for narcotics, who abuse their power. This film focuses on an undercover police raid which culminates in accidental death of innocent victims. There is police cover-up and the searching out by the husband of the victim of the guilty parties. The film is brief, the performances telling, and the build-up of frustration in the hero communicates itself to the audience. A postscript indicates that laws were changed after incidents such as the one portrayed in the film.

1. The impact of the film as telemovie? Drama for home audiences? Identification? Acceptance? Insight?

2. The atmosphere of an American city, homes, police stations? The atmosphere of violence - intruding on normal home lifestyle? The pace of the film, editing? Musical score and drama?

3. The message at the end about the changing of laws in the light of incidents such as that portrayed? Audience sense of identification and outrage? The feeling for the characters, attitude towards the police and those covering up? Themes of justice and law in terms of cover-up and truth?

4. The ordinariness of the opening? The family, the outing, the fireworks, the party? The introduction to the group and audience not knowing what it was doing - seeming to prepare for a criminal raid? The eruption of violence in the home? The camera mistaken for a gun? And the violent deaths? The policeman who shot the wife eventually shooting Mihallich? The deaths, the torture of Tony. the ransacking of the home? The self-righteousness of the group? The horrified reaction when the’ mistake was discovered?

5. Tony as an ordinary citizen, the experience of the ordeal,' his grief, the funeral? The consolation of his sister? His visiting his son in hospital? The police questioning and seeming harassment? His going to work and coping? The friendship with Liz - but his suspicions of her and her police work? Support from Ellis? The heavy questioning from Donovan? The motivation for inquiry and vengeance? His discovering more of the truth? The accidental discovery of Mihallich by hearing him on the radio - and the irony of Mihallich's receiving a medal? The set-ups? The attempt on his life in the river? The confrontation with Liz? His setting up Mihallich and his men? The final shoot-out? His possibility for killing M1hallich but laying down his gun? His life being saved by Alex? A credible portrait of a victimised man?

6. Mihallich and his crack squad, the preparations for the raid. the deaths, the decision to cover up, the varied reactions of his men, their co-operation? The irony of his promotion and the medal? His black contact - and the irony of his being used for the final confrontation? His decision to murder Tony? The various plans, the confrontation? He might have been killed - and was still willing to kill Tony? Alex killing him?

7. Tony and his motivation - the possibilities of justice by the law. his experience in the war and with explosives, the repercussions of the accident, his final decision not to shoot?

8. Ellis and the possibilities of civil detection? Donovan and his brusqueness yet being alert to clues? Liz and her care - especially for Tony's children?

9. The human touch with the portrayal of his sister, the nun in the hospital, the men at work?

10. How well did the film blend action adventure, police film, social criticism?

HIGH ICE

US, 1980, 95 minutes, Colour.
David Janssen, Madge Sinclair, Tony Musante, Dorian Harewood.
Directed by Eugene S. Jones.

High Ice is an entertaining formula telemovie. It is in the disaster and rescue vein.

The film focuses on two couples climbing a hostile mountain and the dangerous situation when they are stranded. The film also shows a veteran mountain-climber (with a Scottish tradition) attempting the rescues, often against good advice. There are melodramatic interactions - and the expected characterisations. The colour photography is impressive and the film conveys the atmosphere of mountain climbing, its exhilaration and dangers. It was one of David Janssen's last films.

1. An entertaining disaster movie? Audiences identifying with the situations, characters, dangers, rescue? The comparison with other films of this kind?

2. The impact for television? For home audiences? The blend of formula situations and characters with exciting action? The use of locations photography? The stunt work and effects for the dangers and the rescue? The musical score to give heightened atmosphere?

3. The background of dangerous sport? Risks? Challenges? The people involved and their preparations, cautions? The repercussions on rescue teams? Heroism in giving life for others?

4. The picturing of the two couples (Liz and Tom, Scott and Cathy)? Their setting out, their preparations, skills? The challenge of White Horse Mountain? The avalanche and Tom's death? Their being stranded? Cathy's reaction and her inability to help, nerves? The unreachable ledge? The height? Inaccessibility? The car being discovered? The beginning of the rescue operation? The difficulties of the weather, the wind? The effect of the exposure on the group? Hypothermia and its affecting Scott? His behaviour with the cable hoist, grabbing it, causing the helicopter to crash into the mountain? The growing danger? The skilled rescuers? Scott and his inability to focus and understand? Problems for the rescuers? The skid landing by the helicopter and Liz and Scott being saved? Cathy saved by MacDonald? The value of the attempt at climbing the mountain in comparison with the results, the deaths?

5. MacDonald? and his Scots background? His skill? Experience as a Ranger? His knowledge of the mountain? His arguments with the officials? The discussions with Thatcher? Persuading the Army to make the rescue attempts? The rock collapsing? MacDonald? trapped above the climbers? The self-sacrifice by MacDonald? His death?

6. Search and rescue operations? Skills, equipment, accidents, the weather? Deaths? Thatcher and his decisions, discussions with MacDonald? The squad and their skills, the doctor and the skill in hypothermia?


7. The film as formula material - potentially interesting material, available for popular audiences to identify with? Confronting audiences with themes of challenges of life and death? Ability and inability? Self-sacrifice?

HIGH ANXIETY

US, 1977, 94 minutes, Colour.
Mel Brooks, Madeline Kahn, Cloris Leachman, Harvey Korman.
Directed by Mel Brooks.

High Anxiety is Mel Brook's homage to, and parody of, Alfred Hitchcock's films (though the targets of the lunacy are venal psychiatrists and damaging therapy). Brooks himself heads the screenwriters. produces, directs, acts (very well indeed) the central role and sings the satiric title song which he composed.

With regulars Madeline Kahn, Cloris Leachman and Harvey Korman and an excellent eccentric supporting cast, he has some hilarious send-ups of movie techniques and conventions, a superb parody of Psycho's shower murder, a skit on The Birds and parallels of Spellbound, North by Northwest and of Vertigo for the climax (including a humorous psychiatric session). More Hitchcockian suspense would have added to a very funny film.

1. The appeal of the Mel Brooks comedy? American comedy style, farce and parody?

2. The contribution of Mel Brooks - production and direction, writing, acting, the singing? How successful the work of Brooks as parodyist and satirist?

3. The importance of the dedication to Hitchcock and the various allusions to his films, themes, styles? The fact that Brooks did not use a suspense format for his parody?

4. The humour of the title, the reference to Hitchcock's vertigo? The humour of the theme song and the parody on High Anxiety? The way that it was used during the credit sequence with Brooks looking out of the plane, the various psychoanalytic sessions with Professor Lilloman? The importance at the end with the literal parody of Vertigo and the psychoanalytic. session on the steps? A good framework for the parody of Hitchcock?

5. The quality of the comedy routines and their enjoyment? The throwaway lines and punch lines, American wit and humour? The exaggerated characters in themselves, references to films about asylums? The importance of Montague and Nurse Diesal and the satire of characters? Victoria Brisbane as the parody of the Grace Kelly style heroine? The comedy routines about film making, especially the music in the bus, the camera crashing through the glass windows, the ending? How well did these humorous elements combine with the Hitchcock parody?

6. The humour and tone of the prologue - the plane arriving, the various adventures at the airport, eg. the woman rushing to meet him, the seeming spy being a flasher? Brooks lucky to escape?

7. The basic situation from Hitchcock's Spellbound- the build-up to Thorndyke's arrival, the comedy routines with Brophy as the taxi driver, suggestions of murder and the ominous music (even from the bus), the introduction of Montague and his jealousy about not being in charge, Wentworth as the second in charge being persecuted? The introduction to Nurse Diesal and her masculine appearance and her control of everybody at the institute? The satire on the institute for the very, very nervous?

8. Harvey Korman's comedy style as Montague - his being under Nurse Diesal's control, his being late and missing his fruit cup, Werewolf sequence, the sado-masochism, his role in the plots against Thorndike, the comeuppance at the end for his villainy?

9. Cloris Leachman's parody as Nurse Diesal? Her masculine look, voice, cigars etc.? Her behaviour at the table? The sado-masochism and her Nazi style? The dialogue given her and its satire? Her involvement in the plots? Her final destruction like the witch from the Wizard of Oz?

10. The picture of the institute - the satire on films about asylums -Thorndyke's various interviews and being confronted by the patients, Wentworth and his wealth and Montague's arranging that he stay - pretending to be a werewolf etc.? The tour of the wards? Mr. Brisbane and his acting like a dog etc.? In good taste, appropriate satire?

11. The film's targets of psychiatry and psychology and their exploitation? The 3okes at psychiatrists' expense? The presentation of the conference in San Francisco with the portraits of the eminent psychiatrists, the references to money? Making a good living? The humour of the introduction of the chairman, the various questions and the satire when the doctor brought his children in and Thorndyke could not speak frankly and reverted to childish language?

12. Mel Brooks' style as Thorndyke - Thorndyke as hero of the film and all the difficulties he got into, his skill as a doctor, qualifications? The importance of his fear of heights and the various presentations - at the institute with the cliffs, in the hotel, at the end? The psychoanalysis with Dr. Lilloman and the parody of psychiatric sessions? His behaviour at the conference ' at the hotel, the shower and the newspaper, his singing the song in the cabaret, the false shooting and his escape, the attack from the birds, the dry-cleaning, the attempt on his life at the phone, Brophy to the rescue? The plan back at the institute, their all going to the tower? The humour of the flashback and the psychiatric session on the step? The continued reference to High Anxiety and the visuals as if it were the ad. for the film?

13. Victoria Brisbane as heroine - the blonde Hitchcockian heroine, the atmosphere of mystery, her coming and going, hiding by embracing Thorndyke, her relationship to her father, the experience of the song? The humour of the phone call where she was in bed and thought it was an obscene caller and her reaction? Her participation in the rescue?


14. The humour of Dr. Lilloman, his presence in the institute, the cure, the fight parody and his acting as referee, being asleep and the people thinking him dead, his curing of Thorndyke?

15. Dr. Wentworth and his place in the institute, his being sacked, his fear -and the humour of film styles of visualising his being caught in a web? His escape and the violence of his murder?

16. The presentation of the life at the institute - the comedy sequences of the meals? The tour and the inmate taking half the moustache from the guard etc.?

17. The humour of the hotel sequences and the parody of Psycho? The parody of The Birds? The allusions to other Hitchcock films?

18. The comedy contribution by Brophy - as a kind of chorus on what was happening?

19. The lack of suspense in the film? was it compensated by the comedy? The values implicit in this kind of film - audience presuppositions and the film playing on them?

THE HIDING PLACE

US, 1976, 147 minutes, Colour.
Julie Harris, Eileen Heckart, Jeannette Clift, Arthur O'Connell, Nigel Hawthorne, David de Keyser.
Directed by James F. Collier.

The Hiding Place is a didactic fable, with explicit religious intent, Dutch Protestant piety, this war story is factual, adapted from the memoirs of Corrie Ten Boom, who makes an appearance at the end. Starring a professional cast including Jeanette Clift as Corrie and Julie Harris as her saintly sister Betsy, the film blends drama and preaching fairly well. It is a harrowing experience; while Diary of Anne Frank portrayed the Jewish sheltered, we see here the Christian shelterers, rewarded for their charity by concentration camp horror. God is sought in the midst of this seemingly purposeless suffering (portrayed most vividly) which has strong impact, especially for a feminine audience. A recommended cinema sermon.

1. The intention of the producers of this film? Entertainment, preaching? The commercial values behind the production? The actresses, the music?

2. The preaching value of the film? How successful through characterisation and plot? Through the issues explored? Explicit preaching? The title of the film and its reference to the place for the Jewish refugees, to the hiding place in the human heart as from the Psalms?

3. The effect of the two-part structure? The first half in Holland itself and the sheltering of the Jews? The transition to the concentration camp story? The differing types of response to each part? The ultimate overall effect?

4. Audience presuppositions in responding to this kind of film, e.g. the sheltering of refugees as from The Diary of Anne Frank? Response to concentration camp stories? Sympathy for the Jews and their persecution during the war? Sympathy for the victims of the concentration camps? Antagonism towards the Nazis?

5. How important was it that the film was based on real life and real characters? The credits sequences and the establishment of the Ten Boom family? The ending with the portraits of the actors and the photos of the real characters? The introduction of Corrie Ten Boom and her comments at the end? How did this affect audience response?

6. The film's portrait of Holland during the war? The Dutch people, their way of life, the cities with shops and the streets and ordinary business? The invasion of the Germans and the change of the way of life? Hunger and the queues for bread etc.? The Black Market? The ominous German presence and the Police State? Dutch police collaborators? The Ten Boom shop and their trying to do business during the war? The young German soldier and the focus on the clockmakers?


7. The Ten Boom family as illustrated during the credits, the centenary of the family, their skill with the clocks, the girls and their work in the shop? The family as individuals and the portrait of an earnest Dutch family? Caspar and his patriarchal presence? Corrie and Betsy as middle-aged unmarried women? The impact of the war, their reaction to the war? To the officer and his continued presence? Their teaching and taking the children on walks and encountering the German presence? Nervousness with the brutality emerging around them? How credible were they as an ordinary family in these war conditions?

8. Their decision to become involved? The request for the mother and child? Christian charity as a motivation? The simplicity of their faith and their literal interpretation of the Gospel? The building of the hiding place and the providence behind getting the implements and tools and paint etc.? Their skill in covering the presence of the Jewish refugees? The sequences of the rehearsals and the timing for people taking cover? The atmosphere of continued danger, the suspense, especially with the arrival of the German soldiers?

9. Comment on the types of refugees passing through the house? Their effect on the Ten Boom family? Their presence, Jewish prayer, culture? The interaction of Jews and Christians? The families, the shelter? The Professor and his arrogance at demanding to be hidden? His not co-operating with the wash-up and other details? How was this character a focus for what was happening for the refugees? The pathos of the refugees when the family was arrested and the suspense of their being released by K.I.K.?

10. Corrie's moral dilemma when asked to betray the Jewish betrayer? Was her moral decision correct? The repercussions for her arrest, the family's arrest and imprisonment and deaths? The transition of the arrest sequence with its brutality for ordinary people in ordinary streets? The transition to the concentration camp sequences of the film?

11. Corrie in prison and the long sequences of her isolation, her interrogation and walk in the sunlight? Her attitude towards the German interrogator and her not giving anything away? His puzzlement at her attitudes?

12. The visual presentation of the train trip to Ravensbruck? The meeting with Katje? As the antithesis of Corrie? And yet the bond between them and Betsy accompanying them to Ravensbruck? The pathos of the separation from their father and his death?

13. Katje as a type? Her scrounging in the prison, delivering the meals, working in the Black Market? Her bond with the sisters? Helping them on the train, in Ravensbruck? With the Bible and other necessities? The effect of the two sisters on Katje throughout her imprisonment?

14. The attention to detail of the concentration camp? The effect on the audience of seeing a women’s concentration camp and the sufferings in such detail? The wardress and her brutality? The work sequences, punishment, line-ups, the dormitory? The rules and regulations and the humiliation? The hunger? Medical needs?

15. How clear were the options for the women in the camps? The various discussions of moral and religious issues? The religious approach, the Bible readings, the singing, the optimistic hope? Providence as having a meaning? Katje as representing the pragmatist, her stealing, negotiating with the German nurse, her being punished by the brutality on her hand? The Polish pianist and her comment on God's cruelty?

16. Corrie as a character throughout the film? Her Dutch nature, simplicity, religion? Her fortitude in helping the refugees and her weariness? Her reaction to arrest and imprisonment, courage? The possibility of becoming bitter? The bond with Betsy helping her to retain her faith? Her prayer and her reliance on providence, especially as regards the Bible? Even the point about the lice having a meaning?

17. Betsy as ideal goodness? How credible was she as a person? Her suffering, her model for those in despair? Her dreams and her death? The pathos of her illness, her being taken to another ward? Corrie looking in the window and her absence?

18. Katje and her helping in the camp, her bond with the German nurse? The ambiguous attitudes of the nurse and her helping the prisoners? The brutal treatment of Katje and the injuries to her hand?

19. The odd nature of Corrie's release and the sequence of her leaving the camp? The effect on her and the experience of imprisonment? Her contemporaries being killed? Her mission after being released?

20. The events of World War Two seen in the retrospect of many decades? what perspective can they be seen in? The evils of the times? The human suffering, the meaninglessness of the suffering? How much meaning, religious meaning, faith? The impact of telling such stories for later generations?

HIDE IN PLAIN SIGHT

US, 1980, 87 minutes, Colour.
James Caan, Jill Eikenberry, Joe Grifasi, Kenneth Mc Millan, Josef Sommer, Danny Aiello.
Directed by James Caan.

Hide in Plain Sight is based on a true story about a divorced man who wanted custody of his children but the children were relocated under the witness protection scheme without his consent. A worker in Buffalo, he considers himself one of the little people, and battles to win back his children.

James Caan is persuasive in the central role, and he also directed the film. He has a good cast, a sense of atmosphere, a sense of urgency about the situation.

A slice of American life, an emphasis on parents, family, concern and love. It also condemns the interference of bureaucracy in ordinary people's lives, even for what seems to be a great good.

1. A true story, families and rights?

2. The settings in Buffalo, Michigan, New Mexico? Musical score and atmosphere?

3. The title, the situation, the programme of relocating, the government?

4. James Caan's portrait of Tom: seeing him at work, with his friend Matt, in himself? Ills relationship with Ruth and his children? The visit, the playing with the children, the clash with Jack? Going out with Matt, meeting Ally, the news of the robbery, his reaction and disappearance? The mystery of his children’s disappearance? Matt and his help? The bond with Ally, her pregnancy, the wedding, His relationship with his mother? Their approach to the lawyer and his caution? Tom's anger, ramming the car of the affluent lawyer? Unemployment, being laid off, in the wrong queue? Playing pool in anger? The visit to Washington with his lawyer? Seeming to get the brush-off? The phone call from Michigan and his mother's lack of awareness, his anger? Getting the address, the drive, being pursued by the Mafia man? Tracking Jack down, saving him from the attacker? His finding the children, being reunited with them? Attitudes towards Ruth? Towards Ally? The importance of talking with the agent, the support of one of them, the press? Tom as a man, worker, father, husband, the failed marriage, the new marriage? His right to fight the government?

5. Ruth in herself, relationship with the children, with Jack? Going out, the Mafia dinner?. Being persuaded to marry Jack to protect him? Telling Tom and his anger? The phone call from Michigan and cutting off? In New Mexico? Found, with the children, the children in themselves, their love for their father;. playing with him? Reunited?

6. Ally as teacher, meeting Tom, the embarrassment, pleasant nature, helping Tom, talking things over, the fishing spot, in love, pregnant, the marriage, with his mother, her understanding, giving her support, going to the lawyer with him? With the children?

7. Matt as a good friend, arranging dates, listening to Tom, coping with his angers, caring for Ally?

8. Jack as a small,-tough thug, going to the dinner, pleased with himself, the robbery, his attack, pursued, giving up, testifying, the witness relocation programme, moving jobs, the restaurant, Tom and the Mafia catching up with him? The picture of the mob, types, pursuit and violence?

9. The government: the officer and his plan, the contrast with the views of the ordinary agent? Self-assurance, individuals' rights, the witness value, testimony and imprisonments? The intruding when Tom went to New Mexico, Ally stopping them using the phone? The second officer and his humanity, seeking out Tom and discussing things? Offering a deal?

10. The lawyer, pondering his decision, getting the help of the press, going to Washington to see the senator, his support of Tom?

11. American and universal themes? The ordinary man? His work and career? Family? Family rights?

HIDE AND SEEK

Israel, 1980, 85 minutes, Colour.
Gila Almagor, Efrat Lavie, Doron Tavori, Chaim Hedaya.
Directed by Dan Wolman.

Hide and Seek is a brief but deeply felt Israeli film of the early '80s. It looks back at the post-World War Two period with its uncertainties, the conflicts with the Arabs and the struggles for the State of Israel. The film looks critically at these times, especially the attitudes of the young children growing up, which were shaped very much by anxiety and hostility. The children are influenced by absent parents, away doing good for others, movies about spies and the atmosphere of espionage in Jerusalem., The film also focuses on the theme of homosexuality and the reaction of the young Israeli zeal towards homosexuals - given as a symptom of the unreality and harshness of the attitudes of the time. While the film is a critique of the past, it throws light on contemporary issues and asks questions about the future of Israel as it moves into a more secure place in the world.

1. The impact of the film for Israelis? Non-Israelis? The themes of 1946? Jews, Arabs, clashes and struggles, the State of Israel? The focus on homosexuality? The personal nature of the film? Its controversial aspects?

2. The brevity of the film, the re-creation of the period, the Jerusalem settings? The world of the 12-year-old boy and his perception of 1946? Colour photography? Musical score?

3. The title and its focus on the game, the boys and their childlike and childish attitudes, spies, puzzles and mysteries, being caught, being caught and being punished?

4. The atmosphere of Jerusalem in 1946: the post-war period, the memories of the holocaust (and the showing of footage of the holocaust in the film), the settling of Jews in Palestine, the ships coming in, the refugees and orphans, the need for nursing and care, learning Hebrew, espionage, the British, the Arabs, informers - and their being shot by squads of young Jews? The intensity of feeling, anxiety at the time?

5. The world of the boys: ordinary day-by-day life, the gang and the friendships, the code and entering into the gang, the games, the model and the games, hide and seek, spying on the couples, espionage and the movies, an age of innocence and the kids being changed by society?

6. The adult world: the world of the grandfather, the memories of the past, the home in Jerusalem, his children, concern and love for his grandson, the employing of the tutor, the friendship with the tutor? His being a steadying background to the young boys growing up?

7. The adult world: the parents, their being away on Jewish work, charity, the mother and her arrival home, care for her son, listening to the problems, common sense, her being away at the refugee camp, her concern about the orphans, her son's visiting her and her seeming to care more about the refugees than her own son?

8. The tutor and his situation, the boys' wariness towards him, hesitations, the lessons, the gradual liking and admiration? The boys seeing the tutor with the Arab? His becoming an object of spying because of espionage ideas? The background of homosexuality, the relationship with the Arab? The raid and the bashing?

9. The theme of homosexuality: victims, a symptom of society, the raids of the zealot Israelis?

10. The boys and the effect of their spying, the consequences of hatred and suspicion, the films and the carry-over? Causes of destruction? The final encounter of the boy and the tutor in the street. their passing by - the future of the tutor. the future of the boy?

11. A perspective on the past for Israel? Analysis of the present? The future and Israel learning from its past?

THE HIDDEN FORTRESS

Japan, 1958, 138 minutes, Black and white.
Toshiro Mifune, Misa Uehara.
Directed by Akira Kurosawa.

The Hidden Fortress is one of Akira Kurosawa's many Samurai action films. It dates from the '50s, after Rashomon and The Seventh Samurai; at the time of such classics as Throne of Blood. However, The Hidden Fortress is presented with the light, humorous touch. It is an adventure comedy - all the conventions of the Samurai heroism as well as a spoof of the traditions and a focus on two low character, a Japanese-type Laurel and Hardy who want to exploit situations. Once again, the photography and the Samurai settings are spectacular, Toshiro Mifune is once again the hero.

Of particular interest, George Lucas attributed the plot of Star Wars to Kurosawa's Hidden Fortress - which makes looking at the film in retrospect even more entertaining.

1. An interesting and entertaining Samurai adventure? With the comic touch? Kurosawa's serious Samurai epics? His reliance on the American western? American westerns of the '50s and '60s transferring Kurosawa to the United States and Mexico? (The Star Wars connection?)

2. Panavision photography, the quality of the black and white photography? Scope, spectacle, pageantry, action? Musical score?

3. The title and its focus on the fortress? The Samurai wars? Clashes? Money, betrayal, princesses in flight, secret strategies?

4. The focus on the warrior, his place in Samurai society, his style, the guardianship of the princess, her entourage? His encounter with the two workers? Using them? His fierce demeanour, his skills and strategy, leading the party, riding the horse and daring the authorities? The imprisonment? Final confrontation? Vindication?

5. The princess and her situation, enmity, her being a bargaining factor? The protection of the warrior? Her entourage? Secrecy, escape, disguise, capture and torture, the possibility of execution? Rescue and the happy ending?

6. The presentation of the Samurai lords - the information about the various kingdoms, power, infiltration, armies, gold and the chase for the gold, the guards, the frontiers, the battles, the imprisonment? A mediaeval Samurai life-style?

7. The focus on the two scoundrels? Work, escape, exploiting situations? Their wanting to make money, betray others? Their escaping the warriors, their being pursued? on the frontiers? The search for the gold? The warrior and his use of them, their trying to betray him and escape? Their being involved with the princess and her entourage? Their adventures at the frontier, in the battles? The transportation of the gold? The finale, their seeming to be caught, the irony of their escaping, and getting some of the gold? Japanese humour, comic types, their ordinariness, foibles of human nature, interaction with each other?

8. This film in the corpus of the works of Kurosawa? His more serious pictures of Japanese history and society? His exploration of human nature? The comic style here compared with so much of his work offering human tragedy?

HESTER STREET

US, 1975, 89 minutes, Black and White.
Carol Kane, Steven Keats.
Directed by Joan Micklin Silver.

Highly and rightly acclaimed, this evocation of Jewish migrants in Eastside New York 1896 is photographed beautifully in black and white in the style of photographs of the time. But the authenticity is in the streets, markets, workshops and apartments and in the characterization of ordinary men and women with long religious and cultural traditions as well as a poor European background. America is a wondrous land of opportunity and change. Happiness, love, bitterness, regrets and hopes are tellingly embodied in dramatic situations full of genuine humour, sentiment and sadness written and directed by Joan Micklin Silver. Oscar nominated Carol Kane leads an excellent cast.

1. The impact of this film? The praise it has been given and its meriting it? The focus on people, issues?

2. The quality of the black and white photography, the likeness to 19th century photography, the audience being present in a visible past? The New York streets, homes, shops etc.? The importance of the authentic atmosphere?

3. The contribution of the music, the Jewish and European themes woven into the background? The music at the opening at the academy?

4. The film's focus on New York, the microcosm of America, New York and America in the 19th century as a hope for the migrants, the goal of freedom? The clash of cultural traditions from middle Europe with America? The New York clash with so many migrants? The decisions to keep traditions, the feeling of liberation from traditions, the rejection of these? The questions the migrants had to ask about themselves in order to be true to the past, settle in their new land and build a future?

5. The film's focus on the Jews, the use of Yiddish with subtitles, the middle-European background, the strength of the religious traditions and respect for these, the poverty, the middle European countries and their persecution of Jews, the Jews living in poverty and the need to migrate? The ghetto mentality and its being brought to New York? How true was the presentation of the migrants and their mentality and plight? Was it the same for migrants from other countries and cultures?

6. The film's focussing on Jake? His origins and name, his appearance when he arrived, shaving, settling into America? His strengths and weaknesses as a character? His being compared with the non-English-speaking migrant in the cafe? The new arrival and his Jewish look, religious traditions and Jake's attitude? Work in the sweatshop, the bosses? His room, relationship with the landlady and her attitude towards him? The atmosphere of the academy where people could get together and enjoy themselves. Jake's relationship with Mamie prior to his wife's arriving? Love, loneliness, sexuality? His getting the money from Mamie under false pretences and the repercussions of this? How was Jake an ordinary man trying to survive?

7. The contrast with Mamie and the fact that she was Americanized, her attitude towards traditions, her seven years in America, her becoming a New York woman in style, dress, language? Her money and Jake's using of it? The romantic visit with her standing on the steps? Her disillusionment with Jake? The visit and the confrontation with GIG? Giving cause for the divorce? Her willingness to marry Jake? The irony of her losing her money and their walking to the wedding?

8. How important was Gitl for the film? The impact of her arrival? Jake preparing for it, his love for her in Europe, the change in America? The boy? The prejudice shown Gitl and her son at the entry to New York? Gitl as involved in traditions, the limitations of her language, her fear of showing her hair, traditions of love and respect for her husband? At a loss in America? Amazed at the home, women's status? Her strength of character? How did she change? Her growing learning, her resisting showing her hair and the difficulties that this gave her, the happiness of the picnic, her being continually hurt by Jake, the decision about her hair and the help of the landlady? The support of the landlady? Her being upset by Jake's resistance and spurning of her? Her attitude towards the divorce? The effect of the divorce on her? Her behaviour during the ceremony? Her relationship with Bernstein and its properness? Her being willing to marry him? Her getting the benefits of the divorce case? An insight into the Jewish woman migrant?

9. Bernstein as a contrast with Jake, his background of learning, becoming a Rabbi, sexual temptations and migrations his work and his study? A man to respect? His respect for GIC and the child? would he provide a good future for GIC?

10. The landlady and her settling into America her helping Jake, modernizing Gitl, her presence at the divorce and helping Gitl?

11. The theme of the assimilation of migrants, education, as seen in the boy and his change of name, his learning English? Gitl being slower?

12. How did the film convey moods and atmosphere during the picnic, what did It reveal of each of the characters, their being at home in America?

13. The contrast with the surreptitious meetings of Jake and Mamie, love, sexuality, the harshness of the decision to break the marriage?

14. The divorce ceremony and its ritual, superstition? A particularly Jewish heritage? Attitude towards men, women?