HEMINGWAY'S ADVENTURES OF A YOUNG MAN

US, 1962, 145 minutes, Colour.
Richard Beymer, Diane Baker, Corinne Calvet, Fred Clark, Dan Dailey, Jessica Tandy, James Dunn, Susan Strasberg, Arthur Kennedy, Juano Hernandez, Ricardo Montalban, Eli Wallach, Michael Pollard and Paul Newman.
Directed by Martin Ritt.

Hemingway's Adventures of a Young Man is an adaptation of some of Hemingway's short stories about Nick Adams. In presentation they resemble many of Hemingway's stories and the climax is very similar to the World War I stories in A Farewell to Arms. Richard Beymer was being groomed for stardom at the time at Twentieth Century Fox. He appeared in such films as The Diary of Anne Frank and West Side Story. However he did not become a great star. Fox also had many guest stars in this film, some to very good effect, for instance Paul Newman.

The film was directed by Martin Ritt who had made a name for himself in television and had directed a number of fine films such as Edge of the City, The Sound and the Fury. He was to make a number of effective films in the 60s, for instance Hud, Hombre, The Spy Who Came In From the Cold. The film is long and sprawling, very episodic. It is of interest for Hemingway fans but it is comparatively mild film-making compared with other versions of Hemingway, For Whom the Bell Tolls, A Farewell to Arms, The Sun Also Rises, Islands in the Stream.

1. Audience interest in Hemingway, his biography, status in American literature and in the image of the American male, his stories? How was this film a tribute to Hemingway? Did it succeed?

2. The use of colour and wide screen, musical background, the use of locations from the American Midwest, to New York, to Italy? Did it recapture the flavour of Hemingway’s outlook on life and literature? The atmosphere of Hemingway's own life and of his stories?

3. The importance of the structure: the growth of a young man, his origins in the Mid- West, moving out, trials and testing, the overseas experience? The episodic nature of the structure? Its cumulative effect?

4. The significance of the title, the emphasis on adventures and the nature of these adventures, their effect on a young man and his growth? The emphasis on the young man and the need for development and growth? An appropriate title?

5. The portrait of the young American man? How did Nick Adams represent the young American man of his tine? The importance of his Midwest origins, family background and difficulties, his naivety, his ambitions, his emotional relationships, his drives that sent him away from how, trying to learn the lessons of life, the hardship of getting a job, the experience of World War I and its relationship to America? How well was he able to begin his life by the end of the story?

6. Comment on the detail of portraiture in his family. The nature of his mother, her personality, her dominance, her Nick, her hopes for him and the way these were expressed? The nature of the bond between the two? How much love? How much hatred? The importance of Nick's father in his life? A weak kind of man? His relationship with his wife? The importance of his visit to Nick in New York before he went overseas? The fact that he committed suicide? The mother's memory of this? The influence of both parents in his life?

7. The friendship between George and Nick? As an example of ordinary relationships and friends in growing up? The values of the Midwest that George stood for and remained with? His admiration for Nick but his inability to imitate him? How was Nick influenced by his friends? The importance of Bugs and his influence? What kind of person? Negro influence in a young American at this time?


8. What brought about the decision to leave home. what was he seeking? The way that he left home? The importance of the train and its sense of motion, moving away from home? His place on that train?

9. The contribution of the episode of the battler? The way it was filmed, generally the continuous running, the running commentary of the battler about his career and fighting? What kind of character was he? His expectations of life, his insight into life, the advice to Nick, the influence he had on him?

10. The contrast with the personality of Billy Campbell, his show? The reputation of burlesque at the time? The personality of Campbell and his influence on Nick, what did Nick learn from his experience in this show business world on the road? The hardships, poverty, precarious nature of success? Why did he leave?

11. The young man from the Midwest confronting New York City and its impact on him? The atmosphere and the environment, his feeling abandoned? The challenge to him in New York?

12. The background of the newspaper world, Nick's ambitions and his literary ability, his reaction to the refusal? A hard and cut-throat world?

13. The decision to go to war, the importance of his father's visit and their discussion before he went? What was Nick hoping for in the adventure of World War I?

14. The film's portrayal of action in Italy, the nature of the war and its brutality, heroism, injuries, relationships between the men? What was Nick learning by this experience of war in which America was as yet not involved? His experience of a different culture, different language? An American in Europe, an innocent abroad?

15. His relationships with the various soldiers and their influence on him, his relationship with the Major and saving his life? The relationship with his friend and the humanising influence in Italy?

16. His injuries and the question of his health? The encounter with Rosanna and the awakening of a genuine experience of love, the way that this was portrayed in the film, romantically? Authentically? The importance of the comparison with Caroline and her relationship with Nick back in his home town? The contrasting personalities of Rosanna and Caroline? The comparison with the Contessa and the world of high society, influence, patronage? The simplicity of his love for Rosanna? How did he change? The impact of her death on him?

17. How did Nick see America with new eyes after his war experience? What insight did he have into his homeland?

18. The prospects of the future for him as he stepped ashore? As he returned home? His reassessment of home, his mother, Caroline and relationships? How much is this influenced by knowledge of Hemingway's later life, final suicide? How well did the film represent Hemingway's toughness, integrity, vision of America and of the American male?

HECATE

Switzerland, 1982, 105 minutes, Colour.
Lauren Hutton, Jean Bouise, Bernard Girardeau.
Directed by Daniel Schmid.

Hecate is a 20th century version of the old Greek myth about the Goddess of the Crossroads - who has more than a touch of the bewitcher.

This is a Swiss production, lavishly mounted. It stars American model/ actress Lauren Hutton. It looks at the period before World War Two, the provinces and the effect of African outposts on an ambitious young diplomat, his infatuation with a beguiling woman. The film shows the origins of World War Two and the effect of the war situation on each of them. The film is slow moving, a study in period as well as of characters - and the bizarre effects of environment on behaviour.

This Swiss production was written and directed by Daniel Vigne who achieved some prominence with his documentary drama Tosca's Kiss and The Return of Martin Guerre.

1. A story of passion, memories, myth and reality?

2. Swiss production: the re-creation of period, North Africa and locations, the Siberian war situation? The audience immersed in these worlds? Feeling and atmosphere? The inserts and the sepia tones, the archival material? The score and its range - accompaniment, classics, contemporary songs?

3. The title of the film, the background of the goddess, her various faces, death and the crossroads, her dogs and their devouring wayfarers, her children? The applications to Clothilde - goddess, death (of sex), passion, devouring?

4. The framework of the screenplay and the Berne setting: neutral Switzerland in World War Two, society and elegance, the experience of the war? Julien's position? The audience returning to this setting at the end - understanding Julien in his origins, experiences to this point? The encounter with Clothilde? Memories - and leaving?

5. Julien and his return, the ambassador's language sending him back to the past? The voice-over, the confession. the search, exploration?

6. Julien in himself: his ambitions, arrival in Africa, the diplomatic post, Africa in the '20s and '30s, the atmosphere of the period, locations, the heat, the Foreign Legion, the Arabs? The Europeans trying to make something of Europe in this setting? The physical and psychological isolation, susceptibility?

7. His being aloof, not enough to do? The routine of the Consulate? His social ambitions, party, mistress? The encounter with Mallard? His turning up at various occasions, the black sheep (a prospect)? The fascination with Clothilde, her allure and charm, the meeting, dance, passion? The bond between them? The nature of her hold on him? His susceptibility and surrender? The sequences of passion - their range, visual impact. Music, editing? The audience sharing his experience with him? Joy, being tantalised, leading where? Her husband and his story? His disappearance? Jealousy, neglect, his being absorbed, obsessed, search, the experience of squalor, the boy, the confrontation, anger, the rape, his cleansing himself in the water? His dreams - the husband, the ageing Hecate? The consequences?

8. His moving from Africa, the breaking of his relationship with Clothilde, vows, the return? The overview of his experience? The visit to Siberia the husband in a trance? The return to Berne? His discovery of the nature of his quest, the search for Clothilde's husband, finding him?

9. Lauren Hutton's glamour and fascination as Clothilde? American, French experience, in Africa, her beauty, spoilt, wilful, sensuous? Her attraction for Julien? Her husband, passion, ups and downs, the mystery? Her vanishing and his breaking? The breaking of the spell? Her being Hecate to Julien?

10. The Consul and appearance, care, warmth? The secretary at the Consulate and her concern?

11. The enigmatic figure of Mallard? His place in society, victim, outsider - mirror image for Julien?

12. The significance of the boy, relationship, guide, victim?

13. The world of Africa - real/timeless? The African city with its sordidness, vice, prostitution? The background of the French Legionnaries and their behaviour? Echoes of Rimbaud's 'Season in Hell'?

14. Themes of obsession, relationships, sexuality, passion, guilt and shame, destruction? Consequences?

HEDDA

UK, 1975, 102 minutes, Colour.
Glenda Jackson, Timothy West, Peter Eyre, Jennie Linden.
Directed by Trevor Nunn.

Ibsen's plays, with dynamic strong-headed women in central roles, must have created a furore in the 19th century. They are strong material still, especially his selfish, arrogant, manipulative Hedda Gabbler. As powerfully portrayed by Glenda Jackson, she is victim of her society, boredom and moral cowardice. She compensates by interfering in people's lives, playing with them and discarding them or trying to control them. In the play, she is matched by the insinuatingly and fussily evil Judge Brack - an excellent performance by Timothy West. This film is the play - predominantly so, but satisfactorily cinematic. Acting is well worth seeing in a potent classic melodrama.

1. The dramatic background of the play? The play structure of the film and its theatrical impact? How well was the play opened out for the cinema?

2. The thematic preoccupations of Ibsen? The Nineteenth Century issues of man and woman, society, morality. power? The strong language and the strength of the film in retaining the dialogue of the play?

3. The impact of Glenda Jackson as Hedda? The opening and her arrival, her initial speeches and selfishness, arrogance, pettiness? The way that she manipulated people? The details of her past, her family background, the spoilt daughter and wealth. the ambitious marriage, her romantic interlude with Eylett? The revelation of herself as a coward and bully? Her capacity for love and hate? Her toying with the triangle of friends and intimate friendships? Her interest in people solely related to herself? Her capacity for gossip and utilizing gossip? Her vice of boredom?

4. Comment on the cinematic techniques for transferring a play to the screen. The visual effect of profiles, for example the illustration of the triangles? The slow tracking shots in to characters speaking for example the initial discussion between Hedda and Mrs. Elvsted?

5. The use of colour, the house both inside and outside? The atmosphere of nineteenth century Norway?

6. The presentation of Hedda as destructive and manipulative? The memory of her past with Eylett? Her letting him go, threatening to shoot him? Her trying to re-kindle the past in the light of her empty marriage? Her love for him, her attitude towards his achievement, relationship with Mrs. Elvstedd? Her manipulating him into drink, to an excessive night, to holding the manuscript and destroying his belief in himself? Her giving him the pistol? The irony of her disillusionment of the lack of beauty in his death? Her manipulation and destruction of her husband? Feeling pity for him, accepting his house, marrying him for ambition and position, no love, spurning his aunts and his way of life, her recounting the boredom of her honeymoon voyage? The fact that he would make a memorial of Eylett's book? The irony of his escaping her power? Her hold over Judge Brack? Drawing him into the intimate circle of friends? Using the gossip? The irony of his hold over her? Emotional blackmail? (His deliberate malice in having power over her, but his surprise in finding her so destructive in fact?) The fact that she was destroyed by Judge Brack? Her manipulation of Mrs. Elvstedd? Her memory of her as a girl, the initial meeting and playing on friendship. calling her by name tricking her into being a confidante? Drawing out the whole story? Embarrassing her in front of Eylett? Holding her for the night? The irony then of Mrs. Elvstedd being able to continue the book? Hedda's spurning of Aunt Julia and her way of life? How well did the film visually and by dialogue convey these aspects of Hedda's character?

7. Hedda's downfall? How much of her own doing? How inevitable? Her madness? The melodrama of her life and its taking its toll? The final realization: her cruelty to Mrs. Elvstedd, her cruelty as regards the manuscript and the equivalent destruction of Mrs. Elvstedd and Eylett's child? The burning of the manuscript and the death of the aunt? The hold that Judge Brack had over her combined with Thea and her husband working on the manuscript? The final piano playing and the beautiful death? Was there any satisfaction for her in the beauty of her death?

8. The portrayal of Brack? His friendship with the couple? His helping them with their house? His aloofness yet wanting to have a hold over Hedda and her companionship? The evil deference to her? The bearer of gossip and malice? His gradual hold over Hedda and her resentment of his power? What was the nature of Brack's evil?

9. The contrast with Aunt Julia and her fussiness, the atmosphere of death and the anticipation of a birth? Hedda's reaction to the death? Aunt Julia and the maid, the spurning of the maid?

10. How well illustrated were the themes of life and death, love and hate, boredom and achievement, success and failure, courage and weakness. beauty and ugliness?

11. The impact of this play in terms of Nineteenth Century attitudes on the place of men and women?

12. The insight into nineteenth century society, its manners, conventions, hold over people's lives? What criticism of this kind of society?

13. The exploration of morality and the good and evil in every character?

14. The theme of power and manipulation?

15. How great a play is 'Hedda Gabbler'? How well did this film version do it justice?

 

 

 

HEAVEN'S GATE

US, 1980, 219 minutes (with many edited versions), Colour.
Kris Kristofferson, Christopher Walken, John Hurt, Sam Waterston, Brad Dourif, Isabelle Huppert, Jeff Bridges, Joseph Cotton.
Directed by Michael Cimino.

Heaven's Gate is an ambitious western by Oscar-winner (The Deer Hunter) Michael Cimino. It became a notorious case of big budgeting, overspending and poor management. Cimino himself was not to make a film for almost five years, The Year of the Dragon.

The film is ambitious in scope: America in the 1870s and the youthful vision after the Civil War souring to the 1890s and the range wars with the wealthy Landowners' Association combating violently the middle European settlers. The film is vast in scope and in the use of location photography and huge sets to re-create the period. It is a delight to watch. As with The Deerhunter and The Year of the Dragon, Cimino spends long periods on single sequences to create atmosphere e.g. the roller skating and dancing at Sweetwater.

Kris Kristofferson acts as usual as the Marshall of Johnston County. There is an interesting supporting cast including Isabelle Huppert as the frontier Madam. Christopher Walken as the renegade gunman. Sam Waterston snarls as the leader of the Association while John Hurt is the alcoholic Billy. There is an excellent musical score including 'The Blue Danube' for a long waltz scene at Harvard and traditional airs and new melodies arranged by David Mansfield (who wrote the music for Year of the Dragon).

The film was severely attacked when first released, was reduced by almost an hour for international screenings - but was not successful.

The synopsis in the Monthly Film Bulletin adds a sentence of plot which does not appear in the international production: "In 1903, having retreated into his wealth in Newport, Rhode Island, Averill remembers the aftermath: an ambush in which Ella and John Bridges were killed and he shot Canton." The print for world-wide screening ended with the three leaving Sweetwater - apparently for happier times.

1. The reputation of the film, its failure? Re-cut? The success of the film as film (rather than as an example of extravagant filmmaking)?

2. The scope and aim of the film: America in the 19th. century, the landowners, the migrants? Class distinctions? Politics, power, the army? Violence? Equality? The political stances of Michael Cimino?

3. The writing and the various techniques including the voice-over? The structure: the focus on Harvard 1870, the move into the 1890s? Sweetwater and the battles, the Association? Averill at the centre? His abdicating responsibility and taking it up again? The interweaving of the characters, motivations? Insight into characters, interactions, America?

4. The quality of the Panavision photography, colour, landscapes, beauty and harshness, compositions, memorable images? Harvard and the long opening sequence, gentility (and the filming done at Oxford)? The contrast with Wyoming, Sweetwater and the range? Wyoming and the Cattle Association headquarters? interiors and exteriors? Set pieces: the railway, the skating rink, the battle? The editing (especially in cutting down the original film?

5. The contribution of the score: the themes, traditional American airs, violin-playing? The use of 'The Blue Danube' for Harvard? The Harvard March? The songs?

6. The title, its being the name on the skating rink hall? The irony of Heaven and Hell? Paradise in the United States - a hell for the migrants? Wyoming as Heaven's Gate? A place to die? A place to live? The American dream?

7. The American epic and its intentions: the American traditions, the critique? The scope of the 1870s and 1890s? Harvard hopes, Wyoming and the frontier? The role of the wealthy, the Cattlemen's Association, the army - and the links with the President and Washington bureaucracy? The presentation of law and order, justice, the migrants, individuals and their stances? The melancholic atmosphere? The possibility for American integrity?

8. Harvard: the atmosphere of the university, the band playing and the marches, Jim and his hurrying to join them, the Reverend Doctor and his speech, 19th. century prose, patriotism and hopes, the crowds, youthfulness, Billy and his practical jokes, the light-hearted atmosphere, the dance, the long sequence of 'The Blue Danube' and its rhythms and movement, the fights, the young men and the tree, the women watching, the singing, music and joy? Jim and his hopes, career, the ideal girl? Harvard as a prologue to the film?

9. The contrast with the 1890s, the West, Jim's voice-over and comment, seeing him in mid-career, change, Marshall of Johnston County, relationship with Ella, the train trip, buying the carriage, his arrival in the town, the friendship with the railwayman, the crowds of migrants on the train, the busy town, the crises of the West?

10. The picture of the Cattlemen's Association: the meeting rooms in the club, exclusive, wealth, the specious arguments, the death list, Billy and his drinking, his inability to fit in, cynical criticisms? Canton and his control? The presence of the army and the Washington links? Jim as a rival, playing billiards, getting the list from Billy? Defying Canton and the mutual slaps? The hostility between the two groups?

11. The contrast with Nate Champion and his riding the range, the initial killing of the Polish man who had stolen the cattle? Shooting through the sheet focusing on Nate? The clash with his sidekick and his skill with a gun? The range wars, the tough attitudes towards the migrants? Ella and her running the brothel, the men going there, the girls, the payment by cattle? Nate and his love for Ella, possibilities for her? Friendship with Jim, rivalry? Jim's confrontation about the list? Ella's decision to go with Nate? His house, the newspaper wall? The old trapper and his friend coming? Defying Canton? Writing the note in the burning hut? The western shootout? The gunslinger, his European background, change of heart?

12. Kris Kristofferson's portrait of Jim Averill: the train ride, arriving in the town, the confrontation with the Association, friendship with Nate, the return to Ella, the domestic sequences: the pie, bedroom, the gift of the carriage? His warning Bridges about the danger? Leaving it be on the Sunday - the joyride in the carriage, the swim, the dancing at Heaven's Gate? Ella's decision to leave? Jim and his reading out the death list to the people, their reaction? His withdrawing and drinking? His decision to leave - shaving and watching? Ella's return and his rescuing her from the attackers? His decision to become involved again? Riding out, training the migrants to fight in Roman army style? The attack on the cattlemen? The shootout? His return to Ella, their decision to leave? A man of the West, his ideals, the realism of the situation?

13. Johnston County and Sweetwater: the old town, the lake, the mountains, the range? The migrants, on the top of the trains, the long sequence of their trekking to Wyoming? Starving on the range, the stealing of the cattle and butchering it for food? Their papers for land deals? The assemblies at Heaven's Gate? Sunday and going to church, the skating rink and the traditional dances? The death list? The clashes amongst themselves and the hurling of anger about the past? Reliance on Averill and his failing them? The decision to go to fight, everybody being involved, their making the carts a weapon, all attacking, their haphazard shooting, deaths, the carriage running over people? Their victory? The sketch of various citizens: Mr. Eggleston and his earnestness. Mayor Lezak and his family not wanting to be involved, being shot by the widow? The range of characters, their intensity in the battle?

14. John Bridges and his role in the town, leadership, Heaven's Gate, the skating, the dancing, the drink and the enjoyment, holding the assembly about the land claims, the death list? His going to fight, involvement, leaving with Ella?

15. Ella as the frontier Madam, the independent woman? French background? The brothel and its style, the girls at home there? The men visiting? Ella's eye for business, amassing the cattle? Her relationship with Nate and with Jim? The carriage, the ride through the town and defiance of the people? The ride, the swim, the dancing? The decision to go with Nate - and seeing his cabin? Return, the murder of the girls, the rape by the cattlemen? Her riding back to the battle, fighting - criticism that she was a token woman character in the film and made her mark by acting like a man? Leaving with Jim and Bridges?

16. The minor characters and their contribution: the railwayman, his observations about the migrants, going to warn Jim, his death on the mountain? The mountain man and his stories - especially about holding the bear by its tongue, confrontation by the mountain men, his death? His naive offsider Nick Ray?

17. Canton and his implacable attitudes towards the migrants, snobbery, class, wealth? Rousing up the cattlemen, their vote? The death list? The hired killers? The railway yards, the train ride? Unleashing the killers on the migrants? The battles? His surviving? The members of the Association, the army Head - and his baring his buttocks and Averill's wry comment about his being a friend of the President? The arrogance of the Association?

18. Billy as the orator at Harvard, a joker? His drinking? Drifting around the West, with the Association, but cynical towards them? His slow-clapping, opting out? Canton's anger at him? His potential, his reaction against the list, his following the Association men, his being shot in the battle?

19. The action sequences: the editing, pace, the tactics? In the landscapes of rugged beauty?

20. The success of the film as an epic? As a comment on America? As a western?

 

HERCULES

Italy, 1983, 100 minutes, Colour.
Lou Ferrigno, Sybil Danning, Brad Harris, William Berger.
Directed by Lewis Coates (Luigi Cozzi).

Hercules is small-budget tongue-in-cheek juvenile entertainment. It takes up some of the fable stories about strong man Hercules - with memories of the roles of gods controlling human lives in Clash of the Titans.

Made in Italy, the film has juvenile and fairly risible dialogue and performances. Sybil Danning leads the supporting cast to Lou Ferrigno, familiar as TV's Hulk. simply transplanting Hulk style to the time of mythology. There are interesting special effects which are imaginative but which don't have the budget to bring them to full success.

The film is an '80s version of so many popular Italian mythology spectacles of the '60s with such actors as Steve Reeves and Gordon Scott. It works only at a very juvenile matinee level.

THE HASTY HEART

UK, 1949, 104 minutes, Black and white.
Richard Todd, Patricia Neal, Ronald Reagan, Orlando Martins, Howard Marion-Crawford?.
Directed by Vincent Sherman.

The Hasty Heart was adapted from a play by John Patrick (Teahouse of the August Moon). The film, as directed by Vincent Sherman, uses the structure of the play, the limited locations and group of characters. However, the film is not excessively stagey.

Set at the end of World War Two in the East, the film focuses on a recovery ward. Patricia Neal is effective as the Sister in Charge. There is a symbolic international group (Digger, Kiwi, Tommy, Yank - and an African who does not speak English except to say the name Blossom). They are asked to receive a cantankerous Scotsman who has only a few weeks to live. The film is a microcosm of the allies and their coping with a post-war situation.

Richard Todd received an Oscar nomination for his role as Lachlan Mc Lachlan. He is excellent - one of his best roles. Ronald Reagan is Yank - and has a good scene where he confronts the Scotsman.

The film focuses on questions of war, injury, death. It also focuses on a small community and the difficulties of interaction.

1. An entertaining film? Dramatic impact? Richard Todd and his Oscar nomination?

2. A popular stage play? Adapted for the screen? Warner Bros. production values? British- American co-production?

3. The glimpse of the war? The aftermath of the war? impact now?

4. The hospital camps, the effects of the war, injuries, the style of the hospital wards? A microcosm of the allies and their interaction? Australian, New Zealander, British, American, African? Friendship and healing? A small United Nations?

5. The situation: war and peace, health and recovery, tensions? The international characters? The getting up in the morning, the welcoming of Lachy, jokes, fights, photos, the questions about the kilt and what was worn underneath, the birthday? Hopes and dreams?

6. The title and Lachy's quoting it - hasty in anger, emotion and sorrow? Lachy as a cantankerous Scot, the experience of the war, his recovering from the operation, his resentment at being kept, his not knowing the truth? His being put in the ward? The background of his hard life, the loner, suspicious, the clashes and his verbal abuse? The exasperated reactions? The birthday and the gifts and his melting, the kilt, his speech? His being touched? Sister Barker's kiss? His proposal? Talking, sharing his life, discovering friendship? His being told the truth about his health? His reaction of bitterness, resentment against owing others anything, reaction against pity? His option to go back to Scotland? His being hurt and rejected? His anger? Throwing Blossom's necklace away? The reaction of the men, his breaking down and weeping, begging to return, reconciliation? The quality of his speeches, feeling? The reality of his illness, not wanting to face death alone?

7. Sister Barker and her efficiency, sympathy, control over the men, authority? Lachy's situation, arranging the birthday party, enjoying it, the photos, her kiss, her response to the proposal of marriage, her reaction to Lachy's disillusionment, her speeches to persuade him of the truth?

8. Yank and his style the spokesman for the group, his exasperation at Lachy, offers of friendship, devices for the birthday party, the photos, his bearing the brunt of Lachy's reaction, the device of taking the photos to help Lachy decide to stay? The other members of the group - their national backgrounds, banter amongst each other, hopes and dreams of returning home?

9. The authorities, the medical personnel, the question of telling the ill man about his illness? The final telling of the truth and its repercussions?

10. The personnel and the running of the camp - the humorous waking up sequence?

11. Themes of war, men in war, the variety of backgrounds, hard lives, dreams, frustrations, friendships and betrayal? Death and loneliness?

THE HAWAIIANS

US, 1969, 132 minutes, Colour.
Charlton Heston, Tina Chen, Geraldine Chaplin, John Philip Law, Alec Mc Cowan.
Directed by Tom Gries.

The Hawaiians is the second film chunk of James Michener's Hawaii. It is not as interesting nor as grand-scale as the first film Hawaii (directed by George Roy Hill with Max Von Sydow, Julie Andrews and Richard Harris). In fact this story of the development of Hawaii during the second half of the 19th century is quite domestic and, at times, quite flat.

The film is concerned with the third and fourth generation settlers in Hawaii, their fleets, crops, money wrangles and their family problems, like insanity from inbreeding among the native Hawaiians. But the most impressive feature of the
film is its insight into the Chinese settlers in Hawaii and their ways. They are certainly more interesting than the Americans and we are shown practically nothing of the native Hawaiians.

Photography, music, action are all rather old-fashioned. Only rarely does the film come alive as it does with the sequences of the leper outcasts on Molokai. Nevertheless, many audiences would enjoy its undemanding entertainment, and be interested in some of the issues involved. An interesting comparison is Paul Cox's film about Fr Damian the leper, Molokai.

1. Was this film anything more than an old-fashioned adventure story?

2. If you saw Hawaii, how did this film differ in theme, interest, scope and production values?

3. What was your immediate impression of Whip Hoxworth in the ship sequence? Did your opinion about him change? Was he any more cruel or greedy than the other men of his time?

4. What impression did the two Chinese characters make on you in the ship sequence? Did your opinion change?

5. What was wrong with Purity Hoxworth? Did she love her husband? Why was she so absorbed in Hawaiian culture? Did Hawaiian inbreeding explain her deterioration?

6. Did you find the Chinese sympathetic? Why? What aspects of the Chinese characters appealed to you?

7. How did the Chinese attitudes contrast with the attitude of the Hoxworths and the Hales and their wealth, greed and hatreds?

8. What did you think of Hoxworth's African expedition for the pineapples and his summary justice over the killing?

9. Did Noel grow up into the type of man you expected him to be? Why?

10. Did you understand the political significance of the second half of the film - the queen, Micah Hale and the American alliance? what comment, if any,, on race relations did it make?

11. Comment on the leper sequences. How horrible was leprosy in Hawaii in the 19th century? Do you know anything of Molokal?

12. What was the point of the plague and building-burning sequence towards the end?

13. Why did Hoxworth take a Japanese mistress? Should Noel have married the Chinese girl?

14. Who was the hero,, heroine of the film?

15. Did the film give you an understanding of the development of Hawaii last century? Did it concentrate too much on the Americans and Chinese?

THE HEARSE

US, 1980, 95 minutes, Colour.
Trish Van Devere, Joseph Cotton, Perry Lang, Christopher McDonald?.
Directed by George Bowers.

The Hearse is a rather low-key occult thriller. It is almost the occult designed for a middle-aged ladies' audience. It is in the atmosphere of The Exorcist, The Amityville Horror - and features Trish Van Devere and a haunted house. There is his usual support from Joseph Cotten. The film relies on atmosphere and the acting rather than shocks.

1. An entertaining example of the occult horror thriller?

2. The conventions of the genre? The distraught heroine? The mysterious house? Suggestions of the past? Strange happenings? suspicious neighbours? The real estate agent and his warnings? The handsome stranger? Devilish happenings and the mysterious hearse? The build-up to atmosphere of horror and suspenseful climax? How well done? For what audience?

3. Colour photography, Californian locations? The focus on the house and its neighbourhood, the details of the sets and decor of the house? Editing and special effects for suspense and horror? The quiet musical score and the romantic musical theme?

4. The plausibility of this kind of horror? Sufficient for the purposes of the film? Jane's background? Her breakdown and recuperation? The locals? The real estate agent and his warnings? The mysterious stranger and the merging of past and present? The menacing hearse?

5. Trish van Devere and her characterisation of Jane? The filling in of the San Francisco background? The taking over the house? Encounter with the locals e.g. the young men at the garage? The real estate agent? The Reverend Winston and his infatuation with her? The mysterious Tom Sullivan? The house changing her, her puzzle about the past? The hearse menacing her and frightening her? Falling in love with Sullivan? Her being caught up in the mystery? Devil-possession?

6. Joseph Cotten's presence as the real estate agent - his explanations and warnings? His criticisms? Crumbling? Trying to warn her away?

7. Sullivan and his mysterious appearance, her falling in love with him, his suave charm - and the background of sinister menace? The revelation of the truth?

8. The Reverend Winston and his warnings? Infatuation?

9. The young men in the town, their attitude towards Jane, getting into the house, frightening her etc.?

10. Audiences identifying with Jane and her experience? Getting caught up in the atmosphere of the haunted house and the evil past?

HEALTH

US, 1980, 102 minutes, Colour.
Glenda Jackson, Carol Burnett, James Garner, Lauren Bacall, Dick Cavett, Paul Dooley, Henry Gibson, Donald Moffat, Dinah Shore.
Directed by Robert Altman.

Health is Robert Altman portraying and poking at ridiculous Americana - conventions, politicking (including elaborate dirty tricks and plain madness), surface morality and, especially, health fadism (as eccentric, also big business). Loud, colourful, often funny, sometimes silly (and a touch of the cruel for U.S. audiences). Carol Burnett is skilful in a peculiar heroine role; Glenda Jackson has a thankless role as a dull theorising candidate; Lauren Bacall is all glamour as an 82-year-old would-be President. James Garner and, especially, Henry Gibson give good support. Not as clever or aimed at such large targets as other Altman satires - conclusions are left to the mood and humour of audiences. The film is somewhat in the M*A*S*H vein and relates directly to Nashville and A Wedding in its mosaic structure.

1. The work of Robert Altman over the '70s - his capacity for satire, poking fun, laughing at American politics,, American society and its eccentricities? Health as a piece of Americana? How well did it make its points - or did it rely rather on comedy and satire?

2. The style: the introduction to the characters and letting them speak for themselves? The convention situation and the inherent madness of American ballyhoo and politicking? The sights and sounds of the convention - their being interwoven as a kind of cinema mosaic? The creation of a mood? The score - and the continued commentary of the Steinnettes and their songs? Satiric lyrics? The use of the television coverage as a way of observing the convention and characters satirising them? The use of television coverage techniques - e.g. the giving of names for the candidates speaking etc.?

3. The quality of the cast - their various styles of serious acting, comedy? The guest stars and an atmosphere of authenticity?

4. The picture of American conventions: basic issues, ideologies, the importance of public relations, the big business implications, power struggles, pushing, gimmicks, the wooing of the voters? The ballyhoo style and its kitschy overtones? Particularly American? Universal?

5. The political parallels election conventions, national elections and campaigns? Expected styles speeches, mannerisms, gestures, television interviews, double talk? Dirty tricks and smear tactics? Madness? The element of fraud? The echoes of the '50s campaigns with the references to Adlai Stevenson? Speeches, speech-writers, P.R. controllers, bodyguards? The role of the President and advisers?

6. The pomp and circumstance at the convention centre - the rooms, press conferences, swimming pools? The exhibition of health products? Posters and advertising? The songs? The security service disguised as fruit? Sally Benbow and her P.R. work and welcoming guests? The comedy made of her being black - and her confrontation with Cody? Her TV interview and comment about the unhealthiness of the guests? The atmosphere of the awards with the election and announcement of the result of the election?

7. Gloria as the focus - the White House adviser with all the implications of American Presidents in the '70s, their advisers, honesty, cover-ups? Her job? Her dowdy clothes? Repression? Audience surprise at her having been married to Harry? Her curiosity? Her mission and her talking to Esther and Esther's catatonic state? To Isabella and her being formally received as if Isabella was President? Her decision to endorse her? Her going for the swim and discovering the corpse? Her gradual change of clothes - more sexual, meeting with Harry, wanting to relate to him again yet resisting him? Observing Bobby and his being disguised? The discussion about Isabella being a man? The confrontation with Isabella and the innuendo and Gloria's not being able to cope? Her being scared by Cody? Harry's taking advantage of her and her anger? How does she change through out the film? Her idealism, work? Personal crisis - on a light scale?

8. Harry and the suave American type, his relationship with- women and the jokes about this, his divorce from Gloria? His helping Esther? His steering her through the campaign? Reaction to Isabella? His being alert to Bobby and threatening him? His final tricking of Gloria? Dirty tricks and double dealing? Suave, using sexuality as a weapon and for promotion?

9. Lauren Bacall as Esther - her age, Lauren Bacall appearing as her own age, the reasons given for her appearance, the emphasis on virginity, her purity slogan? The humour of her signing autographs? Her entourage and their joking, getting drunk? Relying on Harry? The woman assistant with her emphasis on sexuality and frank discussions with Gloria? The TV interviews and her catatonic state? Her going into coma? Her attitude towards Gloria - signing autographs, discussing the President? The irony that her brother turned out to be Cody? The irony of her inadequacy for the job and yet her winning so easily? The satiric point?

10. The contrast with Glenda Jackson's Isabella - the references to Adlai Stevenson, her restrained and austere manner, her boring and continuous talk? Her reliance on Willow? Tape recording her speeches? Sitting formally at her desk? The interview with Gloria? The later encounter when Gloria was trying to find out whether she was a man? Her cigar-smoking and deals? Cody and his sounding her out - and being afraid because she was relentlessly sincere? The discussions with Bobby in disguise about breast-feeding? Her conceding defeat? The various ways of getting humour from this kind of dull character - the megaphone speeches from the tower, the incessant haranguing of those who would listen, the rumours about her sexuality? Her restrained waving gesture? The satiric point in this character?

11. Bobby the conman and his playing cards, dirty tricks, employed by Cody, the humour of Henry Gibson's impersonating a woman discussing breast-feeding, the talk with Gloria about the sex changes? His finishing up in the pool?

12. Gainey and the independent eccentric candidates, his shouting technique, protests, the gimmick of lying in the pool, putting the placard of himself around the hotel? His being seen once again in the pool - and abandoned there?

13. The campaign manager and the health institute manager - Hassles and his final comment about being gay? Losing the envelope for the announcement of the awards?

14. Sally and her work, the satire in her speeches about the unhealthy healthy?

15. The use of Dick Cavett for real-life interviews, the television techniques, trying to run live interviews with Esther going into a catatonic state? Dick's discussions around the hotel and the convention? His watching Johnny Carson's show at night? Meeting Dinah Shore at the end? The role of the media on such conventions?

16. Cody and his boorish arrogance with Sally. his encounters with Bobby. his terrifying of Gloria, interview with Isabella? The irony of the truth and his relationship with Esther - and the final tantrum with the toys?

17. The Steinnettes and the variety of their appearances, clothes, lyrics of their songs?

18. What conclusions can be drawn about American society 1980? Conventions, fads, politics? How good-humoured was the film?

HEAD OVER HEELS (CHILLY SCENES OF WINTER)

US, 1980, 97 minutes, Colour.
John Heard, Mary Beth Hurt, Peter Reigert, Kenneth McMillan?, Gloria Grahame.
Directed by Joan Micklin Silver.

Head Over Heels (Chilly Scenes of Winter) is an early film by Joan Micklin Silver, after Hester Street and Between the Lines. It is a focus on relationships, and seems authentic enough with strong performances by John Heard and Mary Beth Hurt. Gloria Graham appears as John Heard's mother. Joan Micklin Silver focuses on details of character and close analysis of relationships. This film, in the vein of the 1970s, raises more questions than it offers answers.

1. An enjoyable romantic comedy? Tradition of the '30s and '40s screwball comedy? Modest budget, non-stars? Insight into marriage, love? A piece of Americana?

2. The Utah settings? Salt Lake City: offices, suburbs, the seasons? The feel of the '70s? Musical score? Songs?

3. The playfulness of the title? The contrast with the original novel's title: Chill Winds of August? How did the film combine the tones of both titles?

4. The focus on Charlie? John Heard's presence and his carrying the film? our being introduced to him and his dialogue with the imaginary Laura in the car? His moodiness, eccentricity of outlook and manner? The impact of his confiding in the audience? iris living in the present - and reverting to the past? An American romantic hero - satirised? In himself: at home, relationship with his family, at work? The strengths of his relationships? His obsession with Laura? His following her, spying on her, looking at her home. building the model home etc.? The goal of winning her back?

5. The film's use of time: the progress in the present of Charlie's wanting to win Laura back? The parallel with his memories of their relationship and its break-up? The build-up to the final challenge to Laura? Her rejection? His coping? The happy ending?

6. Charlie as a genial man? His friendly relationship with his sister? Going to look at Laura's house with her? The humorous interlude of her pedantic friend? His friendship with Sam. sharing the apartment, knowing each other for so many years? The humour of their going together to Laura's husband and his thinking they were gay? His relationship with his mother - her phone calls and his not listening. having to rescue her from her would-be suicide attempts in the bath, going to visit her at home and her not preparing a meal, her behaviour in the hospital? The clash with Pete but his growing friendliness with him e.g. the car shampoo, dance lessons? Seeing him at work and his explanation of his job - listening to the cassettes, making reports? Patterson relying on him for advice about his son - the Janis Joplin record? Betty and her devotion? The continued interludes with the blind sweets-seller downstairs and Charlie's not telling him what he was buying? The change at the end?

7. The change in Charlie throughout the film: his growth in understanding, his understanding his pressure on Laura, his love for her? The audience understanding his oddball style, his languishing, haunting Laura, his obsession? His final acceptance of her rejection? A happy future?

8. How attractive a character was Laura? In herself, at work, her verbal fencing with Charlie? The outings? Shared talk, friendship? The sexual relationship? Charlie's putting pressure on her? Her confusion? Low opinion of herself? The reasons for her marriage, her leaving her husband? Her step-daughter? The continued friendship with Betty and Charlie finding out from Betty about Laura? Her life with her husband at how? Charlie's crashing into the tree? His confronting her at home? Her leaving again? His visit to the apartment? Her decision not to go with him? The credibility of her change of mind and heart? A credible heroine? Charm? Confusion? Humorous touch?

9. Sam as Charlie's friend - no job, lifestyle, meals, the buying of the wine, the outings, the visit to Jim about the house, the outing with Betty? Good friendship - even to visiting Charlie's mother?

10. Charlie's sister and their talk together, her understanding him, wanting him to stop watching Laura's house? Her boyfriend? Charlie's mother and her memories, her madness? Her behaviour at home, the bath scenes, in the hospital and the woman in the other bed? Pete and his friendship, devotion to his wife, wanting to look after her?

11. Betty and the satire on the devoted secretary? Her infatuation with Charlie? Typing, the planning of the party and the detail she went into? His rejecting her and her upset? The dinner and her outing with Sam? more than an object of satire?

12. Patterson and the satire on the business executive, his son and the record, his being told off by Charlie?

13. Laura's husband and his daughter? Seeing him at home, the crash, the house design and his wanting to sell the house to Charlie and Sam? His impression that they were gay? The clash with Charlie? Laura's leaving him again?

14. A glimpse at modern life and pressures: work, recreation, pressures, identity, relationships?

15. A satisfying blend of charm and insight?