THE HAWAIIANS

US, 1969, 132 minutes, Colour.
Charlton Heston, Tina Chen, Geraldine Chaplin, John Philip Law, Alec McCowan?.
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?

HAWAII

US, 1966, 186 minutes, Colour. Panavision.
Max von Sydow, Julie Andrews, Richard Harris, Carroll O'Connor, Elizabeth Cole, Gene Hackman.
Directed by George Roy Hill.

Hawaii was a very popular film in its time. Four years later a sequel, The Hawaians, was released. However there is a scope about Hawaii that makes it impressive, even though critics are not always impressed. Max Von Sydow is convincing as the puritanical missionary whose career we follow from Boston and his years of training, through his marriage, to his evangelising in Hawaii. The early years of the history of the island and its influence by America is traced throughout its missionary period. The atmosphere of Hawaii is beautifully communicated both visually and via the people. Julie Andrews in a non-singing role played the part of the missionary's wife. Richard Harris has an ambiguous role as a villain. Gene Hackman can be seen in one of his earliest roles. The film was directed by George Roy Hill who was later to be famous for his direction of Butch Cassidy and the Sundance Kid and The Sting.

1. How impressive was this film? How enjoyable? Why? Comment on the vastness of its style? Colour, locations, wide-screen etc. Was it an epic film? How much of it was geared to box-office? The quality of the photography? The length of the film? The impact of the stars? The intrinsic interest of the themes?

2. What was the main theme of the film, religion, race, human relationships, the history of a country? How valuable was the film in giving insight into the nineteenth century way of life, in America, in religious circles, in Boston, in family relationships? In Hawaii?

3. The importance of the introductory narrative, the myths of Hawaii, the humane religion, the matriarchal traditions the way of life. the impact of the Americans and the changes?

4. How important for the film was Hawaii as a place? The narrative at the start and the visualising? The fact that Keoki spoke? The impact of the Hawaiian people? Their legends and their gods? The history of change? The quality of their civilisation? Its impact on white men? The white men's despising of Hawaiians? Hawaiians being ruined by white men?

5. How did the film show Americans as colonial in their attitudes and behaviour? Hale as a racist and colonial? His despising of the people? The sense of superiority especially by religion? Which sequences best illustrated this?

6. What was audience reaction to the Calvinism of the religion of the missionaries? The theological school, the theology of damnation and predestination? The frightening grace before meals and human corruption? The puritanical attitude towards marriage? Reverend Hale preaching on the ship? The sailors' reactions to him? His belief in the intrinsic evil of man? And of the anger and justice of God? How is this Calvinism explored in the film? Especially in Hale's curse of the people and its seeming fulfilment?

7. How impressive was Max von Sydow's performance? How well did he embody the character of Abner Hale? The way that he was photographed, his stature, close-ups, dominating angles? His attitude towards his mission. how much pride? His relationship with God? His attitude toward Hawaii and Hawaiians? His arrogant domination? His love for Jerusha and his fear of it? His relationship to Queen Malama and his admiration for her? His domination of Keoki and his destroying of him? His relationship with his fellow men? His harshness about Whipple and the other ministers?

8. How did the character of Jerusha balance Reverend Hale? How convincing was Julie Andrews' performance? Her choice of marrying him? The contrast with Hoxworth? Her support of him? (the irony of the minister keeping the letters from Hoxworth so that she would marry Hale). Her suffering, her humanity. her relationship with Malama? With the others on the island? The temptation of finding Hoxworth on Hawaii? Her continuing to support Hale? How well was this illustrated e.g. at the Church burnt by the sailors? Her bearing children, her growing old, the importance of her final talk to Hale? The significance of her death (and the reticence with which it was filmed?) The revelation when Abner runs into the house thinking that she is still there?

9. The impact of Malama - the matriarchal system on Hawaii, the reverence for the queen, her good humour, her imperious nature, her wisdom as regards Jerusha and Abner, her relationship with her husband, puzzling over Christianity, accepting it and yet keeping her paganism? Her importance for audience response to the film?

10. The tragedy of Keoki? His earnestness in Boston, the significance of his return and his changing to Hawaiian ways, the relationship with his sister, Reverend Hale's not promoting him, asking him to spy, his reverting to pagan ways, his marriage, the suffering with the measles, the harshness of his death? How important was this for the themes of the film and the revelation of character?

11. How important was the character of Hoxworth for the film? As a contrast with Hale? For the emotional response of Jerusha? As a whaler? His arrogance towards the Hawaiians, the spread of disease via Hoxworth and the sailors, his building up of business over the years?

12. The significance of people like Reverend Whipple? Their enthusiasm at the start their being overcome by Hawaii.. the harsh treatment by the congregation and the elders? Whipple's good work as a doctor? His going into business and his resentment against the Church? How convincing was this? As a comment on the colonial sing of Hawaii?

13. The significance of the girl convert? Her relationship to Jerusha? Her being able to be tempted by Hoxworth? Again a comment on the missionary endeavour?

14. Did the film overstress the religious theme? How accurate was its exploration of religion? Of the role of the Christian God and of the Hawaiian God? Its exploration of the influence of religion on customs etc."

15. What insight into the racist theme did the film give?

16. How well did the film explore the themes of cultures? The clash of cultures?

17. What major moral issues did the film explore? In terms of relationship, marriage,, Hawaiian marriages, American marriages, love, lust and the sailors etc.? People acting according to their likes and customs and the right of Christian missionaries to deny them? Queen Malama and relating to her brother? The definition of incest, for instance?

18. What did the film say true civilization was?

19. The film's comments on law? The influence of law, Queen Malama's attitude, the significance of her Christian proclamations?

20. The significance of the sequences on disease and the ruining of Hawaii as an island paradise and the health of the natives? (its relationship to Hale's curse?)

21. Comment on the technical effects of the film? The reconstruction of Hawaiian life, Hawaiian customs, religion, storms, ship-life etc.

THE HAUNTING

US, 1963, 112 minutes, Black and White.
Julie Harris, Claire Bloom, Richard Johnson, Russ Tamblyn, Rosalie Crutchley.
Directed by Robert Wise.

The Haunting is an above average thriller about the occult. Set in the United States, it tells a story we usually associate with an English atmosphere. Two women, supposedly endowed with heightened extrasensory perception, join a scientist for an experiment to detect ghosts in an old mansion. one woman (Claire Bloom) is more common-sensed, the other (Julie Harris) is a repressed spinster, who has run away from her sister's family to do something with her life and to surrender it to someone or something, one of the principal characters in this film is the house itself and its eerie presence pervades the screen, its darkness, Gothic architecture, spiral staircases, its knockings and suggestions of ghosts.

As with the more successful occult films, The Haunting relies on the evocation of atmosphere rather than artificial and corny horrors or rational explanations. Quite a good film for discussion of the occult. It was remade in the late 90s by Jan de Bont with Liam Neeson.

1. The Haunting raises questions of earthly contact with those who have died. Do you think the story of this film could be true?

2. Did you enjoy the film? Why?

3. What was responsible for all the noises the principal characters heard and feared?

4. Who was responsible for Eleanor's death? The house? The others? Herself?

5. Is E.S.P., or something like it, sufficient explanation for these phenomena?

6. What is the role of the house itself in the film? Is it just a place where mysterious things happen? or has it a 'personality' of its own?

7. What does Eleanor's background have to do with what happens to her - the fact that she is a repressed spinster running away from home to assert herself?

8. Are recurring patterns of deaths and accidents sufficient reason for fear, or belief in the intervention of the dead?

9. Does this film's story, and the way it was made as a ghost story, presuppose that most people are actually superstitious and are uneasy about the occult?

10. Are people more superstitious about religion or about the stars, omens, coincidences?

A HATFUL OF RAIN

US, 1957, 108 minutes, Black and White.
Eva Marie Saint, Don Murray, Anthony Franciosa, Lloyd Nolan, Henry Silva.
Directed by Fred Zinnemann.

A Hatful of Rain is a very well-written, acted and directed film. Based on a stage play, it introduced the star of the play, Anthony Franciosa, to the screen. For a while Franciosa had a very good film career, he then moved into television and seemed to be a lesser presence in film and television. The film treated problems of drug addiction. For the '50s it was quite frank; it perhaps appears reticent now, given the history of the '60s and the '70s. However, it makes an interesting comparison in the problems of drug-peddling and addiction and society's attitudes. Don Murray, also emerging into films at this stage, gives a vivid performance as the addict who wants to conceal his situation.

The film was directed by veteran Fred Zinnemann, at the time that he made films like Oklahoma, The Nun's Story and The Sundowners. He received Oscars for his work on High Noon (1952) and A Man For All Seasons (1966). Dated, though very powerful drama.

1. The meaning of the title, relationship to themes?

2. The use of black and white photography and Cinemascope, the presentation of New York, the particular locations of the city, the musical commentary? The portrayal by the stars?

3. Was it evident that the film was based on a play, the impact, the kind of performances, the confined scenes, the quality of the dialogue? The transition from play to film?

4. The film as representing the '50s, especially in its treatment of the drug question, the importance of the drug question in that decade, the people affected? The impact of the drama in its time, the questions raised about drugs, the effect on people, relationships, money, humiliation? Sympathy for people involved in the problem? The contrast with the '70s?

5. How plausible was the plot. The nature of Johnny's addiction, money, Polo and his support? How credible were the situations and the characters? Were they presented as real? Audience sympathy for the characters and the difficulty of the situation?

6. The impact of drugs, the effect on family life, the importance of money and the consequences for family life? The anger in each of the characters? The protest about such situations?

7. The vivid portrayal of the drug problem; the adult manner in which it was done, moralising? The effect of the drugs, the nature and the effect of addiction, the suffering involved? Johnny and his physical and psychological suffering? His behaviour in relationships, the necessity of secrecy, being victimised by the drug-peddlers?

8. The anguish in the drug addict, the solitary experience and his loneliness, the sense of degradation, the begging and cajoling, the dependence on people and their hold on the addict?

9. The film's theme of appearances and reality: Johnny's respectable appearance and yet the addiction and its evil? Polo as evidently a drunkard and yet his generosity within? Father and Celia as the judges? The effect on audience sympathies for appearances and reality and judging people?

10. The relationship between Johnny and Celia, the quality of their marriage and their life, Johnny's ambitions and work, money difficulties, alienation and anger, the coming child and the miscarriage? Johnny and his relationship to Polo? Polo as seeming weak, the comparison between the two brothers? Johnny and his relationship with his father, his father's pride, wanting to borrow money, audience sympathies for each of these characters?

11. The portrayal of Polo and his weakness, the fact that he was a drunkard, his lack of self-respect, his fascination for Celia, his attitude towards his father and his father's disliking him, the fact that he was a manoeuvrer. his contact with the pushers? The irony of the strength of his protection of Johnny. The love and hatred between him and Johnny?

12. How real was the portrayal of Polo's anguish? A credible suffering, the type of sympathy he evoked?

13. Celia and her ordinariness, her role as wife, helping Johnny, trying to cope with the difficulties while not understanding them, the relationship with Polo, her respect for her father-in-law, anguish and the miscarriage? The need for openness between husband and wife?

14. The importance of the characterisation of the father: the spelling out of his background, the ordinary citizen, his hopes in his two sons, his pride in Johnny, his contempt for Polo? The importance of the money crisis. his praising his sons and his attitude towards them? The scenes illustrating this and the effect of the audience knowing the truth? The fact that he could not understand his sons, his confrontation with the truth and his coping?

15. The importance of the relationships and the themes of relationship: the ambiguity of the sexual relationships, male-female, male-male? Relationships in family., parent-son relationships, rivalry, love and hatred? In the context of the drug and drink problems?

16. The film's exploration of the nature of failure, reasons for it, effect on people, consequences?

17. The film's presentation and exploration of suffering and pain, the individuals, society? The people who inflict pain e.g. the drug-peddler deliberately, relations without realising it?

18. The value of the film as an exploration of important themes? Its value in its time, now?

HATARI

US, 1962, 158 minutes, Colour.
John Wayne, Elsa Martinelli, Red Buttons, Hardy Kruger.
Directed by Howard Hawks.

Hatari is definitely not a discussion film! It is a light-hearted African adventure.

What makes it of interest is that it is a Howard Hawks adventure film. Hawks established himself in the '20s and '30s as one of the best of the Hollywood action directors - Only Angels Have Wings, Red River. He worked with John Wayne five times, including Red River and variations on the western theme in Rio Bravo, EI Dorado, Rio Lobo. Hawks was considered an excellent actors' director but also was noted for his direction of heroines. The Hawksian heroine is considered the equal of the Hawksian hero - strong, adventurous with humour.

This is a very long film, over 2 1/2 hours. It shows an international group of hunters working in Tanganyika - John Wayne as an American, Hardy Kruger as a German, Red Buttons as a comic American, Gerard Blain as a Frenchman. They are hunting animals to ship them away for zoos. There are two heroines - Elsa Martinelli as an Italian photographer and Michelle Girardon as the farm owner. There are romantic ups and downs, some fistfights, and a lot of knockabout comedy. There are also some excellent African location sequences with the animals.

The screenplay was written by Leigh Brackett, veteran writer (including Rio Bravo, EI Dorado - and she was working on The Empire Strikes Back when she died). An agreeable score by Henry Mancini including the celebrated 'Baby Elephant Walk' which forms part of the climax of the film.

The film highlights Hawks' image of the rugged American hero, the strong heroine, male and female relationships. But it is done with zest and good humour.

HEARTLAND

US, 1979, 96 minutes, Colour.
Rip Torn, Conchata Ferrell, Barry Primus, Lilia Skala, Megan Folsom, Amy Wright,
Directed by Richard Pearce.

Heartland is small budget, localised Americana, paying tribute to pioneer ranchers in Wyoming, but with universal appeal in its basic themes of dignity, work, courage, devotion, love, birth and death, so tellingly presented. The photography and screen compositions are reminiscent (in style and quality) of Days of Heaven. The ranch way of life is presented with a rugged and beautiful simplicity of The Tree of Wooden Clogs. Performances are excellent. Conchata Ferrel gives one of the most persuasive screen portrayals of a good woman and Rip Torn is at his restrained best as the Scots pioneer. Lilia Skala offers sturdy warmth as the widow rancher and Megan Folson is a convincing little girl. Humane, sensitive, strong. The screenplay is based on the letters and books of the central character, Elinore Randall Stewart.

1. The impact of this film for American audiences, those living in the region portrayed? The impact for overseas audiences? A story fixed in a particular location but with universal appeal?

2. The qualities of regional film-making, the background of grants from Montana and local interest and talent. The Hollywood stars, and their contribution? A successful blend of Hollywood film-making with local endeavours?

3. The focus of the title and its suggestion? This country at the core of American development and growth in the 20th. century? The portrayal of the American heritage? The ranching territory in the period after the Indians and the opening up of the west in the 19th century? The turn of the century and modernisation? The portrayal of Wyoming, its remoteness, vastness and difficulties? The lifestyle of ranching? The small towns and their way of life, the ranchers, the pioneer society? Constant and hard work? Pride in achievement? Human feeling and sensitivity, nobility, courage and endurance? The film based on the memoirs of the central character?

4. The quality of the colour photography - the capturing of Wyoming landscapes, beauty and harshness? The seasons? The interiors of the rancher's home? The audience invited to enter into this world, experience it, feel that they have been there?

5. The beauty and simplicity of the way of life of the ranchers? Scenes of cooking, housekeeping, farming, the treatment of the cattle, slaughtering of the pigs, birth and death, joy and hardship?

6. The focus on Elinore? The advertisement during the credits? The journey to Wyoming and the audience entering into this world with her and Jerrine? Sharing her discovery, the hard work, the difficulty of communication, liking Stewart, her loving him and committing herself to him and the land? A strong woman physically and spiritually? Her widow's status, her love and care for her daughter? Her capacity for hard work? Difficulties in communication but her learning to appreciate Stewart? The tender scenes with Jerrine - e.g. the singing, The Lord's Prayer, the ride on horseback to examine the land, the meals? The strong tenderness in Elinore? Her short-temperedness at times, severity - especially with Jerrine when she was edgy? Her hopes for independence? The encounter with Grandma and the sturdy support? The sequence with the ranchers out treating the cattle? Clashes with Clyde? Friendship with Jack? The scouting out of the land. the encounter with Clara Jane and helping her bury her husband, helping her with her pregnancy? The later visit and the joy in seeing the baby (even after the death of her own)? The build-up to filing for the land, Clyde's proposal? Her consent and the wedding sequence - even in her apron? The build-up to the winter, the cattleman and Clyde's not selling, her pregnancy, her inability to do all the work and defending Jerrine? The anxiety about Grandma coming for the delivery? Her delivering the baby herself - joy,' the tender sequences with the child, the fever, the pathos of the death and burial? Her moodiness after the child's death - at the clothes line and her collapse? Grandma's arrival and her expressing her grief? The importance of the birth of the cow and its difficulty, Elinore helping Clyde? The final frame - indication of new birth and hope? How successful the portrait of an American woman?

7. Jerrine - the new generation, a nice little girl (would she have her mother's strength?), her coping with the move, love for her mother, her being moody, the bond with Clyde and learning to deal with the horses, friendship with Jack and the games? The prayer sequence with her mother? Her experience of the birth of her brother, the death and her mother's moodiness? The significance of seeing her wandering from the house at the end of the film?

8. Clyde and his Scots pioneering background, severity and stinginess, coping, working with Jack, taciturn, ordering Elinore about? His skills in his work - with the cattle, with the men, the slaughter of the pig? His proposal to Elinore and the joy of the wedding sequence? His refusal to sell the cattle - and the consequences of the cattle dying, not enough feed, Jack's departure? The harshness of the winter? The journey to find Grandma and his failure? His reaction to the birth of the child, his joy? His harshness towards Jerrine b-t being a father to her? The pathos of the death of the child and his burying it? The temptation to give up, Elinore's support? Working with her at the birth of the cow? The portrait of an American pioneer?

9. Jack and the sketch of the ranch worker, working for Clyde and for Grandma, friendship with Jerrine, his wandering to Mexico? His return? His place in the household at meals, at the wedding? Friendship and loyalty?

10. The sketch of Grandma Landauer - her story. the death of her husband, her capacity for hard work? Her physical appearance and strength., despite age? Her friendship with Elinore and supporting her? Her being out on the ranch with the cattlemen? Her absence at the time of the birth ? Her final coming and supporting Elinore in her grief? A strong feminine presence in the pioneering society?

11. Clara Jane and her squalor, her husband's death, her washing? The later visit and her showing her child to Elinore?

12. The detailed portrayal of work, day to day life, marriage, birth and death? The importance of work and the dedication and skills of farmers and ranchers?

13. The importance of the visualising of the seasons - the harsh snow landscapes of winter? The length of the film given to the winter sequences - the cold, the fires, the rivers iced over, the dying cattle etc.? The audience with the characters hoping for spring and the chance for a new start?

14. The humanity of the film and its sensitivity - relationships, human dignity, the challenge of the ranching way of life?

THE HEART OF THE MATTER

UK, 1954, 100 minutes, Black and White.
Trevor Howard, Elizabeth Allan, Maria Schell, Denholm Elliot, Peter Finch.
Directed by George More O'Ferrall.

The Heart of the Matter is one of the best-known of Graham Greene's novels. It was published in 1948 when he was at the height of his success. It treats of Catholic moral problems, as is usual for most of Greene's serious works. This
novel highlights the problem of human love and the Catholic doctrine of sin. The main character is placed in an extreme moral dilemma and finds no way out of it except death. (This aspect is somewhat muted in the film version). Since Catholic renewal and fresh studies in theology at the Second Vatican Council (1962-5), much of the language that Greene uses and some of his moral and theological concepts have been shown to be quite partial. In this way Greene's novels reflect a way of Catholic thinking that has almost passed.

Trevor Howard is always a reliable actor and is at home in this kind of serious role. Helen is played by a young Maria Schell. Director George More 0'Ferrall did most of his rather serious work in the 50's in England.

1. The significance of the title? Its tone? What was "the matter"?

2. How enjoyable a film was this? How did it involve its audiences? How humane a film; emphasis on human beings? How absorbing were the central problems of relationship and religion? Was the religion theme well portrayed and did it engage audience-interest? (did the film seem too Catholic for universal enjoyment?)

3. How well was the African atmosphere conveyed? The jungles, the port, the people, the isolation etc.? How was this a universal setting for people in misery? How important was the war-setting for the film?

4. What was the significance of setting such problems !h Africa? In an outpost away from home? The effect that an outpost and isolation had on people, fifteen years for Scobie, the oppression on Louise?

5. How important was the war-theme for the major themes of the film? Also for providing such details as smuggling, Pemberton's suicide, the wreck for Helen?

6. How well did the film probe questions of conscience? The quality of Scobie's conscience? The nature of Scobie's God, Louise's God, Helen's God? The nature of human mercy and divine mercy? The nature of human forgiveness and divine forgiveness?

7. What insight into human love did the film give? The brittle charade of Scobie's marriage? The intensity of the quarrelling scenes? Scobie's sarcasm and his bending towards Louise? External pretence? Scobie's gradual falling in love with Helen? What kind of love was this? How sincere? The contrast between the love of Louise and the love of Helen? For Scobie, for themselves? The relationship of sinfulness to loving?

8. What insight into death did the film give? The initial deaths by bashing on the part of the natives, Pemberton's suicide and the discussion about the good and evil of suicide, especially Scobie's comments and his religious beliefs. Suicide as cowardice? Death as a way out of hurting those one loves? Scobie's decision to kill himself, his happiness in being killed?

9. How good was Trevor Howard's performance as Scobie? Could the audience understand how he ticked as a man? How admirable a man, how weak a man? Always doing the right thing, not being promoted, seeking ways of peace? The quality of his work in Africa? The initial sequence of the diamond smuggling and his integrity, shattered later in the film? His relationship with Father Rank and his wanting sincerity? As a troubled and unpeaceful man wanting peace for others?

10. What kind of woman was Louise? What had made her so self-centred? Her relationship to Wilson? Her relationship to Scobie? Her knowledge of the affair? The future as she had planned for Scobie and herself?

11. Was Helen an adequate contrast with Louise? A little girl rescued from the sea? The story of her education and marriage? Her stamp collection? Her fears, the importance of her listening to Scobie's story to the boy? Her dependence on Scobie and her love for him? The hold she had on him? Her fits of temper? Her not understanding his religious scruples? What effect did the death have on her?

12. What was the point of Wilson's introduction into the film? Spying on Scobie for his work? Young and intense criticism of Scobie? His admiration for Louise and her intelligence? Vindictiveness towards Scobie? Making the audience more tolerant of Scobie because less tolerant of Wilson?

13. The role of Father Rank in the film? As a person with his explanation of his mission vocation and frustrations? His kindness towards Louise? The significance of the confession and his refusal of absolution? Religion embodied in Father Rank?

14. The contrast with Yusef - and his blackmail, his trickery, a typical smuggler, his hold on the Captain, lending of money, the impossibility of his being Scobie's friend, his vindictiveness against Scobie and blackmailing him? How evil a man? How plausible? As a contrast with Scobie?

15. How important was the picture of African society: the officials, their investigation of Scobie, the ship's Captain, the colony wives and their chatter etc.? Is this a microcosm of the real world in which people work out their problems?

16. How important was the search for truth in this film? Scobie's search for truth and love? Was the film too bleak and pessimistic? How much hope did it offer? Could one have hope in God during one's severe problems?

17. What were the high points of the film as regards drama? Acting? In communicating the themes and meaning of the film?

18. Was the ending contrived? Scobie kills himself in the novel. He is killed in the film. Though he has made his decision to kill himself. Is the same point being made?

19. How impressive and successful a film and human document is this?

HEAVEN KNOWS, MR ALLISON

US, 1957, 106 minutes, Colour.
Deborah Kerr, Robert Mitchum.
Directed by John Huston.

Heaven Knows, Mr Allison was a very popular film in its time and for repeating on television. It had the very good ingredients of sex and religion - although presented very discreetly and with good taste. A nun, Deborah Kerr, is stranded during the war on an island with soldier Mr. Allison, Robert Mitchum. They help one another in the war effort and, of course, have to confront their feelings for one another. John Huston, who at this time directed such films as Moby Dick handles what is potentially sentimental and hackneyed material very well indeed.

The main stars also worked together very well - and were later to be reunited in The Sundowners and The Grass is Greener. The subject matter has been the topic for quite a number of films and telemovies but perhaps has not been so well treated as here.

1. Comment on the light irony of the title and its two meanings.

2. Was this an enjoyable film? It has been very popular over the years. Why?

3. Was the situation too contrived? Or if the situation was contrived, did the film nevertheless succeed despite the contrivance?

4. Was the film a satisfying presentation of human beings in a difficult situation? Was it a successful presentation of religious and human values?

5. What attitude towards war did the film take? Was it in favour of war at all? How did it show Americans as heroic - did this fit into the context of the film? Did the film have any anti-war overtones?

6. Comment on the film as an illustration of the religious versus the irreligious, the strong versus the weak. Was it a confrontation of good and bad and the mutual effect on each?

7. Sister Angela: was Deborah Kerr convincing as a person, as a nun? Did you understand why she was on the island? What kind of mission work was she involved in? Did you understand the situation as regards her vows - that she had not made perpetual vows, therefore, still had the opportunity of leaving the convent? How religious a nun was she? How dedicated? Had she understood her feelings and the depths of her feelings? How did the experience and the encounter with Mr. Allison change her? Would she have been a better nun for her encounter?

8. Mr. Allison: was he a typical marine? His behaviour, his drinking, his reaction to the nun, the possibility of assaulting her? His response to her fright, his caring for her? How did Sister Angela change him? Did he understand the dedication of her life? why then did he support her?

9. Did the film show the effects of isolation and remote places on individuals?

10. How interesting and exciting were the various adventure aspects of the film -the survival of the two, illness, the occupation by the Japanese, the stealing of food, the killing of Japanese, the hiding in the caves etc.? How did these affect the two?

11. Were you glad when the navy came and relief was at hand? Why? What did you expect each of them to do?

12. Were the final war sequences too heroic? Or did they fit into the themes and tone of the film?

13. What was the final impact of the film as a human drama?

14. What was the final impact of the film as an exploration of religious values in such a situation? was this effective drama? In any way sensational? Was it valuable to understand people and relationships?

HEAVEN CAN WAIT

US, 1978, 101 minutes, Colour.
Warren Beatty, Julie Christie, James Mason, Dyan Cannon, Jack Warden, Charles Grodin.
Directed by Warren Beatty and Buck Henry.

Heaven Can Wait is an updated adaptation of Here Comes Mr Jordan, a fantasy bout death, a theme popular in the '30s and '40s and now used for pleasant comedy romance. Warren Beatty stars and produces, co-writes with Elaine May and co-directs with Buck Henry (playing also the nervous escort). Beatty keeps generally light touch to make the events engaging. Playing a nice footballer, he is reincarnated as a wealthy industrialist, giving rise to comedy critical of pomp, wealth and environmental exploitation. Charles Grodin and Dyan Cannon are excellent as a murderous couple and James Mason and Julie Christie very pleasing as Mr. Jordan, the celestial arranger, and the heroine. Genial entertainment.

1. The significance of the title, its tone, indication of fantasy? Implications about death, judgment, heaven? Life on earth and the chances human beings need to fulfil their lives?

2. The film was based on a popular play and film of the '40s. The film reflected the fantasy attitude towards God and life and death of the '40s. Did it translate well into the late '70s? Popularity of the material in both phases, especially of American society? The intrinsic appeal of the material, its treatment?

3. The contribution of Warren Beatty - production, screenplay, direction, acting? How much tone did he give to the film? The impact of his performance and its centrality? The ensemble of stars with whom he worked and the way they worked together for the fantasy and comedy?

4. The plausibility of the plot and audience response to fantasy? Fantasy as letting go and imagining 'what if'? The relationship of fantasy to reality? Fantasy as helpful for imagining and getting insight into reality? Fantasy an insight into the meaning of life, goals, demands. changes, transitory nature of life?

5. How well could the audience identify with Joe? The initial introduction, the strong American hero, the sportsman, his training and jogging? His ability at football and his being a hero in the eyes of Americans? How particularly American was the film? The victor of foot-ball, techniques and tactics, the team, competition, hopes? The various types in the team? The introduction to Max and his role as coach? The importance of this for the later plot? The discussion with Max and the sharing of various pieces of background information, Joe's temperament? The build-up to the accident? The sense of ominous disaster for the audience and the sound of the crash in the tunnel?

6. The popular presentation of heaven - clouds and planes? The introduction to the messengers, Mr. Jordan and James Mason's suave M.C. style? A welcoming committee? The naive messenger and saying that he did not make mistakes? His being discovered in a mistake? Explanations of life, the transition period before heaven, Joe's response and his wanting to get back? The humour intrinsic to the theory of using bodies, going back to earth? The humour of the various possibilities offered to Joe and his reaction against these? What did they really reveal about Joe and his hopes - especially the fulfilment of football, being a hero?

7. Why did he accept the body of Leo Farnsworth? His amazement at its working? The enjoyable premise of the fact that we could see Joe as he was but others could only see him as Leo Farnsworth? How well did this work dramatically, comically? The farcical background of the murder of Leo Farnsworth? Julia and her scheming with Abbott? Her more hysterical personality and his cold unimaginative calm? The changing situation when they discovered he was alive? Betty and her visit from England, her leading with him for social reform, Julia's scream and having to cope? The build-up to a comic situation? Joe's enjoyment in trying out his Leo Farnsworth identity?

8. The introduction of the social theme with Betty - from England, the pollution issues that she was bringing to America, the critique of American big business and their exploitation of other countries? Her attraction towards Joe/ Leo, her love for him, his commitment to her cause, her change of attitude and its repercussions? How attractive a person was Betty? As a teacher, English, her cause? Joe's revelation of himself to her and the attractive couple? The change wrought in Leo Farnsworth by Joe at Betty's influence? The humour of such changes especially in terms of big business and changing plans, abolishing schemes, opening meetings to the press etc?

9. The comic background and its black touch with Julia and her false attitudes towards Leo? Continuing her plots, the wealth, artificial way of life, her plans with Abbott? The formal meals? Joe catching Julia and Abbott out? The bedroom sequence and Abbott's hiding. Julia's pretence? Their continued attempts to kill him e.g. the collapsing bed? The question of divorce, business, Julia and wealth? The final decision to shoot Leo Farnsworth? The cold-bloodedness yet the farcical aspects? Their interrogation, breaking down, mutual blame? Did they get what they deserved? A sub-plot and a satiric portrait of greedy rich go-getters?

10. The film's themes of big business, exploitation, the importance of the sequence when Joel Leo opens the meeting to the press and the way he handled it? Answering questions?

11. The humorous background of Leo Farnsworth's rituals e.g. the cannons going off, the dressing as a sailor, the hats and Joe's being persuaded not to wear them any more? The butlers and their role in the house? The importance of the messenger and Mr. Jordan reappearing, talking in the cupboard and the reaction of the butlers? The build-up to the eccentricity of buying the football team?

12. Joe's decision to train, his revealing himself to Max and Max being persuaded? The scene of the training and getting the executives to train with him and the satire on the unhealthy businessmen? The bond between Joe and Max? The hopes for being in the team, the response of the team, the testing out of Joe, Leo and the big bruisers trying to down him? The reaction of the football officials? The takeover?

13. The building up of happiness for Joe, Leo and his possibilities? As a football player, the achievement, Betty, and hopes for a happy life? His forgetting that he asked for a transitory body? The various reappearances of Mr. Jordan and the messenger and their conversations? Their final appearing at the wrong moment? Joe not wanting to go? The importance that he had to go? The irony of the build-up to Julia and Abbott and their murder attempt, shooting him and his falling in the well? Max and his realisation of what had happened? The comedy delay with the police, the personality of the interrogation and the interrogator, the comedy aspects? Maxis anxiety about the match and his realisation that Joe was not there?

14. Audience response to the final change, that Joe would be lost forever and die? The player and his injury, Joe being transformed into the player? The importance of his last words? The effect of his transformation - Max and his not recognising him, his meeting Betty and discovering her for the first time - especially in the message that he had given her about his disappearance? The possibility for a future for this ball-player - transformed by Joe?

15. How well-drawn were the characters and their depth for such fantasy comedy?

16. The audience regret that Joe was dead and that he was lost? This tempering the humour and the social message of the film? A blending of feelings, insight?

17. How robust a comedy, the charm of the comedy, its enjoyable qualities, humanity, and contemporary social critique?

HEATHERS

US, 1988, 103 minutes, Colour.
Christian Slater, Winona Ryder, Shannen Doherty.
Directed by Michael Lehman.

Heathers is a very off-beat, black comedy about American youth in the '80s. It focuses on young people at school, the pressures, the leaders (three girls, all called Heather) and the pressure on the heroine, Veronica, to want to belong to their group. Winona Ryder (BeetleJuice, Square Dance) is convincing as Veronica in her wanting to be part of the group, in her attraction to the mysterious hero, in her reaction against him. Christian Slater -is effectively smooth and then maniacal as the outsider who brings havoc to Veronica's life and murder to the school. (Slater is said to have modelled his performance on that of Jack Nicholson in The Witches of Eastwick.)

The film was written by a 26-year-old writer, and directed by director Michael Lehmann (Hudson Hawk). It is a black social comment on American youth - and a cult movie.

1. The title, the school? The girls themselves? What they stood for? The tone?

2. The choice of Ohio for the settings? The town, the homes? The school? The parks and forests around the town? The balance of real and fantasy? Dream sequences? The musical score? The tradition of black American comedy? Exaggeration, satire? The focus on youth and school, glamorous bitches, the outsider? Suicide and - its horror, being glamorised?

4. The introduction to the Heathers: the, croquet and Veronica's head, their talk and their background, ace and status, position in the school, going through the cafeteria and their reactions to the students, the students' reaction to there? Their humiliating people, the fat girl and the note? Using Veronica? Their question about the Inheritance? Their looking, down at the boys making the burgers for charity?

5. Their appearances, American glamour, style? Their characters ? Their relationships, criticism amongst themselves? With boys? The party, sex? The Heather who read, 'Moby Dick'? Taking the place of the dead Heather?

6. Veronica herself, her parents and home? Her relationship with the Heathers, her skill in forging, writing the note, asking the question about the inheritance, croquet, with them - in the cafeteria? Her being caught up in their world, wanting position, their hold over her? Her motives? Noticing the strange boy - in the corner, attracted, the questions, the bond between the two? Feeling she was understood by him?

7. Veronica going out with Heather, the preparations, the party, sex, her being sick, Heather's spurning of her?

8. The stranger and his style, the background of his story, moving around? His accent, manner of speaking, glib, seeming attractive? style, quotes? His wealth? Meeting his father - and each doing the other's dialogue about their relationship, his study, money? His father and the building? Lawless? his attraction towards Veronica, the first encounter in the cafeteria, combining forces with her, infatuation, love, sexuality? Sharing her attitude towards Heather? Sick? His plan, trying to make Heather sick, killing her? Forcing Veronica to forge the suicide note, glamorising her inner life and thoughts?

9. The forgery and its style, the reaction of the school, the discussion whether to have time off or not, the teacher wanting the girls to share? The funeral and the homily of the Reverend? The practical teachers, the idealistic teachers? Glamorising the dead Heather and her inner life? Glamorising teenage aspirations and searching? The fat girl and the note and being hit by the car? The English class discussing the note as literature and wanting to know whether they would he examined on it? Heather's later appearance in Veronica's dream, saying the afterlife was boring?

10. The jocks, typical young men? Their style and swagger? The place in the school? with the girls? With Veronica, with the second Heather and going to look at the cow, their pushing the cow over? Veronica's disgust? The stranger's idea, inviting Veronica to share it, getting the guns, getting the two jocks in the forest, shooting one, chasing the other, getting them in their underwear, the note about homosexuality, the mineral water - and the police seeing that and therefore identifying them as homosexual? The police and their reaction, the student and Veronica cuddling in the car? The funeral, the sermon of the Reverend? The father and his speech, thinking his son was gay?

11. Heather and Moby Dick, the plans for her death, the underlining of the book, her death, the funeral, the first Heather's ghost, the homily of the Reverend?

12, The teachers, the administrators and their interpretation of the suicides? Youth? Aspirations?

13. Veronica taking stock, her wondering what the stranger was doing, visiting his house? Wanting to go ahead with the deaths? Veronica's reaction, thinking it too much? Her decision to pretend to hang herself? His being deceived? Her mother's arrival?

14. His plans for the school, for the explosions and mass suicide? Veronica hurrying into the school, the fight with him in the boiler room? The timing of the explosion? The school activities, the gymnasium, the singing of the school song?

15. The confrontation, the fight, going outside, the timer, the explosion and his death?

16. Realism and surrealism? Presuppositions about black humour and irony? Audiences adjusting? The wittiness of the lines and their echoing of the attitudes and thoughts of youth? The characters, the taking off of the youth films? The issue of suicide? A piece of Americana? Cult film?