HEAT

US, 1987, 101 minutes, Colour.
Burt Reynolds, Karen Young, Peter MacNicol?, Howard Hesseman, Diana Scarwid.
Directed by R.M.Richards.

Heat is a rather glum Burt Reynolds action film. It was written by William Goldman (Butch Cassidy, All the President's Men) from his own novel. It is a character study of a middle-aged dropout with a gambling addiction in Las Vegas. The film is also episodic, introduces a number of offbeat characters with whom the hero has to deal.

The Las Vegas settings look authentic, both night and day. The supporting cast is very good. However, Burt Reynolds is downbeat,. as is the whole film.

1. Burt Reynolds thriller, Las Vegas, the world of gambling and violence?

2. Las Vegas settings, day and night, the casinos? Action, stunts? Musical score?

3. Burt Reynolds as Mex Escalante: in the bar, coming on to the girl, the set-up and the big fight with Osgood? The irony of his friendship with Osgood and being paid for the fixed fight? Meeting Holly, knowing her when she was young, her being bashed and raped? Working for her, seeking out Daniel and the others? The confrontation with her? The interview with Cyrus, being held up as an ideal? Cassie and the casino, the money given him by Holly? The blackjack winning streak? Going for broke? Losing? Cyrus and his friendship and help? Accused of murder, questioning Daniel? The thugs attacking, the shooting of Cyrus? The long chase, the confrontation and killing? Visiting Cyrus in the hospital? His background in Vietnam, the effect, gambling addiction? The hope for Venice - and finally arriving there?

4. The episode with Osgood and his girl, the confrontation with Escalante, the fight and the unexpected victory by Osgood, his hairpiece? The girl falling for him and moving to Atlantic City?

5. Holly, her age, brutally bashed, wanting revenge, her cutting Daniel, taking the money?

6. Cyrus as nice, his aims, background, money-making, gambling, wanting Escalante to chaperone him, to teach him self-defence? The casino, his being shot, recovering?

7. Cassie and her concern at his losses in the casino? His broker friend and the jobs? Contact with the police? The casino personalities?

8. Daniel as spoilt, brutish, his lies, henchmen and killing them, his violence, Holly's attack on him, his revenge on Escalante, the violent chase, his henchmen being killed, Escalante confronting him and his killing himself?

9. Portrait of an identity, in the Las Vegas situation - to what purpose?

HEART OF THE NORTH

US, 1938, 77 minutes, Colour.
Dick Foran, Gloria Dickson, Gale Page, Alan Jenkins.
Directed by Lewis Seiler.

Heart of the North is a Warner Bros B-production of 1938. What makes it of some historical interest is that it was Warner Bros' fourth colour film (after Gold and the Women, Gold is Where You Find It, The Adventures of Robin Hood).

The file is about the Royal Canadian mounties and 'respectfully' dedicated to then - for they always get their man. The file has colourful locations and beautiful scenery. The plot is reminiscent of latter-day television episodes. The film highlights on the mounties themselves and their discipline and way of life, the frontier with the gold towns and the explorers. There is some violence. Russell Simpson appears as a prospector who is almost lynched under suspicion of stealing gold. However, the owner of the hotel is in league with a gang of robbers who waylay a riverboat. The heroics are left to burly hero Dick Foran who eventually commandeers a plane and catches up with the villains - including a fistfight on the top of a cliff, the Mountie ultimately getting his man and, although he had been under strain, earning a medal.

Tiere is a heroine who is the daughter of the prospector. There is a suspicious woman - who wants her man to return to the city and implicated the prospector in guilt. There is also a precocious little girl full of vital patriotism.

All in all, unexceptional and unexceptionable entertainment - a film of its time.

HEARTS AND ARMOUR

Italy, 1983, 101 minutes, Colour.
Leigh McCloskey?, Tanya Roberts.
Directed by Giacomo Battiati.

Hearts and Armour is an Italian contribution to the sword and sorcery trend of the early '80s, spaghetti-sword and sorcery! The director had made many commercials and this is evident in the excellent compositions, editing and pacing and action sequences. The film is superb to look at.

On the other hand, the content is predictable and (especially with dubbing) very basic, even comic strip material. There is also fashionable excess in sex and violence. The film, then, is a mixture of entertainment as well as pathos.

1. The popularity of the sword and sorcery trend? The background of Star Wars, new heroes, the popularity of animated comic strips? The significance of the trend in its time?

2. The contribution of this film to the trend? The trend of pageantry and spectacle? The Italian treatment - getting the conventions and exploiting them? The acting style? Quality of dialogue and dubbing? The score and its atmosphere?

3. The title and the signalling of issues?

4. The prologue and the background of wizardry, fate and destiny? Magic?

5. The background of Moors and Christians? Stances in favour of each? The Christian hero? The Moor hero? Heroines? The battles in Christendom? Audience knowledge of the Middle Ages?

6. The pageantry of the countryside? Colour photography? Locations? Compositions? An environment for sword and sorcery stories?

7. The presentation of the Christians: the knights and their armour, helmets, symbols? Decor? The comradeship? The battles? Attitudes towards the Moors?

8. The comparisons with the Moors and their costumes, decor, camps? Attitudes towards the Christians?

9. The background of chivalry: fights, duels, battles? Brutality? Violence and death?

10. Brademante and the brigands and their attacking her? The violence and ugliness of the attack? The knight to the rescue and his destroying the brigands? Brademante and her becoming a knight? Her relationship with Ruggero? Moors and Christians? The fights? The breaking of fate?

11. The captives, the escapes, the duels?

12. Ruggero and his place amongst the Moors? The encounter with Brademante? Capture? Love? Return?

13. Angelica and her love for Orlando?

14. The Birdman and his eccentricity, help, his betrayal and attack?

15. The comic magician? His presence, tricks, help?

16. The mercenaries and the knights, Rinaldo and his valour, death?

17. The vigils, the climactic battles, duels? The breaking of fate?

18. The happy ending? A mixture of accomplished technical cinema - with rudimentary content?

HEARTBURN

US, 1986, 109 minutes, Colour.
Jack Nicholson, Meryl Streep, Steven Hill, Richard Masur, Stockard Channing, Milos Forman, Jeff Daniels, Maureen Stapleton, Catherine O'Hara, Mercedes Ruehl.
Directed by Mike Nichols.

Heartburn is an excellent bitter-sweet domestic comedy. It was written for the screen by Norah Ephron (Silkwood), based on her novel - in turn based-on her experiences with her husband Carl Bernstein (of Watergate fame). The film was directed by Mike Nicholls (Virginia Woolf, The Graduate, Catch 22, Silkwood).

The film is another star vehicle for Meryl Streep. She again gives a faultless performance. She is well matched by Jack Nicholson in the unsympathetic role of the husband. There is entertaining support from a cast led by Stockard Channing.

The film has the atmosphere of the '80s, a move towards marriage commitment yet the continued reality of infidelity and divorce. The film has a great deal of humour - but, with the break-up of the marriage, a sad ending. The film evokes responses to what might have been...

The film is well produced, photography is by Nestor Almendros, music by Carly Simon including the engaging theme song and the fable of the 'Itsy Bitsy. Spider'.

1. The impact of this romantic comedy? Bitter-sweet? A contemporary fable about marriage?

2. Norah Ephron and her experience; marriage and divorce, betrayal? Screenwriter?

3. Washington and New York locations? The urban '80s? Authentic? Audiences interested in and identifying with this world? Carly Simon's score? Old romantic favourites? The modern beat? The final song and the Itsy Bitsy Spider?

4. The quality cast, performances? Comedy pace and style? Editing and comic pace?

5. The focus on marriage: the initial encounter of Rachel and Mark, the marriage ceremony and their presence, Rachel's inquiries about Mark, the ceremony itself, the reception, their meeting, the flurry to go off, Mark's reputation. the evening together. Rachel cooking the spaghetti - the comment about marriage? Enough to give the credibility to their getting married? The wedding sequence. Rachel's nerves, remarks about failed marriages, the various guests and family trying to persuade her, the ceremony itself? Mark's influence, the pledge of marriage, exchange of rings? The beginnings of a happy marriage?

6. The basis of the marriage? Who loved whom? Washington, the home, the fire, the comedy about the repairs? Social outings, Rachel bored and humiliated? Mark and his taking incidents for his columns? The friendship of Julie and Art? Betty and her gossip? Dimitri and his friendship? The social round and life in Washington?

7. Rachel's pregnancy, the comic bravura of the singing of the baby songs, Mark's rendition of My Boy Bill? Happiness, tension, the meal and Rachel going to hospital, the caesarean birth, the joy of the baby? Her wanting to remember this and hear it from Mark at the birth of the second child?

8. Tension in the marriage, Rachel treating Mark as a mother and telling him off at the picnic, the gossiping and the talk about affairs? The dinner with the list of five qualities and the revelation of each character? Rachel at the hairdresser's, the gossip about the break-up and her realisation of what had happened? Searching Mark's desk, the confrontation, his not being able to handle it? Her going to New York with Annie? Going to her father's place, his genial response but inability to help her? Her waiting for Mark's phone call? The maid and the child - the comic sequences, her telling her friend that her mother had died, the bouquet? Mark's arrival, the disappearance of the ring? The reconciliation?

9. Forgiving and forgetting? The return, the collapse of the marriage? Rachel's pregnancy, fears, her phone call with Julie (and the humorous interchange of her spying on Mark and his comment on her excellent meals)? Her grief and the humorous television programme with the British commentator telling her about what was happening? The birth of the baby, her joy? The affair, her putting it about that Thelma had herpes? The ring and the necklace? The final declaration at Betty's party, her leaving?

10. The portrait of Rachel? Meryl Streep and her presence, comic timing, mime? Clowning? Background of her work, type, her first marriage and the story of her adolescent husband, searching out Mark, the evening with him, cooking? Her nerves, her sister and father, friends trying to persuade her? Relationship with Vera and the background of the group? The marriage itself and her declaration of love? The house, the difficulties of building? Her love and contentment with her life? Pregnant, the songs about babies? The picnic and her talking to Mark as a child? The birth, the joy at her child? The hairdresser's, the discovery of the truth, her grief and not wanting it to happen to her? To New York, to her father and his lack of help, the editor and her going back to work? The subway and the thief, the robbery of the group? Vera, her support, the interest of the group? The decision to return with Mark? The regular round, tensions, her malice against Thelma and the talk of the infection? The birth of the baby and the remembrance of the past? The visits to the hospital? Friends, her work? The return of the ring, the truth about the necklace? Her final declaration at the party - about not being aware of what was going on? The pie in Mark's face? Taking Annie and the baby? Her tenderness towards her children, the final song?

11. The portrait of Mark and Jack Nicholson's presence, comic style? Sympathy and lack of sympathy? His work, enjoying life, his love for Rachel? Home, outings? The exhilaration about the baby, his rendition of 'My Boy Bill'? His not wanting to be mothered? His helping with the birth of the child? The relationship with Thelma? The truth and his inability to face Rachel? His going to New York, plea for her to come back? Not being able to change? Outings, tension, Thelma and the herpes, the truth about the necklace? The pie in the face?

12. Julie and Art, their friendships, sharing, Julie and her story of Art's affair? A mirror of Rachel and Mark?

13. Vera and her friendship, support, psychology, the group, group behaviour, the robbery?

14. Rachel's father his support, out with the woman at Atlantic City, his friendship but inability to help?

15. Betty, gossip, Dimitri? Hosting the final party and her putting her foot in it?

16. The background of Washington, gossip, New York? Different ways of life?

17. Contemporary marriage, love, fidelity, infidelity, betrayal, children?

HEART BEAT

US, 1980, 105 minutes, Colour.
Nick Nolte, Sissy Spacek, John Heard, Ann Dusenberry, Ray Sharkey, Steve Allen, Tony Bill, John Larroquette.
Directed by John Byrum.

Heart Beat is based on a memoir by Carolyn Cassady - about her husband Neil and their close friend Jack Kerouac who wrote On The Road about their travels and way of life in the '40s - a best-seller of the late '50s and the beatnik precursor of change and the emerging drug culture of the '60s. This slow moving film shows how myths are created - Carolyn says that their celebrity was not for what they did but that they did it first. The trendsetters of 1960 glamorised it. Nick Nolte is a convincing oaf (but not beatnik hero). Much more could have been done with John Heard's Kerouac. Sissy Spacek is an effective Carolyn. Offbeat. Written and directed by John Byrum, who made the interesting Inserts.

1. The title and its indication of sentiment, its reference to the Beatnik movement? How well did the film combine these two elements?

2. Jack Kerouac and his reputation in the United States, the popularity of On The Road? Audience interest in seeing the characters, the author, what was behind the novel? Its influence in the late '50s and 1960? The move to permissiveness, drug culture? The aftermath of the '60s?

3. The film as based on Carolyn Cassady memoir? The narrative, focus, Carolyn's voice-over comments? Her portrait of Neil and Jack? Seeing them from the outside, from relationship with them? A detached as well as a committed observer? Her sharing in the experiences, her approval of their lifestyle, her own conventionality?

4. Jack Kerouac and his novel and reputation? Carolyn's comment that the popularity and celebrity was not for what they did but that they did it first? How true was this? The character sketch of Kerouac - observed from the outside rather than from within? His compulsiveness to write, his creativity? His home in New York and relationship with his mother? The attachment to Neil and the experience of travel? Observing Nell and Stevie? Sharing their style? A taken for granted permissiveness on the road? The life in San Francisco? The decision to write and doing it on the long roll? The collage of his applications for publication, encounters with publishers and secretaries, rejection? The friendship with Dick and the meeting with Carolyn? His love for Carolyn and the pain of losing her? Neil's leaving him behind? His years of wandering around the world, the glimpses of him at work, on the ship? His decision to return - and seeming weaker? Being caught up with Nell and the drinking and the girls, returning home to the attic? His decision to stay with Carolyn and the children? His adapting to suburban domestic way of life? The enjoyment of life with Neil? Growing the marijuana? The reaction of the neighbours? The possibility of his settling down with Carolyn and the decision for his work to be published? The influence of Ira (Alan Ginsberg and his beatnik poetry)?

5. The publication of the book, the decision to go to New York, his reaction to becoming a celebrity, his awkwardness on the TV shows, his being feted by interviewers? His going downhill, drinking? Inability to cope with fame? His final visit to Carolyn and his regrets? Kerouack's literary achievement? Interest in him as a person?

6. Neil and his friendship with Jack, prison and reformatory background, the roaming, uncommitted type? His general good humour and carrying others along with it? Picking up Stevie and his infatuation and sexual relationship with her? Being on the road and moving across America and experiencing it - and stealing from sleeping gas-owners? The prospect of San Francisco? The meeting with Dick, the friendship with Carolyn? Her moving in? His leaving Stevie and hurting her? The relationship with Carolyn? Leaving Jack and taking Carolyn? The friendship with Ira and his visit to San Francisco? Ira's declaration of love for Neil? Slum dwelling, squalor? Carolyn's pregnancy and her discovering Ira and Stevie with Neil? His decision to settle down, working on the train - and the humorous treatment of this? The importance of having a house in the suburbs? His agreement with buying the house? His reaction to the Bendixes? Trying to adapt to suburban domestic life? Jack's return and his taking the opportunity to break out? Friendship with Jack, absence from home, the menage a trois? The response to Jack's becoming a celebrity, his inability to look at the TV shows?

7. The sequence of his being in the cafe in San Francisco, the trendiness of the cafes and the poetry reading? The drug discussion with the black man and the irony of his being busted? The prison experience and Jack's not helping him? The decision to travel, moving with hippie groups? The final phone call to Carolyn? How credible was Neil as the model for Dean Moriarty in On The Road - sufficiently free spirit? Or romanticised by hindsight?

8. Carolyn and her background, style, manners, dress? Her friendship with Dick and her decision not to marry him? Her art studies? The attraction to Neil? Friendship with Jack? Moving in, visiting the galleries, sharing their way of life? Her opting for Neil? Her reaction to Stevie, Ira and his homosexuality? Her pregnancy and her joy in children? Her wanting to have the house in the suburbs? Her becoming a San Francisco housewife? The growing family and the comic touches with the domestic scenes? Her relying on Neil and yet leaving him free? The growing exasperation with him as symbolised by the meals with the Bendixes and their reaction after each meal? Jack's return and her warm response to him, his supplying the affection and love which Neil could not? The setting up of the menage a trois and her being comfortable in it and the ironic presentation of the room arrangements etc.? Her response to Jack's success - letting him go, watching him on television? The importance of his final visit to her? Her memoir and her perception of the characters?

9. The importance of suburbia - the credits sequence and the atmosphere of World War Two and the end with the atomic bomb? The American hopes after the war and private homes for everyone? The ironic touch of showing the little boxes? The transition from the On The Road style to suburbia? The reaction against it to the beatnik ways of San Francisco and permissiveness in the suburbs? The Bendixes and their conventionality - manners, moral attitudes, social involvement e.g. with the school? Their conversation and reaction after each visit? Caricatures illustrating suburbia?

10. The character sketch of Stevie and her relationship with Neil, on the road, her love for Neil? His leaving her? Chance encounter and her prostitution? The on and off liaison with her?

11. Ira and Alan Ginsberg and the beat poets? Lifestyle, literary background, eccentricity? The proclaiming of poetry in the cafe, the social assertion and criticism? Ira's homosexuality and relationship with Neil?

12. How well did the film show the transition from the '40s to the '60s? What had happened in the United States? The changing of the American dream? Surfacing of attitudes already there? Why the celebrity for Jack Kerouac and the others? Their almost ordinariness becoming legend and made an unreal myth? The film indicating that the reality was far less than the myth?

THE HEAVENLY KID

US, 1985, 92 minutes, Colour.
Lewis Smith, Jason Gedrick, Jane Kazzmarek, Richard Mulligan.
Directed by Cary Modoway.

The Heavenly Kid is a pleasant surprise. It is a variation on those films of the '40s where angels came to guide people's lives. This time it is the frank, youth-oriented '80s. However, the guardian comes back from a Rebel Without a Cause style '50s and '60s. He is amazed at the changes in styles and behaviour of the '80s. However, the film points up the similarities between the two periods.

While the film capitalises on the youth orientation, it has something more to say and is pleasingly whimsical about a kind of purgatory experience where the dead young man of decades ago must redeem himself by doing something for someone else. Richard Mulligan enjoys himself, mugging as usual, as some kind of official angel who appears on Earth on motor7bike.

A pleasing fable.

1. Good entertainment? Youth orientation? The focus on the supernatural? American sentiment?

2. The film as a piece of Americana: from the '60s to the '80s and the change in styles, behaviour, values? The stereotypes and audiences enjoying them? The '50s with the drag race, playing chicken, the Rebel Without a Cause style - with its tragic consequences? Dress, speech, relaxation? The contrast between the two eras? The '80s as familiar: schools, home, cars? The contrast with the afterlife as a subway ride and cafe? The score with the songs, the re-creation of period.

3. The prologue and the focus on Bobby: personality, the clash with Joe, the relationship with Emily, motivation? The events, the plea? The race and the crash? The heavy tone - and the lightness of tone as a consequence? This being repeated at the end for Lenny's experience? The similarities between the two periods, father and son?

4. The train and the people, the various journeys? Uptown as Heaven? Midtown and Rafferty as an official? A humorous variation on Purgatory? The opportunity for the dead person to redeem themselves, the test, riding the subway waiting for an opportunity? Bobby and his arrival, the cafe, trapped, the rules etc.?

5. The portrait of Bobby: type, his place in the town, his memories of the past, the hamburger place and watching, seeing Lenny and Melissa, Lenny as awkward? Sharon? His reactions, catching Lenny after his fall? Not wanting to intervene, stepping in? His philosophy of redemption? The set-up concerning Sharon? Throwing the toughs, proving himself? Successes and failures? Walking on air? The change: clothes, the car, transformation, mores of the times, the effect on Lenny? Transforming him? Sharon, the clash? Watching Emily, her discovery? His regrets? Appearances, sharing, discovering the truth? Leaving? The booklist? Saving Lenny? Going Uptown? A basically good-natured man, 'cool', change, his wishes? Credibly self-less?

6. Rafferty and Richard Mulligan's style, an official angel, his behaviour in the cafe, on the subway, coming to Earth on the bike, communicating the rules to Bobby, helping him to save Lenny and himself?

7. The contrast with Lenny and his awkwardness, the hamburger place, his failures, getting the sack, in class, the poetry, Romeo and Juliet, Melissa, Sharon, the clashes? His being saved by Bobby? Sharing ideas and friendship with Bobby? The new style clothes, the car? The reactions of the family? His relationship with girls, gauche, successful? Sharon? The fight, his drinking, parents' reaction? Self-assertion? Hurting Melissa? The repetition of the drag race - as was Bobby's style? Saved? His true self, image, peer pressure? The son of his father?

8. Emily and Joe and their way of life, the memories of the race, the clash, marriage? The happiness and unhappiness of their married life? Settling down from the tough types of the past? Joe and his television, middle-class life? Worries? Emily and the encounter with Bobby? The truth? Their joy?

9. The tough kids, class, the dining room, the fights, the drag race?

10. Sharon and her style - the blonde bombshell, sex? The contrast with Melissa, loving, sweet?

11. The picture of adults: at the hamburger place, the teachers etc.? How fair was the film to adults?

12. An entertaining blend of sentiment, humour, realism, fantasy? Humorous touches? A pleasing fable?

HANOVER STREET

US, 1980, 109 minutes, Colour.
Harrison Ford, Lesley- Anne Down, Christopher Plummer, Alec Mc Cowen, Patsy Kensit, Michael Sacks, Richard Masur.
Directed by Peter Hyams.

Hanover Street is designed for nostalgia/romance: Panavision, London sets 1943, John Barry's very lush score, air warfare (Yanks in England) plus a mission in occupied France that rather stretches the imagination with its coincidences and heroism. It is soap opera material with predictable situations and characters (almost to the point of parody), dialogue, actions. However, it is stylishly written and, finally, gets away with it - its combination of war romance themes, the engaging Harrison Ford, beautiful Lesley- Anne Down and sympathetic Christopher Plummer (as befits soap opera, 1943, beautiful people). Supporting character actors enhance atmosphere and plausibility. Its picture of an affair is humane and brings back unfashionable, more traditional values. Writer-director Peter Hyams has worked in romantic nostalgia e.g. Our Time and action melodrama Capricorn One.

1. The nostalgic appeal of the film? World War Two, England at war, the American occupation? The love story? The style of love stories in war during the '40s? Impact in the '80s? The prologue explaining the situation, the emphases on choices being clear in war, the accident of people removed from home and falling in love?

2. The use of Panavision, colour, sets of London 1943, the aerial warfare sequences, the espionage story and the French environment? The escape? British war officers? The use of large screen for a romance with war film? Tone?

3. The title, the meeting place for David and Margaret? The love story tone of the title? The choice to fall in love, temporary affairs, war and affairs?

4. The establishing of the war situation: the queues, Halloran and his day off, Margaret and her work in the hospital, life at the American Air Force bases, intelligence work and personnel and problems, training? How life in England? The barracks? The film's attention to detail for the look and the tone of the period?

5. The comedy with David and Margaret meeting with the bus, pretending to be pregnant, lame? The chance encounter? The plausibility of the immediate attraction, having tea? Talking? The reservation of Margaret's name? Hanover Street as the meeting-place? Halloran waiting, Margaret watching? Her decision to come? The drive in the countryside? The love sequences and their treatment? The emphasis on hands and the editing of the sequences? The passing of time and the superimpositions of the characters and their meetings? Margaret finally giving her name? The genuineness of feeling and love? The atmosphere of tenderness, loneliness, passion, communication, dependence? Margaret's talk about her home? Halloran and his talking about Chicago?

6. The portrait of Halloran - meeting him on his day off, his presence at the briefings and Bart and his criticisms? His bonds with his companions? The banter, the missions and the feel of flak, crashes, death? Special skills? His humiliation by Bart? The special mission, the deaths of his two companions and their effect on him? His participation in the mission?

7. The contrast with Paul - the gentle sequences at how, his description of himself as pleasant and his reaction against it, his love for his daughter, the sequences with Margaret and her daughter? Family talk, presents? The coolness in the intimate scenes with Paul and Margaret? Her regrets? Her saying that he did not do anything wrong? His anxiety? Margaret and the infidelity and his not knowing it? Paul and his training the personnel? The phone call from his office to the hospital and his decision to go on the mission? His motivation?

8. The war offices, intelligence, the leaks and the killing of agents? The training sequence for the officer and his speaking German? Paul's decision to go himself, the flight, the drop, surviving with Halloran? Helping each other in the night, the hayloft and the death of the German officer, the French girl and her support, the car, the depositing of the documents in the safe (and the previous training about safes), the return, the difficulties with documentation? The shoot-out
after Halloran tried not to speak? The car chase? The farmer betraying them? The bike chase, the heroics at the bridge? Paul's possible death, Halloran's rescuing him? The Resistance?

9. David and his being involved in the mission, the humour of his situation in not speaking German? His becoming aware of Margaret as Paul's wife? Saving him on the bridge?

10. Paul and his need for heroism, to relate to his wife and be something in her eyes? His long talk about his wife, about his being pleasant? His final courage?

11. The picture of the Germans, the French girl and killing the German, the farmer and his betrayal? Authentic atmosphere of occupied France?

12. The major and his working with Paul? Margaret's phone calls and visits to him? His idiosyncrasies about tobacco?

13. The build-up to the finale - Margaret's arrival at the hospital, the encounter with David, his decision that he loved her so he must let her go? Her going to her husband?

14. The conventions of the plot, the cliche situations and incidents, dialogue? The impact of the film through this? Sentiment, sentimentality? Audiences identifying with the characters?

15. Themes of war, strangers in war, the upsetting of values, the shaking of commitments, testing of commitments, self-sacrifice?

THE HARVEY GIRLS

US, 1946, 101 minutes, Colour.
Judy Garland, Ray Bolger, John Hodiak, Preston Foster, Virginia O'Brien, Angela Lansbury, Marjorie Main,
Chill Wills, Kenny Baker, Selena Royle, Cyd Charisse.
Directed by George Sidney.

The Harvey Girls is a pleasant Judy Garland vehicle of the mid-'40s. Direction was by George Sidney who was making many musicals at M.G.M. at the time, from Thousands Cheer to Showboat and to several Esther Williams vehicles. Sidney made many musicals and comedies throughout the '50s and '60s e.g. Half A Sixpence in England. Judy Garland was very popular at the time. She is joined by a number of M.G.M. regulars who have the opportunity to show their particular talents e.g. Virginia O'Brien and her deadpan singing, Ray Bolger and his dancing. Cyd Charisse appears, singing and dancing, in an early role. John Hodiak is quite genial as the hero. The film is a tribute to the waitresses who went out to work in the Harvey chain of restaurants in the West. The film won an Oscar for Best Song with the Johnny Mercer- Harry Warren song, The Atchison Topeka and the Santa Fe - it receives quite a show-stopping presentation. The songs are quite pleasant and while the story is slight, it is an enjoyable musical.

1. The status of M.G.M. musicals and their popularity in the time? Quality and style? Their appeal then and now?

2. The work of producer Arthur Freed and his reputation, George Sidney and his lavish musicals? The popularity of Judy Garland? The supporting stars? The film as a concoction for them all to display their talents?

3. Colour photography, studio sets. the atmosphere of the West? The insertion of the songs - especially the show-stoppers e.g. Atchison Topeka and the Santa Fe, The Harvey Girls Song, learning to waltz? Choreography? The importance of the editing especially for the songs?

4. The background of the Harvey Girls - the film as a tribute, the traditions of the West. lawlessness and civilisation, the railroads, the restaurants? Sand~ rock as a typical town? The romanticising of the West?

5. Judy Garland as Susan - the initial song on the back of the train and her hopes for home in the valley? Her pretending to be well-to-do, eating her lunch, the girls supporting her, her showing the dress, telling her story? The quick establishing of the situation? H. H. Hartsey and Ned and his proposing? Saying 'no' to H.H.? The initial clash with Ned? Her becoming a Harvey Girl, the song with the girls being trained? The continued clashes with Ned and the Alhambra - taking the gun to get the steaks back? The clashes with Emma? Deborah and her flirting with the singer and the consequent fight with all the women? Guns, snakes? The songs with Cyd Charisse and Virginia O'Brien? Going out to talk with Ned and overlook his valley? Being deceived by the judge? The party and the learning to waltz? The build-up to the fire? Her decision to give in to Ned, her going on the train? The happy ending? A strong characterisation -the Ohio country girl, prim and nice, changing, pioneering, strong? The American heroine?

6. The Harvey Girls and their work, their background as explained in the Atchison Topeka song, their fears, gunshots and snakes, Virginia O'Brien and her comic song and helping Chris? Deborah and her song and dance? The Harvey girls as pioneers?

7. Ned as the conventional gambler of the West, his clashes with the judge? His proposing for H. H. by letter? The entanglement with Emma and her jealousy? His infatuation with Susan, enjoying the insults? The incidents with the steaks? His not collaborating with the judge? The talks with Susan at the valley? The waltz? The fire and his fight with the judge? His decision to stay for Susan's sake? The happy ending? The colourful traditional character of the West?

8. The judge and the villainous types of the West - tough, underhand, guns, snakes, fire?

9. Emma and the girls - the tough saloon girls, Emma's jealousy, her clashes with Susan, going to the ball? The end and her talk with Susan and letting her go, stopping the train?

10. H.H. Hartsey and Sonora Cassidy - comedy, Marjorie Main's singing and dancing?

11.The contribution of the songs - the initial song about the valley, the three girls singing about the cold, Virginia O'Brien and the Blacksmith song, Kenny Baker and Cyd Charisse and their duet, the Harvey Girls' song, learning to waltz, the Oscar-winning Atchison Topeka and the Santa Fe?

12.The film providing solos for the particular talents of its stars: Judy Garland, Ray Bolger and his dancing and comedy, Virginia O'Brien, Cyd Charisse and her dancing, Kenny Baker and his singing? An enjoyable and typical Hollywood M.G.M. musical?

HARRY IN YOUR POCKET

US, 1973, 103 minutes, Colour.
James Coburn, Michael Sarrazin, Trish van Devere, Walter Pidgeon.
Directed by Bruce Geller.

Harry in Your Pocket is an interesting and entertaining comedy adventure. It portrays a group of professional pickpockets, shows them in their work with the various skills and in their relationships with one another. There is a briskness about the characterisations and the dialogue that make this a worthwhile film.

The cast is certainly very interesting with James Coburn as the older, more experienced thief and Michael Sarrazin as his apprentice. Walter Pidgeon has a role as a more patriarchal pickpocket - a style that he was to repeat briefly in
Two Minute Warning. Surprisingly interesting and enjoyable.

1. The arresting title, focus on Harry, pickpocket themes?

2. How much of the film was comedy, romance, thriller? Modern fable? The blending of these elements?

3. Colour, city locations, the atmosphere of pickpockets, urban atmosphere? Romantic interludes?

4. The picking of pockets and the morality of this, attitudes of the audience? The main characters as thieves? Audience response to their victims? Sympathy for the thieves, for the victims? Money, greed, honesty? How seriously were these thews explored? The irony in sympathy for the thieves?

5. Pickpocket work as an art, creative and skilful hands, techniques?

6. Comment on the impact of the many scenes of the set-ups for pick pocketing? The scenes where Tracy trains Ray? Comment on the danger, thrills, the experience of stealing and evading detection?

7. The initial meeting of Sandy and Ray, work, experience? Sandy watching Ray? The bond between them? Ray and his lack of skill, Sandy and her skills? Her love for him, protecting him? The romantic interludes?

8. Casey and his role in the film, the older statesman type of pickpocket, experience, advice, training, his participation in the set-ups? Comment on his taking of drugs, his age, influence, his comments on the glories of the past? The irony of his arrest? A good characterisation?

9. Harry as the central character, his good points, weak points? Womanising, skill at his work, enjoyment of it? Antagonism towards Ray and his inefficiency, attraction towards Sandy? Accepting them, blaming Ray? The encounter between Sandy and Ray and his knowledge of Sandy's love for Ray? The importance of this for his final gesture in letting them go free? A credible gesture?

10. The blending of crime thriller with romantic triangle? Which tended to predominate? Effectively?

11. The portrait of the people robbed, the police, the detectives? A picture of modern society, America?

12. The appropriate happy ending? Or not?

HARRY AND WALTER GO TO NEW YORK

US, 1976, 111 minutes, Colour.
James Caan, Elliott Gould, Michael Caine, Diane Keaton, Charles Durning.
Directed by Mark Rydell.

Harry And Walter Go To New York is a rather delightful period robbery comedy with fine 1892 New York settings and costumes, and engaging performances by James Caan and Elliot Gould as a tandem of conmen actors. Michael Caine is present as a debonair millionaire-swindler and Diane Keaton as a liberal small-newspaper editor. Once more a bank is robbed, but most enjoyably by a motley group of would-be-do-gooders who want to beat the professionals at their own game. There is nothing particularly new, but it is all done so pleasantly that you will get some laughs and enjoy the robbery and all the difficulties on the way to its completion.

1. The quality of this robbery comedy? Its recreation of the period? Its derivation from others in the genre? Skill and originality?

2. The 1892 setting: New York, city, streets and banks. prison., theatre and Vaudeville, elegant restaurants etc.? How well did the film represent and recapture the period? From the point of view of the 20th century?

3. The use of widescreen, colour, costumes and sets, music? An atmosphere of authenticity?

4. The importance of the Vaudeville opening? The introduction to Harry and Walter-r? The lyrics of their song, song being used throughout the film, for the audition for Adam and the end? Each of them as individuals? The particular traits of their characters? Who led, who followed? The contribution to the schemes? The confidence tricks? Their skill in Vaudeville? Their style? Did they function effectively as a team? Their song and audience response? Their tricks and their stealing? Their arrest? Audience sympathy for them at the beginning of the film? How likeable?

5. The contrast with Adam: his restaurant style, his being confronted by the bank manager, the revelation that he was a crook, that he was a millionaire? The elegance of his arrest? His popularity with the aristocracy of New York? The celebrity going to jail and his entourage and his arrival? The prison authorities welcoming him? What made Adam tick? How well did he contrast with Harry and Walter?

6. The humour of the prison style: the satire on the prison authorities subservient to Adam. his set-up in his cell, the warden and his being invited to dinner. the headquarters for the plans for the robbery? How important was the interview with the lady? The tour of the prison? Her understanding of his character, the criticism? The encounter with Harry and Walter? The photo and the explosion?

7. The humour of Harry and Walter in jail? The contrast with Adam, their clothes, manner? The fact they were chosen to wait on him? Their style and their skill? Ingratiating themselves with Adam? Auditioning etc? The humour of their selling his hair? The humour of their getting the photo of the blueprints? The melodrama and humour of their escape? The scenes in the quarry. the nitro-glycerine, the parody of prison escape films?

8. Their going to New York, their being welcomed by the staff of the paper, their helping to sell it? Their ambitions for elegance dining in the restaurant? The satire in their not knowing how to taste the wine etc? The clash with Adam?

9. How plausible was the plot to rob the bank before the criminals? The various members of the paper group, the types, their lack of skill in robbing banks, the amorality of joining in the plot? The details of their work, the accidents of their success, overhearing the final plan, the build-up for the final robbery? The seeming failure, the success? How well did the film build suspense, the emphasis on details?

10. The contrast with Adam and his tunnel, his plan? The admission that he was a genius and yet he failed? The irony of his being arrested on the way in?

11. How humorous were the theatre sequences? The parody of old-time musicals? The singing, the plot and the costumes? The humour of the improvisations of Harry and Walter? Were these clever? The suspense of the robbery? The audience applause for Harry and Walter's style?

12. The character of the lascivious bank manager? His propositioning the Woman for the loan, the heroine propositioning him? Did he deserve to be robbed?

13. The elegance of the ending, their fear, turning into happiness?

14. How successful an example of the robbery genre, the period comedy, the confidence trick film? The highlights of the comedy, characters, the gallery of types, the situation? The insights into honesty and dishonesty, achievement and success, heroes and heroics? The light touch?