COCOON

US, 1985, 111 minutes, Colour.
Steve Guttenberg, Brian Dennehy, Don Ameche, Wilford Brimley, Hume Cronyn, Jessica Tandy, Jack Gilford, Gwen Verdon, Barrett Oliver, Tahnee Welch.
Directed by Ron Howard.

Cocoon was one of the most popular films from the U.S. in 1984. It is a pleasing science fiction fantasy, a kind of Close Encounters of the Third Kind.

The film focuses on St. Petersburg, Florida and a group of elderly people - portrayed by some fine old stars including Don Ameche who won an Oscar for Best Supporting Actor. Some aliens come to earth to recover some of their colleagues buried in the collapse of Atlantis. The group of extra-terrestrials is led by Brian Dennehy and includes Tahnee Welch, Raquel Welch's daughter, and Tyrone Power Junior. The film is really a fountain of youth fable, Shangri-la in the galaxies.

The placing of this group of ordinary people in an unusual situation brings out characteristics in them that they might not have expected - and they have to make decisions about death, aging, immortality.

The film was directed by Ron Howard who had success with Nightshift and Splash.

1. Enjoyable film? Its appeal and success? For older audiences, younger audiences?

2. A fable about old age, the desire for immortality? Fountain of youth? Shangri-la? Heaven and immortality? Intimations of immortality?

3. The tradition of space features and close encounters, star men and the like? The dialogue about youth, rejuvenation, immortality, heaven? In the space context?

4. The film as a piece of Americana: Florida, the villages with the old age pensioners and retired people? The old and their experiences, memories? The adults and there present? David and the future? The generations and there inter-action?

5. The plausibility the plot - factually, psychologically?

6. The picture of Florida, the town, the homes, the water? The location photography? special effects - the creatures there shining power, their skins, games of cards? Space and the star-ship? the underwater sequences, the re-creation of the city of Atlantis, the Cocoons? Comedy sequences? Action, dance and sports? The musical score?

7. The elderly and their place in American society, homes and hospitals, their physical and psychological decline, activities, homes and the staff and there treatment ? Prohibitions, permissions, neglect? Husbands and wives and there finishing their lives together? Friendships, groups, jealousies? The cantankerous? The characteristics of the past magnified in old age? The experience of being rejuvenated, there strengths and weaknesses magnified? A chance to reconsider there lives, repeat, improve, relate better, forgive?

8. The group and the individuals, a variety of characters, living together, there swimming together, walking, outings? The swimming in the Pool, the neighbours, the decision to trespass? The experience of change? The return home, relationships, sexuality? The physical improvement - diving, swimming, dancing, rap dancing? The old grouch and his wife - her wandering, his unwillingness to be rejuvenated? Hesitations, arguments? The secret? The decision to keep the secret? The discovery of the secret, the invasion of the pool, mischief and mess, the destruction of the cocoons and their creatures? The antareans and their reaction? Offering the chance to be saved? The decisions of the old people, the escape from the home, going to the wharf, on the boat, the police pursuit, the spaceship and its light, going to a new life in the heavens? The ironic aftermath of the funeral sequence and people on Earth thinking they were merely dead?

9. The group of men - Don Ameche and his background of '30s and 40s stardom, his age, as a character. humour, vitality. his past work, swimming, dancing, the relationship with the dancer, the decision to marry her? Leader of the group? Wilford Brimley as the old grandfather? His wife Mary and their relationship? His sardonic comments? Pleading with Walter, the apology after the mischief? His daughter, his love for David? Hume Cronyn's reputation as an actor - portraying the terminally ill elderly man, joining the group, the change and rejuvenation, relationship with his wife, his wandering eye, betrayal of his wife, her excluding him, the clash, his begging forgiveness? Their decision to go with the Antareans?

10. The group of women - Gwen Verdon and her background as dancer, her showing her skills, her relationship, marriage? Maureen Stapleton and her dramatic skills, as wife, as mother, companion? Jessica Tandy working with her husband Hume Cronin - the portrayal of a marriage, love, hurt, betrayal, forgiveness?

11. Bernie and his wife - age, illness. senility? Bernie as the grouch, his continual caution? His vigil at his wife's bedside - and the communication of grief at her death? Their trying to persuade him to come with them to the heavens?

12. Jack as the pleasant hero, the boat, his troubles, the encounter with the Antareans, helping them with their quest. the discovery of the truth, spying on Kitty, his fear, Walter revealing the truth? His giving his help? The encounter with Kitty - and the pleasant comedy about sexual interaction? Helping with the escape, his decision to stay?

13. The Antareans as a group, their mission, their human disguise, the story of Atlantis. the underwater work. the cocoons, the pool, the trespassers. the police, the encounter with the elderly, Jack discovering the truth. their revelation? Their grief at their companions' dying? Mourning them? The new possibilities, the offer of heaven to the elderly, the escape? Walter as their genial leader? His portraying the qualities of the extra-terrestrials? Coping with the human condition - yet his admitting his mistakes? Kitty as the attractive heroine?

14. The film starting with David and his looking to the stars, the little boy loner, the broken marriage, his mother, friendship with his grandfather, fishing with him, running away to go with the elderly, his jumping overboard to divert the police and help them get away?

15. The comedy sequences - in the home, the outings? The swimming?

16. The drama of the elderly, death, the mischief in the pool, the escape?

17. A group of ordinary people put in unusual situations and discovering aspects of themselves? The quality of this kind of fantasy-fable?

COCKLESHELL HEROES

UK, 1955, 97 minutes, Colour.
Jose Ferrer, Trevor Howard, Anthony Newley, Victor Maddern.
Directed by Jose Ferrer.

Cockleshell Heroes is another of those well made war stories of the 1950's paying its tribute to some branch of the services or commemorating some historical incident of the war. This time it shows a special group chosen to go by canoe into Bordeaux harbour in 1942 to destroy German shipping. There is nothing particularly new here; the work is well done, although frequently seen.

Depending on moods, these films are entertaining and interesting, and raise the usual issues of war.

1. What is real war heroism?

2. War itself - the sense of it, the heroism and risk it asks and why?

3. The perennial question of the professional versus the amateur, the lenient man versus the disciplinarian. Who is proved right in this film? How? Why?

4. What is the result of lenience here on morale? Loyalty? Effectiveness?

5. What is the nature of true leadership?

6. What was conventional in the action and heroes of this film? What was original?

7. Would a film like this be made in later decades? How?

COCKFIGHTER

US, 1974, 83 minutes, Colour.
Warren Oates, Richard B. Shull, Harry Dean Stanton, Ed. Begley Jnr., Millie Perkins.
Directed by Monte Hellman.

Rollerball, Death Race 2000 used elaborate sports as metaphors for comment on the brutalising of modern man and the totalitarian pressures on individuals in society. This film works in the opposite direction. It takes a traditional brutal American sport, which is illegal but acceptable in many States, and shows an individualist trainer asserting himself, despite the pressures, competition and money interests. The film is thus a small-budget, modest parable about tough men in a tough world and their need to win. Directed by independent Monte Hellman, the film has Warren Oates as its driven hero. The film will probably be popular with students of film.

1. The appeal of this kind of a film, interest? What audience was it made for? The blunt indications of the title?

2. How successful was the film as a realistic look at a part of America? In terms of plot, character, the sport and its details, the profession, the crisis in relationships? How interesting on this level?

3. The impact of the film as symbolic of modern America? The use of a violent sport as a symbol, an illegal sport? The overtones of gambling, corruption, cruelty, ugliness? What were the implications of the metaphor for understanding some of the themes of modern America and its way of life?

4. The importance of including scenes of cockfighting? Their impact? Were they exploited or appropriately used?

5. The importance of showing the training, the explanation of the sport and the nature of the fights?

6. Comment on the film's presentation of the people who are involved in the profession, the people who watch, their emotional responses? How much sport, how cruel? How humane?

7. The background of the profession: skills, risks, the turnover of money, the people who are backers, the state banquets, the prizes?

8. How much of a hero was the hero? An Everyman character? What kind of man was he? The American, the individualist, the loser who wants to win, leaving his family, his girlfriend?

9. The significance of his not speaking? How symbolic? Its effect on himself and on people? The reason for his speaking?

10. The nature of his dreams, his ambitions, goals of achievement? His sacrificing himself, happiness of life, ease, love of his girl etc. for this achievement? How important was it when he won at the end?

11. The portrayal of the girl? The lyricism of the love scenes compared with the cockfighting? The clear presentation of choices? Her arrival at the end? Her running away in disgust? His realising that she loved him? What future would they have together?

12. The background of his sister and brother-in-law? Human relationships, family, money, business deals?

13. The relationship between the hero and his partner? The eagerness of the partner? The training of the birds? The hopes for success?

14. The characters of the backers and the professionals? Especially the rival? The cockfighting as symbol of rivalry between the two men? The fight to death?

15. The portrayal of the various strata of society indicating the implications of the sport metaphor covering all of America?

16. What is the value of this kind of film for understanding modern America?

THE COBWEB

US, 1955, 124 Minutes, Colour.
Richard Widmark, Lauren Bacall, Charles Boyer, John Kerr, Lillian Gish, Gloria Grahame, Susan Strasberg, Oscar Levant, Tommy Rettig, Adele Jurgens, Paul Stewart.
Directed by Vincente Minnelli.

The Cobweb is one of several lurid melodramas directed by Vincente Minnelli, more noted for his musicals like An American in Paris, Gigi, The Band Wagon. Using a star cast, the film explores the melodrama in a mental institution. Other melodramas by Minnelli include The Bad and the Beautiful, Home from the Hill and Two Weeks in Another Town. The star cast is effective in ways that are expected from them from other films. Charles Boyer has a heavier role than usual. Standing out is Lillian Gish who had been in films for 40 years by this time. Usually sweeter, she portrays a very hard-headed and spinsterish administrator of the hospital. The film introduced Susan Strasberg and John Kerr, the latter being in a number of films at this time including Tea and Sympathy and South Pacific but who did not pursue his career. This is the kind of film that appeals to a broad audience because melodrama is presented as so much larger than life.

1. The significance of the title? The metaphor of the cobweb for the themes of the film? Tangle, the nature of web. capacity to trap, made by a spider, for death? A structure with various strands - both attractive and deadly? As a metaphor for madness and sanity? For an institution for madness and sanity?

2. The production values and their contribution - the MGM style of the 50s, the direction of Vincente Minnelli, the aspects of melodrama, heightened melodrama? The appeal of soap opera characters and situations and conflicts? Melodrama as larger than life? The use of Cinemascope, colour, the decor of the institution? The special effects and moods? melodramatic score? Audience enjoyment of melodrama?

3. The attitude of the 50s towards mental institutions and madness, towards therapy and doctors? Boards and administration? The emotional tangles that underlie administration?

4. The plot and sub-plots and their intricacy, the web of the subplots and their being brought together satisfactorily?

5. The caption that the trouble begins and ends? The focus on Stevie and his run? His later re-run? Stevie as an inmate, madness and need of therapy? The encounter with Karen and the discussion with her? His self-revelation? Seeing him in therapy with Stuart? The question of the drapes and the drapes as a symbol of Stevie's success? The meeting, his creative capacity, the drawings and the work done on his designs? His capacity for going berserk? With drawing, self-preoccupation? Inviting the girl to the cinema? His hope, the work with Meg? The putting up of the alternate drapes and his going berserk, running, suicide attempt? How relieved was the audience that he was found? Stevie as a focus for The Cobweb? His being caught in it? How well delineated his character, the explanations of his need for therapy, especially to Stuart, Meg?

6. Stuart McIvor? as the hero? Richard Widmark's style and presence? Strengths and weaknesses? His therapy with Stevie? His decisions as regards administration? His holding the position in the institute? Relationship with Davenal? The clashes with Vicki? The work with Meg? The quality of his methods, especially the focus on self-government? His administrative details and decisions on how to help people? The focus on the drapes and the difficult questions that arose and the tangle of inter-personal relationships? The contrast with is inability to handle things while at home? His not talking to Karen, his criticisms of her? The relationship with the children? Explaining that people right? The attraction towards Meg, sharing work with her, discussions, the evening at home with her? His wanting an affair and breaking with Karen? Her refusing this? The Institute going to pieces, the breakdown of patient discipline? The tangle with Davenal? The clashes with Vickie? The search for Stevie? The report written by Vickie, the Board Meeting? How well did he learn to cope? The prospect of the future?

7. The relationship of patients and their troubles with the staff and their troubles? How well did the film parallel these and show inter-relationships and connections?

8. Charles Boyer's style as Davenal? His appearance in the institute, his past reputation? Ladies' man, drinking, a has-been? His encounters with his secretary? His refusal to face responsibilities and therapies? The outing with Karen, his sympathy, his coming back and reaction to her brush-off? The clashes with Vickie and his using her against McIvor? The devotion of his wife and her reaction to the report? His final resigning with dignity? A criticism of a man growing old in the job and refusing to face responsibility?

9. Lillian Gish and her harsh style as Vickie? Her traditions in the family, her hardness in administration, jealousy about her competency? Budgeting and money matters? The importance of the drapes to her? The attention to detail in her getting them organized? Her telephone calls, her continually putting the telephone down? The various confrontations, her making the report on Davenal? Her relenting at the meting?

10. How attractive a character was Karen? Gloria Grahame, presence and style? At the centre of the web? Glamorous, giving a lift to Stevie, her love for Stuart? Her fighting with him? The concert? The ringing of Regina and arranging about the drapes and what this meant to her as being involved? Ringing Vickie, trying to influence Davenal? The outing with him and keeping her husband waiting? Her breaking with him? Her jealousy of her husband with Meg? Her glamour, seeing her so often reflected in a mirror, so often talking on the telephone? Her explanation of the past, her hopes? Stuart's explanation of this? Her finally putting up the drapes and causing chaos? Her change of heart at the end and the possibility of a future? How well drawn the wife of a career man?

11. The picture of the patients in themselves, their complaints, way of life in the institute, meetings and self-government, criticisms, therapy? The importance of the drapes? The girl and her fear of going to the cinema and her eventually going? The cynical man and her fears and the shakes? Scenes of therapy? Dr. Wolf and his presence, Nurse O'Brien and her hard attitudes etc.?

12. Meg as heroine? Her presence in the institute, her being inside and yet observing from outside? Her life story, the drapes and getting the patients involved, her help, especially to Stevie? Seeing her at home? The sharing of experiences with Stuart? Her breaking off with him?

13. The presentation of the Board, its responsibilities, understanding of the problem?

14. The use of an institute as a microcosm of wider society? External administration, changes in rules and styles? Strengths and weaknesses? The need to heal? The mistakes, irresponsibilities? Guilt? Yet the institute managing to cope?

COAST TO COAST

US, 1980, 92 minutes, Colour.
Dyan Cannon, Robert Blake, Quinn Redeker, Michael Lerner, Maxine Stuart, Bill Lucking.
Directed by Joseph Sargent.

Coast to Coast is a good-hearted knockabout (and with trucks and cars) smashabout comedy. In the Smokey and the Bandit vein (Robert Blake is a pudgy not-so-comic hero), we are on the road again (east coast, mid-west, Rockies, California) with C.B. truckers, cattle and an about-to-be-certified wife whose madness is not quite! Dyan Cannon tries to take a leaf out of Goldie Hawn's book for the role - moderately. It's also an '80s version of those madcap heiresses on the road screwball comedies of the '30s but with an emphasis on farce instead of subtlety. Inconsequential and depends on moods and tastes for appeal and success.

1. An enjoyable comedy? Road film? Piece of Americana. '80s style?

2. The influence of the '30s screwball comedies, the heiress on the road, the rescuer and the tough American hero,, adventures on the road? The adaptation to the styles of the '70s and '80s? Cars and trucks? The villains and the pursuit?

3. The American panorama: coast to coast, east coast and the change to the Midwest, the dustbowl states, the Rockies and the snow, California and its affluence? The location photography, the cities e.g. Kansas and all that they represent?

4. A satisfying blend of comedy, farce., comic situations, dialogue, visual humour? The tone of the credits with the classical music - the wedding photo and the ironic counts - with the touch of cruelty - about divorce?

5. The introduction to Madie - the doctor and his treatment. therapy, end of session, Madie's partly insane reactions? The explanation of her plight? Bashing him on the head with the statue of Freud, the straitjacket and the escape? Her talk on the way? The needle and her power over the doctor? The confusion, the issues and the need to get back to California? Audience sympathy for her character?

6. How did the film develop the character of Madie - her love for her husband, disillusionment, needs, lying in front of the truck in the rain and Charlie's rescuing her, the interlude at Charlie's house with the shotgun, her being left on the side of the road, the adventures at the gas station - her eating, being left behind, getting the cattle job, in the back of the truck with the cattle? The cars, the mid-west and Kansas City? Her buying the clothes? Her being rescued by Charlie and not sold? Her chance to review her life and its waning? Making greater connections with Charlie? The farcical interlude at the cattle yards? The continued pursuit, Charlie's injury and her long driving and enjoying herself, self-assertion? The snow interlude and the growth in love, sexual liaison? Her discovery of the truth and her being hurt? Her smashing down her husband's house? Ruining his life and being satisfied? The reconciliation with Charlie? The film indicating this as satisfying therapy! A zany heroine, Dyan Cannon's comic touches, farce? Did the character ring true?

7. Charlie as hero - his refusal to pick up Madie, trying to get rid of her, his own problem, the truck to be repossessed, the need for money, taking on the cattle, the C.B. connections with the detectives, the Kansas strategy, eluding the detectives, the run in the cattle yards, his sleeping with Madie driving, the snow interlude and romance, the truth, pursuit by motor bike, on the back of the truck to be participant in the final smash? A satisfying American hero type - did he ring true?

8. The portrait of the doctor, wealthy psychiatrists, therapy, being knocked out by Freud,, straitjacketed. the needle and the injection, the comic sequences of his phone calls and being cut off?

9. The sketching of the detectives - Sam and her toughness, her tough assistant? The chase, the deal with Charlie, the crashing of the car in Kansas City, the injuries in the cattle yard? Jules and his continued pursuit and crashes?

10. Benjamin and the marriage, talking through the credits, wanting Madie insane, saving money by not divorcing? His phone calls and keeping up appearances, girlfriends, affluent lifestyle, party, the house being wrecked around him and his saying that his total life was destroyed? Audience antipathy towards him?

11. How satisfying a road film, stunt work, driving, smashes?

12. As comedy - visual, situation, the cattle yard sequences, the elaborate smashing of the house?

13. As an offbeat love story?

14. As a sketch of people, their rights, needs, images of American society, marriage and relationships-, therapy? An optimistic farce?

COAL MINER'S DAUGHTER

US, 1980, 124 minutes, Colour.
Sissy Spacek, Tommy Lee Jones, Levon Helm, Beverly D'Angelo.
Directed by Michael Apted.

A showbiz biography with more substance, the story of Loretta Lynn and her country and western career. Probably because the latter part is familiar Nashville material, the first part, with its detailed way of life on the outskirts of a '40s Kentucky coalmine town and Washington State farms seems better. We get to know Loretta and her husband as real characters. In fact, her later success is hard to imagine at this stage. Tommy Lee Jones is very good, but the very talented Sissy Spacek (Carrie, Three Women) has presence and subtle acting skills and she carries the film. She also does Loretta Lynn-style singing very creditably. Well done, enjoyable.

1. Audience interest in Loretta Lynn - as a person, her career, success? Her reputation? Country and western music? The success of the film depending on audience knowledge of Loretta Lynn? The quality of the film as biography, as story?

2. The background of country and western music? Its appeal within the United States, overseas? Its style and origins? Country and western as particularly American? The 20th century presentation of traditional music? As embodying American values and style? Musical skill, popularity? Concerts, personalities? The focus on the record industry? Nashville? The sentiment behind country and western music?

3. The film is the work of a British director, his view and vision of America? The use of Kentucky and Tennessee locations and the feel for the countryside, the towns, the cities? The period after the war? The presentation of American people and their characteristics? The recent history of the United States? The style of the film, country and western?

4. The presentation of the music itself - style, instruments, visual presentation? The popular lyrics? The way the music was used throughout the film -in concert, illustrating Loretta's life?

5. The structure of the film: the first part with the semi-documentary presentation of life in Kentucky, the mines, the post-war period, the farms? The transition to the popular world of show business? The interaction of the two parts and their comment on one another? The importance of the flavour of the credits sequence?

6. The presentation of the '40s and the war? The town itself, the mines, hard work, poor pay, family life? The focus on Doo and the bet with the jeep? The ugliness of the town, the dirt, the home, meals? Tension in households? Children growing up and the number of children? Training of the children especially in manners? The world of the hillbillies and the miners? The family sequences and the strong building up of atmosphere?

7. Loretta within this context? How well did the context explain Loretta? The skill of Sissy Spacek in presenting Loretta from the age of 13 into her '30s? The nuances of her performance? Her contribution in acting, singing the songs in Loretta Lynn's style?

8. Loretta at 13 - at home, working with the kids, watching Doo with the jeep, the social night and Doo's auctioning of the pies and his not liking hers -the salt instead of the sugar? Her attraction towards him, his visits to the home, her first drive in a car? Her parents and their hesitation? The humour of the sequence of Doo asking for Loretta's hand and each parent passing him on to the other? The father's conditions about the marriage? The father turning up momentarily in the church to give his daughter in marriage? The love of the two, the lack of preparation for the marriage?

9. Early marriages, the credibility of this marriage? The honeymoon and the cold night? Loretta and her apprehensions about sexuality, fears? The book and her learning? Her inability to cook? Tensions and her going away? The pregnancy test? Her love for Doo and deciding to leave home - how much did it hurt her? Doo's going to Washington, sending for her? The pathos of the sequence on the station with her father - and her not seeing him again except visionary sight at the moment of his death? Their return home for the funeral and seeing Kentucky through the eyes of experience?

10. The transition to Washington? The transition to Loretta's adulthood? Having the children? Her changing as she grew, her love and building up the marriage? The suggestions of detail as Doo worked on the farm, Loretta at how? Her singing and Doo's getting her the guitar? His arranging for her to sing and her success after the audition? Her feeling sick before singing but warming to the occasion? The build-up to the recording - having the children in the studio. Doo's managing of her? The decision to move round the countryside and promote the record - photos, quick talk etc.?

11. The decisions to be made about Loretta and a career? Loretta and her ambitions as a singer as she taught herself to sing, play, compose - the sequence of her composing working with the vegetables? Doo's decision to be her manager? The consequences of the decision? Seeing them on the road, going to the disc jockeys, the disc jockey who hadn't opened the record and their pressurising him? Her use of bad language ignorantly on the station? Their not knowing that she was on the top records of the United States? Their joy together? The move to Nashville and waking up outside the Grand Ole Opry? The importance of the death of Loretta's father and her mother looking after the children? The tribute to Patsy Cline and visiting her in hospital., singing her song at the Opry? The friendship between the two? Doo and his place during the growing success - his conditions, especially about make-up and Loretta’s defying him? The great success and the effect that it had one her? Doo and his going down.. drinking, flirtations? Yet Loretta wanting him to protect her?

12. The character of Patsy Cline - her popularity, her show, her help with Loretta and influencing her? Doo and the clashes? Patsy's advice about the baby and the warning against the abortion? The pathos of the news about her death and its effect on Loretta? The transition to the birth of the twins?

13. The presentation of the Lynns' family life. the children and Loretta’s care for them., their father's care? Love? Was it enough? Doo's staying home and Loretta going on the road, her returns? The bonds between the two -the incident of the lonely woman ringing in the middle of the night?

14. The visual presentation of the concerts, the Nashville style and glamour? Loretta and her success, the various songs illustrating this? The clashes with Doo, make-up, her fighting him, her being tired and collapsing? Doo and his going on tour with her, at her request? His persuading her to go on when she didn't want to? Her talk, inability to sing, the collapse? The skill in presenting the changing year visually with the seasons and indicating the passing of time for Loretta's recovery? The sequence of the site for the new house, the arguing about the rooms, the bonds between the two? Loretta's self-assertion, Doo's accepting of the situation?

15. Potential in rebuilding her career? The happiness of her success? The title song concluding the film and the visual recapitulation of her life?

16. The film's insight into people, their potential, the show business career with its ups and downs? Environment, opportunities, people having faith in one another, sensitivity, hardships and pressure? The American show business story - told with sentiment and feeling? The legends and myths of American success?

THE CLOUDED YELLOW

UK, 1950, 91 minutes, Black and white.
Trevor Howard, Jean Simmons, Barry Jones, Sonia Dresdel, Maxwell Reed, Kenneth More, Andre Morell.
Directed by Ralph Thomas.

The Clouded Yellow is an enjoyable British thriller, a murder mystery, done in the clipped British style. Written by Janet Green, produced by Betty Box and directed by Ralph Thomas, the latter a pair of film-makers who made a number of comedies like the Doctor series as well as historical films (A Tale of Two Cities, 39 Steps) during the '50s. it is a star vehicle for the young Jean Simmons who was soon to go to Hollywood. It is a sturdy vehicle for Trevor Howard as hero. Well-known faces from British films are in support, especially Barry Jones as the seeming kindly man who is unmasked as the murderer. It was at this time that he made Seven Days to Noon.

1. Enjoyable murder mystery? British thriller?

2. Black and white photography, London, the countryside? The chase through the lake district, the cities, the towns? Musical score?

3. The title, the focus on the butterfly - and the symbol of Sophie?

4. David and his return from abroad, the Secret Service, his mistake, his being sacked? Applications for jobs? Tabs being kept on him? Going to the country, relationship with Fenton, meeting Sophie, puzzled by Jess? The encounters with Hick and the buying of the rabbit traps? His work, getting to understand Sophie, her loneliness? Falling in love? The murder, his help, taking her to London, his outwitting the police and the chase? To Newcastle, his contacts, the friendly couple, the animal dealer? Through the mountains, his pretences, on the bus? In Liverpool? The chase? His being caught by Shipley? The happy ending?

5. Sophie, the background of her parents' death, her confusion, loneliness? The audiences blaming Jess? Playing the piano, changing her tea, taking her knife? The importance of the normality with David? The murder, the interrogation, going with him, following his advice, the meeting with the doctor, needing to remember, remembering Jess in the forest? The confrontation Fenton and remembering him? The chase and rescue?

6. Jess and Fenton? The countryside, Fenton and his welcome, nice old eccentric? Jess as being sinister, the piano, her relationship with Hick? Her changing things for Sophie? The phone call, Fenton listening, his coming to Liverpool, the chase?

7. The Secret Service chief, the dismissal of David, his going to him in London? Shipley, admiration, pursuit, shrewdness, taking him in the shop?

8. Hick and his brutality, meeting David, around the farm, with the rapids, with Sophie, with Jess? His death?

9. The gallery of supporting characters, police inspectors, the people in Newcastle, the Chinese?

10. A blend of English murder mystery and adventure chases (like The 39 Steps, Gaslight...)

CLOSE ENCOUNTERS OF THE THIRD KIND: SPECIAL EDITION

Close Encounters of the Third Kind: This Special Edition of a very popular film purports to offer what writer/director Steven Spielberg originally intended. The aftermath of Roy Neary going into the spaceship is very brief but rounds off the film. I didn't find the original persuasive because of the end, the gaps in explanation and the characterisation of Neary. This special edition is, at least, more persuasive. Cuts and additions give greater credibility to Neary's obsession as well as the effect of the encounters on him and his wanting to go to the Devil's Tower. This is a much smoother and tighter film than before - the editing helps it - though it remains a film for its devotees.

1. The popularity of this film in 1977-78, the atmosphere of Star Wars, space films? The advances in technology? Interest in U.F.O.s? The reality, the unreality, the hypotheses? Popular response? The work of Steven Spielberg? Awards? The decision to make a Special Edition - its popular commercial success? The value of a revised edition of a film? The omissions, the additions? The change in characterisation of Roy Neary, his family? The vision of U.F.O.s and meeting visitors from outer space? The entry into the spacecraft?

2. The technical bravura of the film: Panavision, location photography from Indiana to Wyoming, the deserts, Mexico, India? The special effects of the U.F.O. flights, landings? The Devil's Tower? The spacecraft centre? The flying of the visitors' spacecraft, its immensity, landing? The special effects for the inhabitants and their coming to meet the people of Earth? The inside of the spacecraft? The special sound effects? Musical score, use of old songs?

3. The film in the cinema tradition of science fiction: the early developments of science fiction and fantasy, B-grade productions, visitors from outer space, The Day The Earth Stood Still? Growing interest in U.F.O.s? Aliens? Exploration of space and contact? The mysterious disappearance of people? The possibilities of space exchange? The background of technology and jargon? The American film tradition of families, family arguments, the emphasis on children? Television background, the ten commandments, cartoons? Songs?

4. The breadth of scope of the background: Mexico and the discovery of the old planes, Claude Lacombe and his interpreter David Laughlin? The Gobi Desert and the ship? India and the melody? The discoveries of planes, ships? Lacombe's work and interpretation of the music? The importance of the sequence of getting frequencies and sounds on airport controls?

5. The character of Lacombe - and Francois Truffaut and the need for translation? His work, interest, his going around the world? The evidence of disappearance and rediscovery of planes and ships? His presence at the Devil's Tower? The cover at the tower? Training the exchange visitors? The interrogation of Roy, allowing him to go on the flight? His delight at the encounter with the visitors from space?

6. Roy Neary as an everyman figure? The average American? The detailed scenes of home life, relationship with his wife, children? His job? The ordinary man confronted by the extraordinary? The sense of vision, oddity of behaviour, his attempts at reassurance? The inner drive to seek what he didn't know? The interior shape of the Devil's Tower? The build-up of the home arguments, the effect on all the family, leaving home? (The different versions emphasised particular aspects of his drive: the shaping of the potato at the meal, the discussion about ice cream shapes, shaping the shaving soap, and in the original version building a huge mud model of the Devil's Tower in the living room?)

7. The build-up to the first encounter - the repercussions on blackouts, electric gadgetry working, toys moving, households being upset? The movement overhead and the brilliant light, the shaking of the railway booms? The burn on Roy's face? Roy almost killing Barry as he ran on the road? Finding the people waiting for the space ships? Sharing with them, returning different?

8. Gillian's story and her waking up, Barry and his delight, his wandering away, her being burnt in the face? Sharing with Roy? The impact of Barry disappearing?

9. The repercussions for Roy: excitement, drive, losing his job, seeming mad? His family arguments and departure? The neighbours watching? The parallel with Gillian and her obsession with drawing models of the Devil's Tower?

10. The film's use of horror techniques for shuddering rooms, eerie happenings in the households, lights and machines, televisions going on? The irony of the Devil's Tower on the television and the discovery of both Gillian and Roy of Wyoming?

11. The cover-up about Wyoming and the Devil's Tower, the elaborate mans taken, dead cattle, the escaped gas story, the huge evacuation scene? Making the impact of this evacuation larger than life? Media coverage?

12. Roy and Gillian and their compulsion to go to Wyoming? Roy and his driving, the maps? Meeting one another at the railway station? Their determination to go on, going through the gates, the fields? Running away from the helicopter and the guards, climbing the mountain? Their being taken and discovering that there was nothing wrong with the air? The others removing their gas masks? Coming down from the mountain and discovering the set-up for the space ships? The delight and anticipation of the huge event? The audience sharing their vision and anticipation?

13. The arrival of the spaceship and its enormous size, lights? The communication by music and the elaborate means taken? The opening up of the space ship and the disappearing people coming, including Barry coming back to his mother?

14. The preparation of the group going on board, the patriotic build-up, the priest blessing?

15. Roy and his delight, a type of visionary ecstasy, the picture of the creatures appearing and the way that the special effects presented them, partly human, partly eerie, gentle? An effective imagination of creatures from outer space? Their encountering the humans? Roy? Lacombe's delight?

16. The build-up for Roy going inside the space ship? The grandeur of the interior, lights, magnitude of size, music? Satisfying the audience about the inside of the alien space ship? A satisfactory ending to the film?

17. The success of the film: technical, a portrait of middle America and its vision, science fantasy of the future, science fiction?

CLOSE ENCOUNTERS OF THE THIRD KIND

US, 1977, 152 minutes, Colour.
Richard Dreyfuss, Melinda Dillon, Francois Truffaut, Teri Garr, Bob Balaban.
Directed by Steven Spielberg.

Close encounters of the first kind: sightings at close range, usually within a hundred feet. Close encounters of the second kind: sightings followed by the finding of physical evidence, such as landing marks on the ground, scorched earth or broken vegetation. Close encounters of the third kind: the most dramatic of the sightings when "occupants" of the U.F.O. are seen and, in some cases, physical contact is made with them.
(Dr. J. Allen Hynek, The U.F.O. Experience - A Scientific Inquiry).

THE CLONE MASTER

US, 1978, 96 minutes, Colour.
Art Hindle, Robyn Douglass, Ralph Bellamy, Ed Lauter.
Directed by Don Medford.

The Clone Master is an entertaining science fiction thriller - in the form of a television movie pilot. The focus is on scientific investigation, corrupt businessmen investing deceitfully in such bio-chemical experimentation - under the guise of government aid. The possibility of cloning is taken for granted and some of its implications presented. The film veers between thriller and the science fiction aspects of cloning, especially the psychological and personal implications. The cast gives its best - and there is a strong early performance by crusty Ralph Bellamy as the scientist pushing the cloning. The ending is somewhat inconclusive - anticipating television episodes rather than rounding off the film. Perhaps average in its presentation, but interesting in its implications. One thinks of such other films as The Boys from Brazil with Ira Levin's frightening insights into the possibilities of cloning Hitler.

1. Impact of the film as television thriller? Science fiction? Its success as a series pilot?

2. Production values: the apparatus of scientific investigation and experimentation? Plant, equipment? The university background? Washington and the Pentagon? The interests of international big business? Colour photography? Special effects - especially for Simon and the clones? Dramatic pace? Musical score and atmosphere?

3. The issues of the film - the possibilities of cloning? Explanations given? Possibilities? Plausibilities? The scientific jargon? The possibilities of exact replication? How facile was the presentation in the film? The optimistic consequences? The honourable scientist being replicated? The possibilities for corruption - especially by big business interests? The consequences of the clones - as in the summary of the film? Audience response to cloning?

4. The film as science fiction? The possibilities of biochemical technology? The commitment of scientists? The finance needed? Government support? Company support? The possibilities of violence, conspiracy, murder? The film as a thriller?

5. The focus on Simon as hero? His skill at his work? Work with Ezra? The encounters with Harry? The concealing of the truth - especially from Bennett? The irony of Bennett's identity? The encounter with Salt - explanations, suspicions? The visit to Washington? The help from Gussie? The build-up to the time for the cloning? (The effect of the hours remaining being given throughout the film?) The replication? The initial encounter with No.l? The relationship of father-child? The other clones? Their participation in the Washington adventure? The telepathy contact? The fire and the finale? Their going throughout the world? Their being images of Simon?

6. The interesting aspects of Simon being replicated - the clones accepting their status? The possibility of control to each clone - but their not being able to communicate by telepathy with each other? A control over the clones? The supremacy of the father figure?

7. Ezra as the intense and crusty scientist? His pushing the experimentation? His cover? Clash with Harry? His eluding capture? His being taken - and the story of his death?

8. Gussie and her initial attack, her background and knowledge, participation in the experimentation, in the climax?

9. Salt as villain - Harry and Salt both listening through the bug to Simon and Ezra? The confrontation with Harry? Salt's incapacitating Harry? Harry indicating his name at the hospital? His posing as a government agent - effectively? His smooth touch? The arranging of the meeting in Washington - and the fake group? The confrontation? The fire? His defeat?

10. Bennett as seemingly honest detective? The irony of his being in Salt's power? Salt's other cronies - especially the woman scientist and her posing as the secretary?

11. The scientific sequences - especially of the cloning? Their effect? The optimistic tone taken by the screenplay?

12. The action adventure - Harry and his being gassed, the taking of Ezra, the fire in the location and the escape by Salt?

13. The plausibility of this kind of material? Its popularity in television programmes. Its effect on popular audiences in their understanding of cloning and its possibilities? Acceptance of cloning?