THE CLOCK

US, 1945, 90 minutes, Black and white.
Judy Garland, Robert Walker, Jams Gleason, Lucile Gleason, Keenan Wynn, Marshall Thompson, Chester Clute.
Directed by Vincente Minnelli.

The Clock is a very pleasing war romance and gives a very fine performance from Judy Garland and this is matched by the sensitivity of Robert Walker. He plays a soldier on leave in New York, a nice and naive young man in the big city. He accidentally encounters her and they spend some time together, gradually falling in love, having a great deal of difficulty to get a marriage licence and then only after a short time together he goes back to the war. The film was Judy Garland's only dramatic role amongst her many musicals at M.G.M. She was to show later in A Star Is Born her capacity for dramatic acting. Robert Walker was to have a very short career. The film was directed by Vincente Minnelli who had directed Judy Garland in Meet Me In St. Louis and was soon to become her husband. (The film had been started by Fred Zinnemann but he and Judy Garland could not work together.) Somewhat dated but still has great feeling and appeal.

1. An entertaining and moving love story? The title and its symbol? Love, relationships? Time? War and time?

2. The conventions of the love story? The introduction of hero, heroine, their meeting? Contrivance? Realism? The development of the love story, friendship and companionship, shared experiences? Marriage? How conventional a love story? Differences? Quality?

3. The black and white photography, New York City as a character of the film? Streets, buildings, offices, homes, apartments? The environment of the station for the beginning and ending? The musical score?

4. How plausible was the plot? Army leave, sudden falling in love, marriage, departure for war? Wartime romances and their credibility? Genuineness, future? How persuasive was this story?

5. Joe and his background, coming from the country, his asking people the sights of the city and their answers? His loneliness? The chance encounter with Alice? Their sharing experiences together, the bond between the two, her continually going away and his following her - especially in the bus? Meeting under the clock and her being late? The happy evening? The possibility of marriage? The discussions with the Henry family? The humorous encounters e.g. with the drunk? The decision about the marriage, the rush against time and seeing so many people, persuading people to give them the licence, the health certificate etc.? The unromantic nature of the wedding, the church ceremony and their being present? The evening together, the tenderness of the breakfast sequence? His farewell and going off to war? Robert Walker's presence, style, sensitivity?


6. Judy Garland as Alice? From the country, enjoying her work in New York, the chance encounter with heel, showing him the sights, discussion, the enjoyable afternoon -the museum? His chasing her on the bus? Her discussion with her room-mate and Bill? Finally deciding to go to see him? The bond together? Mr. and Mrs. Henry? The ordinary things done - taxi rides, walking the streets? The decision about the marriage and its effect on her, the hurry and the desperation? The flatness of the ceremony itself? The church ceremony and their meal afterwards? The night, the morning and her getting Joe's breakfast? The simplicity of his going away and her being lost in the crowd? The authenticity of her character?

7. The contribution of the minor characters - the drunk, taxi-driver, Mr. and Mrs. Henry, the officials at City Hall, the helps for the health certificate etc.?

8. Alice's girlfriend and her incessant talking, advice, Bill and his silence? Characters or caricatures? The contrast with Alice and Joe?

9. The film's gentle exploration of falling in love, the qualities that attracted each of the characters, the decision to marry and its wisdom, the desperation, the sentiment of the church ceremony, the awkwardness of the meal? The tenderness of the breakfast sequence? The feeling of the ending? A satisfying romantic film?

CLIVE OF INDIA

US, 1935, 90 minutes, Black and white.
Ronald Colman, Loretta Young, Colin Clive, Francis Lister, Montagu Love, Robert Greig, Leo G. Carroll, C. Aubrey Smith, Mischa Auer.
Directed by Richard Boleslawski.

Clive of India is an early Darryl Zanuck production. While it has the sweep of Clive's career in England and India, the screenplay is based on a play by W. P. Lipscomb and R. J. Minney. It focuses very much on Clive as a person and his relationship with his wife and subsequent rise to fame and potential collapse.

The film presupposes the worth of the British Empire, the necessity of the presence of the British in India in the 18th. century and afterwards. It has, at times, quite a patriotic sounding tone. However, it is very much a Hollywood version of British spirit.

Direction is by Richard Boleslawski who made such films as Les Miserables and The Garden of Allah. Ronald Colman tends to declaim a great deal in the central role while Loretta Young looks attractive and sometimes wan. There is a strong supporting cast. Music is by Alfred Newman and uses some traditional British themes.

1. An interesting re-creation of 18th century India? Britain? Sketch of Clive of India and his career, background, relationship with his wife?

2. 1930s production values: Hollywood sets, the re-creation of the atmosphere of India - the South, the countryside, the battles, the Black Hole of Calcutta, the traders, the military? The atmosphere of England - parliament, stately homes etc.? Pacing? The musical score?

3. The reputation of Clive of India? In his time? Denunciation? History's interpretation? His role as a hero? A later 20th. century re-evaluation? Interest in India? The perspective of the 130s -to be changed after independence? Themes of Empire, success? Colonialism?

4. The portrait of Clive and his work as a businessman, as an accountant, his dissatisfaction, his suggestions to the army, his boldness, success, gaining in wealth? The return to England? His work in India as an administrator? Deals, politicking - and the possibility of failure? This later being held against him? His relationship with his friends, the support of his brother-in-law? His love for Margaret, devotion to her? His son, death? The estrangement? A lone figure, the support of the Prime Minister, of Margaret? The restoration of his reputation?

5. The film as a romance - the locket and portrait of Margaret, her coming out, failing in love with him, her shyness, the dance, the couple in India, their return to England, wealth, the child, the return to India - too much for Margaret? The final reconciliation?

6. The East India Trading Company and the portrait of money men in India, their attitudes towards business, towards Indians? Treaties? The military? Political tangles and influence? The final victory by the East India people?

7. The portrait of the East Indians? The mad ruler, the Black Hole of Calcutta? Alliances?

8. The film relying on interiors rather than exteriors? The audience grasping the situation in the towns, relationship with the Indians, rebellion? Battles?

9. The film as interesting historically - a film of the '30s, '30s popular style and interpretation of history? Attitude toward the British? Towards heroism?

CLEOPATRA JONES AND THE CASINO OF GOLD

US, 1975, 90 minutes, Colour.
Tamara Dobson, Stella Stevens, Norman Fell.
Directed by Chuck Bain.

Cleopatra Jones/Cleopatra Jones and the Casino of Gold: Box-office today (the mid-70s) suggests Women's lib., Black Power, tough cops, anti-drugs, cars and bikes, karate, sleazy crooks, big boss etc. Here they all are, dressed up quite efficiently and slickly too to make this effort one of the best and most enjoyable of its kind. Model 6'2" tall, Tamara Dobson has style and the makings of a black super-heroine (and of TV series). Villainesses are the epitome of American Momism (called 'Mommy') with Shelley Winters underacting and overscreeching to effect, or sultry Stella Stevens. Clearly made for U.S. black audiences to cheer to (and with in-black jokes and style) it is popular enough entertainment and classy matinee cops and robbers.

1. What was the impact of this adventure film? How enjoyable? For what audience was it made?

2. How successful was it within its thriller genre? Crime, violence, the police, drugs?

3. Comment on the visual presentation of the film and its style: wide screen, locations, lavish sets, costumes, the oriental overtones.

4. How interesting and enjoyable was Cleopatra Jones as a heroine? What are the characteristics of heroism in this feminine policeman? The emphasis on fashions, on her dedication to her job, her capacity for fighting, her sense of law and right order? Was she an attractive and credible heroine? Comic -book heroine?

5. Miss Big as the villainess? A sufficient counter to Cleopatra Jones? Black versus white, heroine versus evil woman? Miss Big as a person, her style, her perversion, her running of the Casino, the final fight?

6. The contrast of the Chinese girl as an efficient policewoman and agent? As a contrast with Miss Big and Cleopatra Jones.

7. How convincing were the villains? Stereotypes? The number that were killed in the Casino?

8. The presentation of the police? The exasperated American? The local Chinese police?

9. Comment on the film's violence, cruelty, sadism. The necessity of such police work?

10. Should the film in any way be considered realistically? If it is considered as the equivalent of a comic, how successful was it?

CLEOPATRA JONES

US, 1973, 89 minutes, Colour.
Tamara Dobson, Shelley Winters, Bernie Casey, Brenda Sykes, Antonio Fargas, Bill McKinney?.
Directed by Jack Starrett.

Cleopatra Jones/Cleopatra Jones and the Casino of Gold: Box-office today (the mid-70s) suggests Women's lib., Black Power, tough cops, anti-drugs, cars and bikes, karate, sleazy crooks, big boss etc. Here they all are, dressed up quite efficiently and slickly too to make this effort one of the best and most enjoyable of its kind. Model 6'2" tall, Tamara Dobson has style and the makings of a black super-heroine (and of TV series). Villainesses are the epitome of American Momism (called 'Mommy') with Shelley Winters underacting and overscreeching to effect, or sultry Stella Stevens. Clearly made for U.S. black audiences to cheer to (and with in-black jokes and style) it is popular enough entertainment and classy matinee cops and robbers.

1. Why was this film enjoyable? What did it have in its favour? what hindered? How successful was the film as: a police drama: Cleopatra as a policewoman, the picture of the police, corruption amongst the police, police techniques and tactics? As a crime drama: Cleopatra as a heroine; as the villainess and the style of villainess she was? The deeds that she did, the corruption of the police, the assassination attempts; her henchmen and their ugliness?

2. As an example of Women's Lib: the feminine heroine, her power over others, her success and skill, confronting a feminine villain? As a Black Power film: as made for black audiences; the issues of black life in America, prejudices, e.g. of the police; typical black characters e.g. the children; the style of language and the jokes? As a film against drugs? The picture of the rehabilitation house, black roles in drug-pushing; the involvement of criminals in drugs? The possibilities of corruption? As a karate, kung-fu style exercise in violence?

3. Was it overdone or was it appropriate? As tongue-in-cheek, comedy style adventure? How seriously did it take itself? How seriously did it want its audience to take it? Why? As a comic strip: were the people characters or caricatures?

4. Which characters were roundly portrayed?

5. Comment on the situations and adventures in the film. Were they typical comic strip and matinee material? Was there an originality in them? Where?

6. Comment on the ending in the junk-car yard. How was the film superior in its visual style and its presentation of environment? The opening burning of the poppy field, the presentation of Los Angeles, sequences in the growth settings, in Saint Cecilia's Church, the final fight between Mommy and Cleopatra etc.? Where did the film stand on right and wrong, good and bad? What values did it presuppose in its audience? Did it reinforce these values?

CLEOPATRA

US, 1963, 192 minutes, Colour.
Elizabeth Taylor, Richard Burton, Rex Harrison, Roddy McDowell?, Robert Stephens, Andrew Keir, George Cole, Martin Landau, Hume Cronyn, Pamela Brown.
Directed by Joseph L. Mankiewicz.

Cleopatra was designed as the spectacle to end all spectacles, and the stories about its budget, its lavishness, its temperamental stars and their scandals were all publicised during 1962-3. The finished product turned out to be better than expected. Some of the scenes are excellent; others pseudo-literate. The spectacular scenes, especially Cleopatra's entry into Rome, are stupendous, especially in terms of machinery, costumes and extras filling the screen.

Unfortunately the film is lop-sided, the first part being better constructed and much more interesting than the second part. One of the reasons for this is a characteristic performance by Rex Harrison as Caesar. His valour, diplomacy, cunning, ambition and longing for a son are all conveyed in a cleverly comic performance which ends in tragedy - the artificially cut sequence of his assassination is absorbing and shocking.

Elizabeth Taylor is good and bad over the three hour screening time. Richard Burton's Antony is his usual portrayal. The love scenes are not excessive in the second part, but Antony fades in comparison with Caesar and the film limps. However, as an extravagantly mounted picture of the times, it would be hard to beat and communicates something of the issues of this epoch.

1. The character of Caesar - diplomacy, cunning, ambition, epilepsy, desire for a son, assassination?

2. Cleopatra - did Elizabeth Taylor convey the reality and the legend? Her ambitions, love, pride, death?

3. Antony ~ his loyalty to Caesar, as a Roman, infatuation with Cleopatra, loss of his grip on ambition and his army, his death?

4. The presentation of Egypt as weak and on the verge of collapse. The Romans' conquest of Egypt?

5. The effectiveness of the spectacular scenes in the film?
- the market of Alexandria;
- the Egyptian court;
- the Roman armies;
- the entry of Cleopatra to Rome;
- Caesar's assassination;
- the banquet for Antony;
- Cleopatra's barge, etc.

6. Considering the human effort, the time and money put into the film, was it worth it?


7. Is Cleopatra just a spectacular film? A cinema work of art? Or something of both?

CLAUDINE

US, 1974, 92 minutes, Colour.
Diahann Carroll, James Earl Jones, Lawrence Hinton- Jacobs, David Kruger.
Directed by John Berry.

The Black genre developed during the 70s, sometimes seeking the sensational with supercops, sometimes bitter in memory, sometimes just concerned with the people shown, their lives, worries, ambitions. Claudine is one of the latter, a domestic comedy-drama of a divorcee with six children (with varieties of cantankerousness) and a genial garbage collector who is wary of responsibility. Set in New York, the film has opportunity for laughs at modern city living as well as anxieties about welfare, money, marriage. Diahann Carroll brings both charm and weary realism to the harassed Claudine and James Earl Jones is a bright hero. The film is enjoyable but ordinary.

1. How enjoyable a film was this? How satisfying a comedy drama? Was it a good film? Why?

2. For what audiences was it made? The difference in response from a black audience and a white audience? An American audience and a non-American audience?

3. How successful was the comedy? How humane? Was it actually funny? When? The portrayal of human foibles and therefore a wisdom in the comedy? How successfully?

4. Was the film successful as modern social drama? Interest in the people and their feelings and interactions? The social message of the film? As portraying a real world?

5. How authentic did the film seem? The portrayal of New York, riverside, the negro sections, the negro way of life? Was the plot credible for the film? Did the whole film and its issues seem real and demand a real response?

6. How important were the actors for this film and the impact of their personalities? The locations. the humorous and dramatic situations, the colour, the music and its atmosphere, the songs?

7. Did the film focus well on Claudine for audience - sympathy and interest? Diahann Carroll's performance and personality? Meeting her on the bus, at work, the problems of welfare, the problems at home and our introduction to them with Roop? The background of her husbands, the children, the various problems with the welfare inspector and the tricks to be played? As tired, as a mother trying to cope? The quality of her response to Roop? The flattery of having a date, the decisions to enter a liaison, the growing in love? Her anxieties for Charles and Charlene? The gifts from Roop, the benefits for their life, the continuing issues with welfare? The prospect of marriage and the emotional turmoil? The shock of no marriage? The continuing hope? Did this portrayal give insight into a modern woman trying to cope with family in the city? The insight into a dignity of a black woman?

8. How attractive was the portrayal of Roop? His genial personality, his work, his wisecracks, his wanting a date? The humour of his arrival and his experience of the children? His decisions about a liaison with Claudine? His love for her and the treatment of her? The growing rapport with the children? Supporting them with gifts? His encounter and the welfare problems? The attack by Charles and its fulfilment? The shock of having to support his own children? How callous was he in their regard? His running away and defeatism? The happy ending - was that appropriate? Did this performance give an insight into the average man?

9. How well were the children portrayed? Charles at the awkward age? His relationship in the family? His relationship with Roop? His conventional type of protest and the portrayal of this? How real was his involvement? Charlene and the usual problems of adolescence and pregnancy? The smaller children and their raucousness? How real did the children seem? Was this altered with the happy and romantic ending?

10. The importance of the welfare worker in the film? Doing her job? The letter of the law? How real was the attack on the system? The importance of money and financial survival in the vital world?

11. How well did the film explore relationships, marriage, family?

12. what stances and values did the film presuppose in its audience so that they could sympathize with Claudine, Roop and the family?

THE CLASS OF MISS McMICHAEL

UK, 1978, 99 Minutes, Colour.
Glenda Jackson, Oliver Reed, Michael Murphy, Rosalind Cash.
Directed by Silvio Narizzano.

London remedial schools of the 60s must have benefited only temporarily by Sidney Poitier and To Sir with Love. Here, in the 70s, they look and sound just as bad. While the material seems overstated and Oliver Reed's superciliously incompetent, face-saving headmaster may seem overdone, many connected with schools, their running and their problems, will be nodding their heads. Glenda Jackson gives strength to Miss McMichael?, an average sympathetic teacher, and audiences will probably share her passionate outburst at the end. This film doesn't offer many solutions or much hope except basic human decency, sympathy and respect that could help adolescents to keep going, and maybe, eventually make a breakthrough.

1. Expectations from the title? Themes of schooling, broad education themes? The world of teachers? Serious, light? Drama? Comedy?

2. For what audience was the film made? Its impact on British audiences, international audiences? The presence of Glenda Jackson?

3. The film as a Glenda Jackson vehicle? How does her acting and presence enhance the film? The merits of the plot, treatment without her presence?

4. The personality of Miss McMichael? Glenda Jackson's presence and style? As a woman, teacher? An ordinary teacher? Seeing her on her way to school, ‘one of those days’? Her relationship with the other teachers, her presence in the staff-room, trying to criticise the headmaster and get the other teachers active? The clash with the headmaster? Her presence in the class room, class control? Her relationship with the boys and the girls and their various problems? The contrast of her life at how, her failed marriage, her apprehensions about relationships and marriage, her living with the American businessman? Happiness? His being preoccupied with his world and trying to make decisions for her? The importance of her decisions and making them on her own? A creative teacher, clashes with the Administration? A portrait of an ordinary teacher in such a school?

5. The emotional response to the plot? In itself as treating children and their problems, remedial work? The presentation of youth - language, interaction? The classroom situation, outings? Their behaviour, defiance, home background and expectations of life? The type of remedial work necessary? Manners, morals, sexuality, language, violence, roughness? How real were these children? Their trying to cope with life and not knowing how? The teachers trying to cope with them and bringing an attitude to work or dedication? Miss McMichael? within this context? The importance of the craft-room, the sequence when she was sick and was looked after?

6. The various crises day by day in the school? Their effect on the pupils, on the staff? How was this illustrated by the craft-room? The Headmaster and his initial attitude, his turning against his decision? The growing clash between Miss McMichael? and the headmaster? The violence of the outburst and the truth that she told? Paralleled with the clash with the American businessman? The future?

7. The presentation of the staff; intimidated by the situation and the headmaster, by the pupils? Staff-room, meetings? The headmaster and his treatment of them and treating them equivalently to the pupils? The various personalities of the teachers, the black teacher and her friendship with Miss McMichael?

8. How credible was the portrait of the headmaster? Supercilious, boorish in manner, keeping order, physically banging heads together? Was he credible? His decisions? His attitude towards externals, the cliches that he mouthed? His liaison with his secretary? His taking officials on tour of the school? The craft-room and his stopping it? The irony of the tour when he was out and his being found out? The violence of his outburst? The clash with Miss McMichael? Would he change at all?

9. The businessman and his living with Miss McMichael?, as a type, love, shared experience, his attitude towards the pupils and his reluctance to have them in the house? His work, visits to Paris? His pre-occupation with himself and his future, his wanting her to share it? Her refusal?

10. The Administrators, the visits and the tours of the school? The impression made by the headmaster? The irony of their being taken around by the student and his showing them the bad side of everything?

11. The treatment of schools and this kind of situation by comedy, farce, drama? How does this emphasis, albeit exaggerated, draw the attention of the ordinary audience to such situations? The day by day running of such schools? The credibility of chaos and crises? Human themes, education themes?

CLASS

US, 1083, 94 minutes, Colour.
Rob Lowe, Andrew Mc Carthy, Jacqueline Bissett, Cliff Robertson, John Cusack.
Directed by Lewis John Carlino.

Class is directed by Lewis John Carlino, author of The Brotherhood and The Mechanic, writer of such films as Resurrection and director of The Sailor Who Fell From Grace With The Sea and The Great Santini.

Class resembles a number of popular films of the early '80s - sex exploitation films focusing on teenagers and schools e.g. My Tutor, Private School. However, Class is much better than these films. While it is sex comedy, it has a serious underlying vein. The treatment of the characters is not the mockery of so many of the comedies - especially parents and school officials.

Andrew McCarthy? is effective as the awkward boy who comes under the spell of the middle-aged neurotic Jacqueline Bisset. Rob Lowe, The Outsiders, The Hotel New Hampshire, is very good as his room-mate Skip. Cliff Robertson has only a few scenes as Skip's father. The film shows something of contemporary American affluent education - with its permissive and ambitious style. The film also shows the upper-class Americans (referring to their bootlegging origins and being scorned by the police investigator) and showing the problems of America's rich class. The film is seen through the eyes of the boys and is quite an effective portrait of friendship - from pranks, misunderstandings to help, to betrayal and fighting and reconciliation. An entertaining film of its kind.

1. The significance of the title: reference to school, reference to style, reference to the gap between rich and poorer in the United States? The tilts at the affluent class?

2. A portrait of America in the 80s: education, families, marriage, finance, politics?

3. Locations, Jonathan's hotel, the college and its surroundings, Chicago and its bars and streets, New York and its shops? mansions affluent U.S.A.? musical score?

4. Audience response to the film's popularity? comparisons with the youth orientation films? the college films of the early 80's? were the comparisons appropriate? differences in point of view?

5. The introduction to Jonathan and Skipper? Jonathan's farewell, arrival at college, the college atmosphere, the new boy looked down on by the older students, Jonathan as the odd man out, lifting his luggage to the room, the encounter with Skipper, Skipper's practical joke about wearing the underwear, his going out amongst the crowd, climbing back through the window? reaction? Skipper calling a truce? Jonathan's reaction - the dining room, the tears, hanging himself, the face of the Principal on the on the hanged dummy? interview with the Principal? laughing together, common bonds, the beginning of friendship? the film as a portrait of adolescent friends? Allied to rites of passage, men, manliness? sexuality? responsibility? educational prospects? betrayal, clash? reconciliation by venting anger, physical contact, fighting?

6. A portrait of male bonding, friendship, shared enjoyment, company, warmth, help, interest, support, betrayal, anger, worse off?

7. The Academy, the affluent background, its reputation, as feeder to Harvard? the background of classes, exams, cheating? lessons? sports practice, hockey? religious practice - the hymns, celebration of Christmas? (the film's attitude towards religion - accepting its place, the tradition, the taste of Skipper going to the Halloween party dressed as Jesus Christ, (even with his Cross?) socialising, dates? the background of schools and drugs and the flushing of supplies when an inspection seemed imminent? the focus on sex, reputation through the school, waiting, reality? the title of the film and its reference to education?

8. The feature of adolescents and their bravado - the pranks, the socialising, the slapstick comedy at the meeting with the girls, the committee? picking up the girls after dark, the vomiting in the car? the boys school - cards, knocking the codes, the pressure and influence? laughter with, scorn? sex and macho images and reputations? mutual help? the interrogation about cheating in the exam - Skipper's refusal to answer the Inspector and the acclamation by the bogs? by the lone teacher?

9 The police authority, his having a shower while the boys raided his apartment, their interpretation of his being a drug inspector and its repercussions, the examination and his interviews, his prejudice towards Skipper -prejudice about class and class distinction?

10. Jonathan and the farewell from his parents, the smothering attitude of his Mother? his being aloof? Initiation and pranks, his being held responsible for the mishaps at the social committee meeting? The friendship with Skipper, his decision to go to Chicago, his aplomb at the bar - his foot through the chair, how he got the black mark on his face? being rescued by Ellen? his nervousness on the roof at her being on the edge (a symbol of what was to happen)? the lift and the sexual encounter, the sexual encounters at the hotel? his response, falling in love, tenderness, erotic experiences? his gathering the flowers for Ellen? the further visits? his reputation amongst the boys, their egging him on? his lies about North Western University, the visit to New York, the line of clothes and Ellen's disappearance? his depression and staying in bed? Skipper's encouraging him?

11. The holidays and his going to visit Skipper's family? the drive there, the vulgar display of affluence and his liking it? Skipper's Father and his predictable talk about economics (the background of money made by bootlegging etc.?) The encounter with Ellen and the mutual surprise? the tension and deep feelings? the Father's interrogation, the embarrassing meal, the coming to him during the night and his embarrassment? Talking with Skip on the lake in the canoe? The hunting sequence and Father and son rivalry, Ellen ordering him off the property?

12. The continued phone calls, the pressure on Jonathan? his visiting her -and the irony of his being caught by the group, the effect on Jonathan, on Skip? Ellen's embarrassment at asking him to leave? The experience showing Skip his true feelings?

13. The portrait of Skip - affluent background, at home in the Academy, the pranks on Jonathan, the friendship, sexual reputation, egging Jonathan on? His aping Skip's style? His Mother's behaviour? His disillusionment with his Mother and Jonathan? Her getting psychiatric help? His acceptance for Harvard? His telling of the inspector about the examinations? His being hailed as the school hero? The resolution of clash with Jonathan?

14. The Father and his visit, Jonathan’s nervousness, the explanation about Ellen?

15. Ellen - first impressions at the bar, her picking up Jonathan, her tenderness - and nymphomania? on the roof, in the elevator, the sexual encounters? The credibility of the relationship? Her discovering the truth? The visit home, her drinking, trying to see Jonathan during the night, ordering him from the property, her continued phoning and pressure, the final encounter and her embarrassment - her seeking psychiatric help?

16. Jonathan's expectations that Skip would report him to the inspector? The final clash, the physical force of the fight and the reconciliation?

17. A piece of entertainment? A mirror of contemporary society? The variety of meanings of the title, education, society and class distinctions, class as quality of style and good taste?

CLASH OF THE TITANS

UK, 1981, 118 minutes, Colour.
Laurence Olivier, Claire Bloom, Maggie Smith, Ursula Andress, Jack Gwillim, Susan Fleetwood, Pat Roach,, Harry Hamlin, Judi Bowker, Burgess Meredith, Sian Phillips, Flora Robson, Freda Jackson, Freda Jackson, Anna Manahan, Tim Piggott- Smith, Neil Mc Carthy, Donald Houston.
Directed by Desmond Davis.

Clash of the Titans has excellent technical credits but is a disappointing adventure. It is particularly the work of Ray Harryhausen, a creator of special visual effects for over 30 years - The Seventh Voyage of Sinbad, Jason and the Argonauts and several other Sinbad adventures. The writing is by Beverley Cross, a historian who wrote the screenplays for such adventures as Genghis Khan and The Long Ships. Direction is by Desmond Davis, director of The Girl With Green Eyes, Smashing Time, A Nice Girl Like Me. There is also an excellent cast led by Laurence Olivier. Harry Hamlin as Perseus the hero, is, however, a somewhat dashing but wooden hero.

The film takes Greek mythology and presents it in an entertaining style - however, the dialogue and the action is more reminiscent of adventures of the '50s and '60s than of the '80s. The dialogue seems too contrived and contrasts badly with such adventures as Star Wars and Raiders of the Lost Ark. The work of Ray Harryhausen is the best feature of the film and, indeed, its reason for existence.

1. How interesting an adventure? The appeal of Greek mythology? The relevance of mythology for the present? Heroes and heroines, dangers, monsters?

2. The atmosphere of the old world: Greek location photography, colour, the sea and the landscapes, the cities? So much action in the air and from the air? Costumes and decor and atmosphere? The suggestion of the gods on Mount Olympus? The importance of the special effects: monsters and battles, Pegasus and his flying, Medusa and her horror and the battle, the Kraken and danger, the two-headed dog, the scorpions, Bubo the humorous owl, the vulture? The special effects of live action and animation with the character of Calibos? Audience delight in these effects and their magic?

3. Audience familiarity with the material: the Greek gods, Olympus, the myths of Danae and Zeus, the birth of Perseus,. Andromeda and the curse on the city? The Gorgon?

4. The basic patterns of Greek mythology and their incorporation into the adventure - fate and the favours of the Gods, punishment, heroes and quests, love, dangers and rescue?

5. The Olympus sequences - Laurence Olivier as Zeus, the range of stars representing the gods, the look of Olympus, the court, the throne? The models of human beings and Zeus' use of the models for his power? The gods with human qualities and defects? Their capacity for giving gifts to men and helping them, destroying them?

6. The prologue of the Danae story - her being given to the sea, Perseus and his safety? The contrast with Calibos and his story - the monster, his threats, becoming a villain? (And his owing so much to Shakespeare's Tempest as well as mythology?)

7. Perseus as hero, rescue from the sea, relationship with his mother, his capacity for riding a horse, the theatre at Joppa, his being befriended by Ammon? His going into the city, the encounter with Andromeda? The fights with Calibos? The discovery of Pegasus and taming him? The riddle and his winning Andromeda? His journey to the Three Fates and their answer, his treatment of them? The confrontation and fight with Medusa? The blood and the scorpions? The guidance of the owl? The final confrontation with Calibos? Rescuing Andromeda from the Kraken? A one-dimensional hero for this kind of adventure?

8. Andromeda as heroine -her dream, relationship with Calibos, the riddle and her being won by Perseus, accompanying him on his adventures, her being sacrificed for the city, the rescue?

9. Ammon as the wise guide, his background of the theatre, comic touches, help with Pegasus, accompanying Perseus on his quest? The wise humour and companion?

10. The various powers given to Perseus and his exercise of these (with special effects)? Shi61d. helmet. sword, owl?

11. The owl and the overtones of Star Wars, talking. sounds, guiding, tricks, the taunting and saving of Perseus?

12. Calibos and his mother, his place in Joppa, the taunting of Thetis and her revenge, the sacrifice of Andromeda and Calibos' death? Ugly, vengeful? A stronger characterisation? Thetis as goddess and yet her human passions - the special effects of her statue falling and speaking?

13. Cassiopeia and Andromeda's fate, the riddle, her taunting of Thetis, sacrificing her daughter?

14. The horror of the Kraken and its double appearance? The destruction of the city at the beginning with Thetis' vengeance? Medusa with her arrows and turning adversaries to stone? The dogs and the scorpions?

15. The background of Zeus and his ruling of Earth, Hera and her jealousy, Thetis and her power, Artemis and Athena, Poseidon and his releasing the Kraken, Aphrodite and her companion, Hephaestus and his forging the weapons? The fate of the gods and man's not needing them any more?

16. Slow pace, the imaginative flair, renewing the myths for contemporary audiences?

CITY THAT NEVER SLEEPS

US, 1953, 90 minutes, Black and white.
Gig Young, Mala Powers, William Talman, Edward Arnold, Chill Wills, Paula Raymond, Marie Windsor.
Directed by John H. Auer.

City That Never Sleeps is one of many police semi-documentary thrillers of the '40s and '50s. It is in the vein of The Naked City and subsequent television programmes. Of its kind, it is interesting and keeps the attention.

The film has a strong cast: Gig Young plays a policeman with the potential for heroism as well as for corruption. The action takes place overnight and is a challenge to Young. Mala Powers is the nightclub singer contrasting with Paula Raymond as Gig Young's wife. Marie Windsor has her usual role as a goodtime girl. Edward Arnold, who had played the heavy in many of the thrillers of the '30s and '40s, repeats his standard performance - which is always worth seeing. A younger Chill Wills has the odd role of the companion policeman to Young - but also seems to be some kind of spirit. The cast list calls him Joe Chicago. He declares that he is the spirit of Chicago, a kind of guardian angel for Young. While the film has a moralising tone, when it shows its crime and interaction of characters, it is interesting and entertaining.

1. The popularity of semi-documentary police stories? The life of men in the police force? Trying to do their job, duty? Pressures and temptations? The American city? The range of people, good and bad? The focus on Chicago?

2. Black and white photography, the atmosphere of Chicago at night, wealthy homes, apartments. nightclubs. the street? The focus on the actor miming in the window - a surreal touch? Musical score for atmosphere?

3. The title and its focus on Chicago, its night life? Gangster traditions in Chicago? The role of the police? The focus on the themes of the city? The police confronting these? The Chill Wills character as the spirit of the city that never sleeps?

4. The portrait of Johnny Kelly - ordinary officer, difficulties with pay, his wife. her mother and her nagging and pressure, the entanglement with Sally Connors? The confrontation of the night - leaving the police, crooked connections with Penrod Biddel, leaving his wife? The film portraying credibly the dilemma for Kelly? His being used by Biddel? The relationship with Hayes Stewart? The encounter with Joe Chicago. his being the companion? The dilemmas of the night, the encounters with Sally, with his wife, phone calls? Stewart's death? Lydia Biddel's connection? Biddel and his power? How well did the film make the dilemmas real? The help of Joe Chicago?

5. The women of the piece and the way that they commented on each other: Kathy Kelly and her devotion to her husband, the ordinary wife, not able to keep pace with him, genuinely in love? Sally and her work at the nightclub, the attraction towards Kelly? Lydia Biddel as the goodtime girl, glamorous with her husband, his attitude towards her. her connection with Stewart and betraying him?

6. Biddel and his power, criminal attorney, his assistant, the doublecross, the robbing of the safe and the involving of Kelly? Stewart killing Biddel? The relationship with Lydia? Johnny's father and his role in the police force - and his being killed by Stewart?

7. The importance of the character of Kelly's father. the honourable policeman, doing his duty, relationship with his son, his death? This combined with the advice of Joe Chicago helping Kelly to get his life in order?

8. The character in the window - real, mime? The witness to the killings?

9. The film reflecting the styles of police thriller of the '50s? Judged in retrospect? Portrait of characters? Issues? A piece of Americana?