CITY ON FIRE

Canada, 1979, 105 minutes, Colour.
Barry Newman, Susan Clark, Shelley Winters, Leslie Nielsen, James Franciscus, Ava Gardner, Henry Fonda.
Directed by Alvin Rakoff.

City on Fire is a routine disaster thriller. An American- Canadian co-production, it features a large number of stars who do their ordinary paces. Direction is by Alvin Rakoff, who directed some interesting British films in the '60s e.g. The Comedy Man, Hoffmann, but whose work in the '70s was rather more routine e.g. the horror Death Ship, made at the same time as this film. The screenplay is full of stereotypes and is almost like a city become towering inferno. The special effects, as always, are quite spectacular.

1. Audience enjoyment of disaster films? The popularity in the '70s? The conventions of the genre - the introduction of characters, situations, motives, disaster, death, rescue? Reality and fantasy? What if .... ? The quality of this disaster film in comparison with others?

2. American-Canadian? co-production? The impact of the modern city and audiences identifying? The refinery, hospital, TV studio? The special effects and the spectacle?

3. Conventional plot and expectations? Predictability of characters and events? Stereotypes? Soap opera? Audiences enjoying this kind of material?

4. The background of the city problems - the Mayor, elections for governorship, political implications and double deals? The refinery in the middle of the city? The danger for the city, especially with the madness and the inferno? The building of the hospital, finance, the dedication of the new wing? TV studios and problems? Personalities? Exploiting media coverage of disaster? The Fire Chief and his brigade? The firemen in action to prepare audiences for their work during the disaster?

5. The background to the crisis, the man losing his job, his vengeance? The moralising of the ending about one person wreaking such havoc? Destruction and its effects?

6. The variety of responses to disaster: media coverage and exploitation, concern and help, ingenuity of saving people? The scenes of help and the final scenes of survivors?

7. The characters and their stereotyping - and audience interest? Frank - his work. relationship with Diana, the working with the nurse, marital difficulties and helping people in the hospital, his final rescue and survival, reconciliation? Diana and her wealth, her marriages, the liaison with the Mayor, the photos for the scandal sheet, the opening of the new wing, her helping the mother give birth, her rising to the occasion with help, the final rescue and reconciliation? The Mayor and his deals about the refinery, liaison with Diana, his taking charge, the contacts with the television interviewers, the politicking and his aide, John, and his death, his rescuing Frank at the end? Jimbo and his wheeler-dealing with the TV station, exploitation, pushing Maggie Grayson to cover the disaster? Maggie Grayson and her style, glamour, age, opportunity for a big scoop, her drinking and inability to face up to it? The Fire Chief and his looking forward to retirement, the discussion about the boat, his son, the accident with the children smoking and the death of the fireman, the hospital sequence, his interviews with the media, his achievement in putting out the fire and rescuing people?
Shelley Winters as the nurse, her support for the doctor, her work, telling the truth, her death? The pregnant woman in the crisis situation and the birth?

8. The impact of the disaster? The spectacular scenes of fire? Deaths? Rescue? Special effects?

9. The popularity of this kind of film? Its nightmare aspects - people identifying and wondering how they would cope?

CITY OF THE LIVING DEAD

Italy, 1983, 90 minutes, Colour.
Christopher George.
Directed by Lucio Fulci.

City of the Living Dead is one of many horror films made by Italians in America. Capitalising on the popularity of occult thrillers, the Italian writer-directors sensationalise them and give them the same kind of flair they gave the spaghetti westerns. This film owes its origins to The Omen: a priest hangs himself and lets loose a lot of the damned in the town of Dunwich (with no apology to H.P. Lovecraft). Christopher George is the American star - and seeming newspaper hero until he is murdered off towards the end. There is a psychic heroine who is buried alive in the Edgar Allen Poe vein but rescued just in time to helpfully lead the investigation with Christopher George. There is a local psychiatrist who emerges as hero. Many of the local townsfolk are gruesomely murdered and turned into ugly living dead. The emphasis is on atmosphere and shocks with a rather strident tone. The emphasis is on events rather than characterisation and motivation. Within its rather severe limits, the film comes across with great gusto.

CITY HEAT

US, 1984, 93 minutes, Colour.
Clint Eastwood, Burt Reynolds, Jane Alexander, Madeline Kahn, Rip Torn, Irena Cara, Richard Roundtree, Tony Lo Bianco.
Directed by Richard Benjamin.

City Heat is an enjoyable if, surprisingly, forgettable police thriller. It has Clint Eastwood doing a send-up of his laconic policeman. It has Burt Reynolds doing a send-up of his genial tough guy image. There is a good supporting cast led by Jane Alexander and Rip Torn. Irene Cara sings some songs. Direction is by comedian Richard Benjamin (who directed My Favorite Year, Racing with the Moon).

The film was originally a Blake Edwards project. His storyline and many elements remain, anonymously, within the film. It is a pleasing spoof of gangster films of the '30s - and many note its similarities with Pete Kelly's Blues. There is comedy, action, spoof. However, while the ingredients are attractive and entertaining, they still seem comparatively thin. Disappointing in view of what might have been.

1. A pleasing and entertaining police thriller? Nostalgia for the '30s? The gangster genre? Parody?

2. The stars and their style? How well do they work together? The complementarity of styles? Satirising their own images?

3. The '30s and the Kansas City settings, the emphasis on night, lighting, artificiality - Technicolor equivalents of Warner Bros '30s gangster films? Environment, mood? Action? Stunt work? The stylised presentation of gangster conventions?

4. The opening with the echoes of the '30s films? A film for film buffs? The sequences from Horse Feathers and the emphasis on the Marx Brothers? The use of comedy and gangster genres?

5. Musical score, moods? The range of songs, including Gershwin's, period music? Final song?

6. The plot and its familiarity, the presentation of gangsters, kidnappings, murders, private detectives, the police?

7. Clint Eastwood's portrait of Speer? Role as a policeman, quiet, laconic, an observer? The clashes with Mike in the bar, taking on the case? His capacity for violence - though presented in a tongue-in-cheek way? Contacts? His taking Addy to the fight? Not always the gentleman in taking her home? The attraction between the two? His concern about Ginny? Ginny in the hospital? The action sequences, the stake-out of Mike's room, the contacts with Pitt, with Coll? The shoot-out in the street and the explosion of the cars? The final set-up for the raid? Clint Eastwood playing on his familiar image?

8. The contrast with Burt Reynolds' Mike Murphy? Charm, jokey? In the bar, the fight? Speer observing him? His car taken away? Relationship with Addy? Relying on her as 'Girl Friday'? The partnership with Dehl? Suspicions about his money? His death? mike's relationship with Caroline - the spoilt heiress? Her being kidnapped and his wanting to rescue her? The clash with Pitt? The deal with Coll? Meeting the demands of the kidnappers? The meeting with Ginny in the park, in the cinema? Hospital? The shoot-out in the street? His participation in the raid - and the wolf in women's clothing? The fight with Speer at the end?

9. Addy as the typical Girl Friday? Devotion to Mike? Helping him with his work? Her being kidnapped? Attraction for Speer? Her reticence with his? The fight?

10. Caroline and Madeline Kahn's comic style? Wealthy? Liaison with Mike? Her being kidnapped? Playing cards with the kidnappers?

11. Pitt and his gangster style compared with Coll? Tough images, entourages? Their books, the money deals? Murders? The killing of Dehl? The capturing of Ginny? Caroline? Their comeuppance?

12. Irene Cara as Ginny - attractive, singing, her participation in the plot, injury, hospital?

13. A piece of Americana - nostalgia for the gangster films? Gangster times? Right and wrong, private detectives, the police?

CITIZENS BAND

US, 1977, 98 Minutes, Colour.
Paul Le Mat, Candy Clark, Ann Wedgeworth, Marcia Rodd.
Directed by Jonathan Demme.

Citizens Band: C.B. radio took on with its own language, contacts and spirit. It can be a great means of communication, a fad, a mask for diffident people, a way of invading privacy or of exhibitionism. All this is part of this rather genial story of a small town, an earnest young man, his family and their problems and of a bigamist truckie that he helps. (The sequences with his two wives are excellent.) Full of pleasant and funny detail with some tellingly sharp thrusts at selfish C.B. users and the odd-bods on the channels, it opts for optimistic community spirit in its zany climax. Entertaining, especially for the C.B. fraternity.

1. How interesting and enjoyable a film? Poor release at first but then acclaimed in America and throughout the world? Did the film deserve this? A piece of Americana and the 50s and the Citizens Band phenomenon?

2. Audience response to the background of radio, citizens band and communication and use? The sub-culture of communication and of particular language? The kinds of relationships and bonds, hostilities and danger?

3. The atmosphere of the credits and the introduction of voices in the shadows? A communication of voices with code names rather than persons with identities? The possibilities of tuning in and tuning out, eavesdropping? The control by voice, the power of the radio for good and for ill? vicarious experience rather than face-to-face contact? The importance of code names and language?

4. The serious tone of the film and the presentation of characters, issues, especially in the misuse of the particular channels? The comic overtones and the presentation of an optimistic America? A critique of America in the 70s, of the American dream, its fulfilment?

5. The opening sequences setting the tone of the film: Warlock and his communication with Electra? The sexual overtones and the vicarious experience? The reality and unreality? The later irony of Electra's identity and of Warlock pursuing the prostitute? The repercussions with Harry's accident and Blayn and his communication and help? A mixture of the good and the bad of C.B. radio? (The later ceremony with Blayn receiving the medal?)

6. The technique of introducing various characters and sub-plots and intertwining them? The skill of the editing? The interweaving of the stories and their being brought together? A particular glimpse and feel for a way of life in a particular American town?

7. The portrait of the town, its way of life, its ordinary citizens, moral issues and values, attitudes, selfishness and kindliness?

8. The focus on Blayn as the hero: as a personality, his strengths and his weaknesses, his basic good, his work and his skill with radio, Spider as his code name, his relationship with his brother Dean and the sequence in the gym? His relationship with Pam and love for her and her love for Dean? The comments about his other brothers being in Alaska or in jail? His relationship with his father and helping him (and his father thinking he was helping Blayn?). His Capacity for helping people and his initiatives in' listening in for emergencies? His bond with his fat friend and their helping? Their campaign against those who were abusing selfishly the Citizens' Band? The humour of their attack even though they were vigilante style attacks: the boy and his mother agreeing with the radio being broken, the confessional sequence with the priest, the neo-nazi and his car, Dean and his effacing himself by using the radio? The importance of receiving the medal? Blayn and the basketball sequences, his conversations with his father, with Dean buying the cake and the preparations for the party, Dean's not coming, Pam's presence? A credible character? The stands that he took as representing America in the 70s?

9. Pam as heroine, small town girl, relationship with Blayn, with Dean, especially in the going to the basket-ball game and moving from one brother to the other in the school and the gymnasium after the match? Her conversations with Blayn and the use of the radio and its later irony? The importance of her presence at the meal with Blayn's father? Her decision and the happy zaniness of her marrying Blayn?

10. Dean and his contrast in character with Blayn? The importance of his control of the students at the practice, his devotion to his basketball, his alienation from his father, the buying of the cake, his reliance on Pam and yet knowing she was in love with Blayn, his ability to express his hatred and vengeance only through C.B. radio and the irony of his code name of Blood? The importance of the confrontation with Blayn? The change with their father's loss and the marriage?

11. The portrait of the father and his memories of the past, Canada? His drinking, his ability to communicate and come alive only through radio? His hostility towards the dog and his sly humour at suggesting they were eating it? His disappointment with his sons, his disappointing them? His running away and becoming the focus of attention?

12. The importance of the Harry sub-plot: Harry as a trucking type, the accident and his being saved by Blayn and his gratitude, the humour of the double phone call to his wives? His liaison with Hot Coffee and buying her the caravan? The confrontation with the two wives - his avoiding the situation, the funny way in which the issues were argued out, Hot Coffee's contribution?

13. The introduction to Joyce and Connie, the two types of American wife? Their talk in the bus, the steady build-up to the shared photos, their mutual vengeance, the expensive meal, the talk while drinking together? The humour of their comparing families, comparing relationships with Harry, sexual aspects? The discussion and the humour and irony of the compromise? Hot Coffee's pleasure and being a mediator?

14. The portrait of Hot Coffee as the prostitute with the heart of gold, the caravan, gratitude to Harry?

15. The portrait of the priest and his using the radio for mad religious propaganda, the confessional? The neo-Nazi and his fascist statements? Blayn's confrontation with each of them?

16. The importance of being able to track down the users of the C.B.? The build-up of the search for Blood and the confrontation?

17. The change in mood of the film with the search for Blayn's father and everybody joining in? The picnic atmosphere, the good fellowship, the pooling of differences? The priest, the boy, the neo-Nazi - the only one who failed?

18. The atmosphere of the wedding and its old-fashioned frantic comedy tone? An appropriate ending for this film?

19. How did the film capture and reflect the mood of America in the 70s, its values, purpose and dreams?

COMING OUT OF THE ICE

US, 1982, 100 minutes, Colour.
John Savage, Willie Nelson, Francesca Annis, Ben Cross, Peter Vaughan.
Directed by Waris Hussein.

Coming Out of the Ice is the true story of American Victor Herman who went as a young man to Russia with his parents to help in factory-building programmes, became a sports hero and parachute-jumper, refused to become a Russian citizen and was interned and kept in the Soviet Union until 1976. The film shows something of the grim Stalinist days and the gulags.

John Savage is credible has Victor Herman? Francesca Annis has a small role as his loving wife. There are guest performances by English actors Ben Cross and Peter Vaughan.

The film has an anti-Russian, pro-American stance. It was directed by Waris Hussein, director of many interesting films and many interesting telemovies including Divorce His, Divorce Hers, Callie and Son.

1. The impact of this telemovie? Interest, entertainment? True story? Portrait of courage and suffering? U.S. vs. U.S.S.R

2. Detroit in the 1930s, Russia in the 1930s? The cold factory towns? Siberia and the gulags? The visuals, the feel of the Soviet Union? Atmospheric score?

3. The political stances of the film: the United States and the American dream, freedom? The Soviet Union and the Russian Revolution, nationalism, Stalinist suppression, torture and imprisonment?

4. The situation in 193), American Russians going to the USSR? The hope of the Hermans, Sam and his vision, belief in the Revolution, Rose and her regrets, her torment with the sounds of the Revolution, Victor and his hopes? Their arrival, work, accommodation? Victor and the invitation to participate in sport? Success? The Air Force, his record parachute jumps and his being acclaimed as a hero? Pressure on him to be a Soviet citizen, the temptation to lie? The crisis for him?

5. Sam and his beliefs, his clashes with his son, his wife's death and his blaming himself, her torment? Victor's reaction? Sam's helplessness in trying to get his son's release?

6. Victor and his stances, being requested to lie, the grim prison sequences, the interrogator and the torture, condemned to prison, the labour scenes? The friendship with Red and sharing ideas, philosophy? His eventual release, living in the town, his stance, refusal to sign documents? The barber and her friendship, the sexual encounter? Meeting Galina, her dancing, friendship, support, marriage, the child? Imprisonment, transfer, in the snow, Galina and her walk with the baby? The eventual release in 1976? Character portrait?

7. Red and his imprisonment, friendship, character, philosophy?

8. Galina and her love, her child, walking through the snow, the officials and their harassment? The end?

9. The Russian General as a hero of the Revolution, friendship with Victor, powerless to help Sam?

10. The interrogator, the torture, the various officials?

11. The barber and her friendship, transforming Victor?

12. The experience, Soviet Union in the 20th century, repression of human rights, hopes and freedom?

COME TO THE STABLE

US, 1949, 94 minutes, Black and white.
Loretta Young, Celeste Holm, Hugh Marlowe, Elsa Lanchester, Thomas Gomez, Dorothy Patrick, Basil Ruysdael, Dooley Wilson, Regis Toomey, Henri Letondal.
Directed by Henry Koster.

Come to the Stable shows a view of the Catholic Church by Hollywood of the 1940s. It had been popular with the Oscar-winning Going My Way and the follow-up The Bells of St. Mary's. Frank Sinatra was also a priest in The Miracle of the Bells. Loretta Young and Celeste Holm are good as the nuns - though it is surprising to see they were Oscar-nominated for their performances. The film is full of sweetness and light, sentiment and charming hope. It seems quite unreal these days - although is the kind of film popular on television for Christmas celebrations. Direction is by Henry Koster, who directed a wide range of popular films in Hollywood from the Deanna Durbin musicals to the first Cinemascope film The Robe and James Stewart's domestic comedies of the '60s.

1. An enjoyable light comedy? Human values? An American view of the Catholic Church and religion? Its authenticity in the '40s? Later?

2. Production values, black and white photography, the stars and their Oscar nominations? Celestial choirs? Hollywood's view of how the Catholic way of life should be presented on screen? Box office popularity in its time?

3. The image of the Catholic Church, the image of nuns - then and now? Nuns as charming but seemingly unreal? Their simple faith? The habits., rules, prayer - medals and blind faith? The sentimental touch with speedily driving jeeps, playing tennis. charming bishops? Charming gangsters? A sentimental version of perennial tradition of faith?

4. The title and the reference to Bethlehem? The opening with the snow and the nuns wandering, the discovery of the crib, the Christmas tableau? The biblical names for the towns? The Christian meaning for this contemporary fable?

5. Sister Margaret and Sister Scholastica and their background in France, Sister Margaret an American? Their arrival and plan? The encounter with Miss Potts and her welcoming them? mason and his lending the jeep and the comedy with his being woken up? Anthony and the drive from the station? The visit to New York? The police and the parking, tearing up the ticket? The encounter with the Damon Runyon-type gangsters? The waiting for Mr. Rossi, converting him? The deal about the factory? Interview with the bishop? The bishop and his comment on their being an irresistible force? Their particular styles, charm?

6. The plan at the hospital? The war experience? Emigration from France? Their being joined by the other nuns? Providence and the encounter with Mason, Mr. Rossi, the ringing of the bell, the selling of the goods?

7. The background of 'realism' with Mason and his Hollywood deals, the dog, his fiancee? The hostility at his return? His musical - and the irony of his song echoing the plain chant? His drinking? His deal to buy up factory?

8. Nuns and their expected behaviour - work, prayer, charm, piety? Sister Scholastica and her tennis background - the match and losing?

9. The background of World War Two and the motivations for building the hospital? Mason and his experience in the war? Rossi and the window for his son?

10. The expected happy ending? Audience appreciation of this kind of optimistic and sentimental fable?

COME SEPTEMBER

US, 1961, 112 minutes, Colour.
Rock Hudson, Gina Lollobrigida, Sandra Dee, Bobby Darin, Walter Slezak, Brenda de Banzie, Joel Grey, Rosanna Rory, Ronald Howard.
Directed by Robert Mulligan.

Come September is a fluffy sex comedy, very popular at Universal Studios in the late '50s and early '60s. Rock Hudson appeared in many of these films - often in the company of Doris Day. Stanley Shapiro, Oscar-winning author of Pillow Talk with Day and Hudson, co-wrote this screenplay. It is lightweight and generally pleasantly inconsequential. It is of interest in the romantic teaming of Rock Hudson and Gina Lollobrigida. They were to appear some years later in Melvin Frank's more amusing Strange Bedfellows. The film also capitalises on the popularity of Sandra Dee and Bobby Darin at the time. There is some amusing support by Walter Slezak, Brenda de Banzie and Joel Grey, who was later to establish himself in Cabaret. Direction is by Robert Mulligan, a director of many sensitive films with social implications including Fear Strikes Out, Love With The Proper Stranger, Up The Down Staircase.

The filming of Come September appears in Kevin Spacey’s portrait of Bobby Darin, Beyond the Sea (2003) and his marrying Sandra Dee.

1. The popularity of this kind of comedy? Romance? Sex comedy?

2. The conventions of this kind of comedy: European locations, the atmosphere of affluence, the playboy hero, the romantic heroine? The supporting cast - juvenile romantic leads? The background comedy of the older generation? Deceptions, sex farce and innuendo, coincidences, happy resolution?

3. The contribution of the colour photography, European locations? Sets and decor? The musical score and its atmosphere? Audiences accepting the implausible plot as plausible? The rich American hero with his financial background, holidays in Europe, mistress in Europe? The beautiful Italian mistress and her making the most of the house left to her? The wily major-domo and his establishing the house as a hotel? The range of guests? The tangle when the owner arrives a month early?

4. Rock Hudson's style of romantic hero? The American style, wealthy background, business? His romance with Lisa? His attitude towards his major-domo? Their deceiving him? His interest in the young generation? The amusing contrasts with the ageing generation and the younger generation? The happy resolution?

5. Gina Lollobrigida as romantic lead? Her fiery Italian style? The generation gap with the young visitors? Her double-dealing with the hotel? Her happy resolution of the difficulties - after romance, fights, reconciliations?

6. The major-domo and his shrewd use of the villa for a hotel? His trying to keep up the deception? The discovery of the truth? The young group?

7. Sandy and Tony and their falling in love? The songs provided for them? Geared for the teenage response of the times? The rest of the young group, especially Beagle? Innocuous juvenile romance themes? The humour with the chaperone?

8. The film's reliance on contrivance, mistaken situations and identities? How amusing? Their perennial appeal?

9. The basic irony of this kind of romantic plot - conventional values and their being contradicted? The conventional happy ending to make everything right finally? How successful of its kind was this film?

COME NEXT SPRING

US, 1956, 87 minutes, Colour.
Ann Sheridan, Steve Cochran, Walter Brennan, Edgar Buchanan, Sonny Tufts.
Directed by R.G. Springsteen.

Come Next Spring is an attractive piece of Americana, a small-budget Republic Studios film of the mid-'50s. Ann Sheridan gives a strong performance as the deserted mother bringing up her small children. Steve Cochrane is sympathetic as a wanderer coming home. There is pleasant support from Walter Brennan and Edgar Buchanan - doing their usual western-type role. There is an atmosphere of Arkansas in the '30s - backed by a romantic Max Steiner score and title song.

1. An attractive piece of Americana? Arkansas? Small towns and farms? The popularity of this kind of film in the '50s? Now?

2. Small-budget production? Colour, locations? The stars? Max Steiner’s score and its use?

3. The conventions of the film - almost cliche material but used with intelligence and fine sentiment?

4. The ordinariness of the plot - but presented with conviction? Authentic, real characters, hopes?

5. The strong drawing of the characters in folksy situations? Insight into human nature?

6. Matt and his arrival, asking for information, discovering his son, his relationship with Bess and the children, her first reaction, the change? His background and story, his learning by mistakes and returning home? Experience of wandering? The meal, the response of the children? His fixing the wheel? Walking with his boy and the attack of the razorbacks? Discovering his friends in the town? Leroy as rival? The townspeople spurning him - the poolroom and the accusation of 'coward'? The churchgoing? The saving of the child when the panic about the cyclone started? His capacity for managing people? The dance, the bet and the drink? The clash with Bess? The atmosphere of the fight with Leroy? The cyclone and its effect? The townspeople supporting him? Reconciliation with Bess - and a future? The rescue of Annie? A sketch of an ordinary but good man?

7. Bess and her strength, her reaction towards Matt and his walking out, her bringing up the children? Strength, farm work, decisions? The attentions of Leroy? The outings, the shopping? The work? The dance and her reaction to Matt's drinking? The fight? Her change of heart?

8. The young boy and his not having a father, his response to Matt, delight in discovering he had a father? Annie and her inability to speak? The story of the accident ~ and Matt's talking about it? Her love for the animals? The two looked down on by the kids in the town? Her final scream - appropriate final image for the film?

9. The Arkansas farms, the share farmers, the variety of types, the grain and the depot, the poolroom, the people in the town, the dance, churchgoing, fights, cyclones?

10. Walter Brennan and his usual humorous style? Friendship, drinking, forgetting his age? Edgar Buchanan as sympathetic and wise? Leroy and his wanting to marry Bess?

11. Pleasing Americana - with the right touch of feeling and sentiment?

COMES A HORSEMAN

US, 1978, 118 minutes, Colour.
James Caan, Jane Fonda, Jason Robards, George Grizzard, Richard Farnsworth.
Directed by Alan J. Pakula.

Comes a Horseman is conventional western material - individuals with small cattle spreads stand up to old-fashioned violence. What makes it different is that the setting is 1945 and seeing the 19th. century styles in a World War II setting makes them more disturbing - especially when there is a 70s conservation attitude about oil exploration as well. what makes the film often superior are beautiful Colorado mountain scapes and the performances, principally that of Jane Fonda, both tough and tender as a loner rancher. James Caan is quietly strong and Jason Robards, calculatingly ruthless. The dramatics are forceful (if, finally, symbolic and a little too melodramatic), but the overall impact is that of an intelligent western.

1. An interesting and satisfying western? The use of the 20th century with the background of the 19th.? The western conventions of cattle, land barons, gun fights? The apocalyptic tone of the title (the original title was Comes a Horseman Wild and Free)? The apocalyptic tones and the final conflagration? The rider of the apocalypse? The use of the Gothic horror conventions and their incorporation into the atmosphere of the West?

2. The contribution of the colour photography, the beauty of the landscapes, the portrait of nature, the seasons and the weather, the outdoors, days, nights? The cattle and their movement? The horses? The ranches, the houses, the town? The atmosphere of work, life at home, the life in the small town? The contribution of the score?

3. The conventions of the 19th century West: the ranches, the cattle, the law enforcement, the henchmen, violent villainy, heroes, romance? As pictured in the 20th century and the World War II setting? The counter pointing comment of each century on the other? The American heritage of the West?

4. The establishing of the 20th. century atmosphere in the opening, the horseman, the funeral and the bugler, Frank and the return from the war, Ewing and his son's death, the talk of Berlin, the cattle prices, the cars? The audience getting used to the contemporary West?

5. The structure of the film with Ella as the focus? The individual and her resilience, toughness, survival, the clash with greed, resorting to the old traditions and old time violent methods, the individual against cattle barons and empire, the individual against oil exploration and exploitation? Oil development in the West as a 20th century comment on 19th century traditions? (The modern tone with the emphases on ecology and conservation?)

6. The conservation and exploitation themes? The individual and his rights? (Jane Fonda in the central role and her known political stances?)

7. Jane Fonda's interpretation of Ella? Her strength as a woman, a woman in the West brought up as a boy, tough and tender? Her lack of make-up, the true presentation of herself? Her presence at the funeral, the strong confrontation with Ewing especially in the scene as they stared at each other from the distance? Her skill in working her ranch and yet the difficulties, her attempt at survival, finance and the background to her need for money? Her reliance on Dodger and his old traditions in keeping the ranch going? Her suspicions of Frank, friendship after suspicions, love? Her decision to pool resources? Her happiness in looking after Frank? The background of her liaison with Ewing? The loner, the individual, the difficulty of expressing feelings, even gratitude?

8. The background of Roosevelt's new deal: the 30s into the 40s, cars and horses, work and success? Cattle and their place in the United States? The stampede? Financial arrangements? Frank going, becoming a partner, the importance of the name?

9. What happened to Ella in her experience with Frank? Learning to share, become less suspicious, mellowing? The reading at the meal, the work and the branding, the talk especially about the past, the effect of Dodger's death and his going into the hills, the stampede, her attending the dance and enjoying it, the lovemaking, the bargaining and the sale? Ella and Frank united in the violent ending? The need for rebuilding and the Possibility of their doing it? The final smile?

10. Ella's confrontation with Ewing and the memories of the past, his manoeuvring, the growing hatred? Ewing's hatred of Ella even to death?

11. Frank as a contrast to both Ewing and Ella? His experience in the war, the horseman, his being with his partner, work, the hope for the future? The funeral, the singing, the attack and the shots, the knife-killing? Frank's war background and his explanation of it, hopes, health? Working as a hand.. becoming a partner? Mellowing and changing with Ella? The friendship with Dodger and his advice? The bar fight? The confrontations with Ewing, letting him go but taking a stand? Frank's skill. bargaining, his presence at the dance, love for Ella? The experience of violence, the ending? A portrait of a 20th. century man of the West?

12. Ewing as villain? His family traditions., his home and the audience seeing him surrounded by the mansion, the furniture as if in a Boardroom? His grief at the funeral? His challenge to Ella and his confrontation of her just standing and watching? His visits and threats? His pleading with Ella and his expectation that he could win her over. buy her out? The clash with Frank? The friendship with Neal Atkinson and the questions of oil, his dislike of oil. his wanting to expand his cattle and empire? Neal's continual confrontation? The banker and his knowledge of the truth? The questions about trespassing, the manoeuvring of Nealls and the banker's death, the stampede? His philosophy and the bulls and the dog, his explanation of his beliefs? His growing hatred even to madness and Gothic violence? The murder of the banker, the imprisonment in the house, the setting fire to it? The violence and solemnity of his death?

13. Neal Atkinson as the 20th century businessman? His friendship with Ewing, the relying on past memories of financial deals, the pressure for oil exploration, the plans? The inevitability of his death as Ewing's madness grew? Audience sympathy for Atkinson or not?

14. The oil issues, the violence inherent in such exploration? Even to murder? The banker's death?

15. The importance of the character of Dodger, his speaking of the values of the old West? Loyalty, hard work, devotion? The irony of the manner of his death by the modern means? His going into the hills to die like an animal of the West? How important the contribution of his character, philosophy of life, audience feeling for him in understanding the West?

16. Ewing's henchmen and their brutality, villains of the West, their lack of scruple, the violence and murder?

17. The importance of the cattle sequences, their visual beauty, the sounds, giving an atmosphere of the way of life?

18. The environment - the homes: Ella's and her belonging to it, the importance of the doll's house as a model of her home? Her memories of the past, her father etc.? The cattle sheds? Ewing's mansion and the contrast with Ella's home?

19. The atmosphere of the dance and recreation and the way of life of the West?

20. The intimacy of Ella and Frank, at home, at the dance, learning to relax. relate, to touch?

21. The build-up of the Gothic horror ending? Realism, symbolism? Ewing's attack, his henchmen? The trapping of Frank and Ella in the house? The violence of the fire, their escape? The build-up to the killings and the apocalyptic slow-motion of the horseman? (Death as pervading the whole film and the various persons who died, the manner of their death - and the atmosphere of World War II and deaths?)

22. The value of the American western as showing the American heritage. the clashes of pioneering way of life, survival, empire-building? How universal are these thews ?

THE COMEDY MAN

UK, 1965, 82 minutes, Black and White.
Kenneth More, Dennis Price, Cecil Parker, Billie Whitelaw, Edmund Purdom, Angela Douglas, Frank Finlay, Alan Dobie, Norman Rossington.
Directed by Alvin Rakoff.

The Comedy man is a short, bitter comedy about disillusionment. As the curtain goes down on a play, we are taken behind the scenes into the life of an ageing actor who has lost his idealism but not his love for the theatre, who cannot relate well to people, and who blunders his way through his seedy existence, culminating in, for him, the utter humiliation of starring in T.V. commercials.

Kenneth More is completely convincing in a pathetic role with a hand picked British supporting cast. Sobering adult comedy drama.

1. How ironic was the title of the film? Judy uses the phrase.

2. How pungent, realistic and ironic was the whole film? Entertaining? Comic? Sad? Depressing?

3. Comment on the effectiveness of the musical theme, the lights in the credits, the irony of the curtain calls and Chig Byrd's comment on the leading lady. How much was communicated about him in this?

4. What kind of man was he? Did he have any character? Had he limited his life? What effect did age have on him? Did he have many inner resources? How disillusioned was he?

5. How did he contrast with Julian who was up and coming? Was he more likeable then Julian? There was talk of phonies; who was the greater?

6. What kind of woman was Judy? Why could she and Chig not establish their relationship better? Who was the cause of the failure?

7. How humiliating was the commercial work and bit parts for Chig Byrd - the Indian sequence and the union difficulties? Why?

8. How did Faye Trubshaw come across as a person - sincere or phony? Her relationship with Chig? Love? What future as an actress did she have?

9. Comment on Tommy Morris and Rutherford Thomas as examples of the theatre world - and their effect on Byrd.

10. What was the importance of Jack in the film - the birth of his child, his death and funeral, Byrd's rebuke by his wife?

11. How much truth was told to Byrd by Judy when he went to her for breakfast - in borrowing money?

12. How satirical were the Honeybreath commercials? How low in self-esteem had Byrd gone in doing them? The contrast with the visit to the theatre where he mouths the auditioner's words?

13. What was the point of the long party sequence? How was Chig's isolation shown, the phoniness of Julian, the pushiness of Faye? What was Chig's final decision? Why? Faye's reaction?

14. Was this a truthful film about people, work, depression?