COME BACK LITTLE SHEBA

US, 1952, 92 minutes, Black and White.
Shirley Booth, Burt Lancaster, Terry Moore, Richard Jaeckel.
Directed by Daniel Mann.

Come Back Little Sheba is based on William Inge's successful play and treated the serious problems of alcoholism and frustrating marriages in an effective way in 1952.

Shirley Booth has been seen since in similar roles, especially in About Mrs. Leslie and Hot Spell, but this is the film in which she first played the good-natured but irritating middle-aged housewife who drives her husband away from her. She won the Oscar for her performance and she is excellent.

Burt Lancaster has veered throughout his career from playing flamboyant athletic heroes to quiet, dignified characters. This is one of his quiet roles in the person of Doc Delaney whose life and career have been frustrated through his marrying the pretty and pregnant Lola and who is an alcoholic.

The film has a sub-plot involving Terry Moore as a vivacious University student flirt who reflects what Doc and Lola must have been like in earlier days and who occasions Doc's return to drink and a murderous attack on Lola. This is effective and sombre adult drama.

1. What did the title of the film suggest? Was it an apt title? Why?

2. Could you tell that this film was adapted from a stage play? How? Was it a good adaptation or was it too 'stagey'?

3. Who was the principal character, Lola or Doc? Why?

4. What impression did Lola Delaney make on you on her first appearance? How would you describe her character? Did you like her? What were her virtues? What were her bad points?

5. What were your first impressions of Doc? What were his good points? His bad points?

6. How happy were the Delaneys at this stage of their lives? Why?

7. Were you impressed by the A.A. meeting; the prayer,, the birthdays, the little speeches and applause? Was Doc happy? Was Lola happy? Did she push Doc too hard? Did she nag? How well did she love Doc? How well did he love her?

8. Were you surprised at the details of the youth. courting and marriage as they emerged during the film? Why?

9. Doc saw alcoholics were disappointed men. Why was he a disappointed man? How ambitious had he been? How gallant had he been to Lola? What would you say really drove him to drink?

10. Lola said she was old, fat and sloppy. what regrets did she have about her life? What was the effect of the necessary marriage? Her loss of her child? what did her love for dancing symbolise? Her making believe at the radio programme 'Taboo'? Her spying on Marie and Turk, her dreams and longing for Little Sheba?

11. How did the film evoke a response to Lola’s personality and situation by showing her doing daily things, gossiping, chatting and fussing with Marie? what characteristics of Shirley Booth's acting made Lola a real and memorable person?

12. How important was the sub-plot of Marie, Turk and Bruce? What comment did it make on the older couple and their memories? How did they reflect what Lola and Doc must have been like? What kind of girl was Marie, how much of a flirt, how naive? Did you like Turk? Why?

13. Why was Doc obsessed with Turk? Why did he fear for Marie? How much guilt obsession was there? Why did he blame Lola? Why did it drive him back to drink?

14. Did the filming of his alcoholic torment show convincingly the agony and temptation he suffered? How?

15. How brutal was the truth told in drink? How hurt was Lola? How much of what Doc said was true? How much of it did he mean? Why did he try to kill her?

16. Did Lola understand the truth about herself and Doc? How moving was the sequence with Lola on the telephone with her mother? Why? How lonely and alone was she?

17. How sad was Doc's alcoholic condition? Did he need to ask Lola's forgiveness? In his stupor, he kept saying, "Pretty Lola".

18. What was the significance of Lola's final dream? (How effective a dramatic device were these dreams?) The roles of Turk, Doc, Lola's father and Little Sheba's death?

19. The final words concerned having to go on; each of them was all that the other had; "it's good to be home". How realistic or optimistic an ending was this? What future did they have in store? What had each learnt by their experience? (Was there any significance in the speed of Marie and Bruce's marriage?)

20. How important a role did fate have in the film, and how cruel was it - Lola's pregnancy, the marriage, her father's disowning her, the death of the child, Doc's lost career, his alcoholism, his A.A. cure. his return to drink because of a guilt feeling and a presumption of disaster?

COME AND GET IT

US, 1935, 99 Minutes, Black and White.
Edward Arnold, Joel Mc Crea, Frances Farmer, Walter Brennan.
Directed by Howard Hawks.

Come and Get It is a film version of Edna Thurber's novel. She had written such novels as Showboat and Giant which were filmed spectacularly. This novel was filmed by action-director Howard Hawks in the mid-30s and receives lavish treatment of the times. Some of the final sequences are attributed to director William Wyler. Hawks is very much at home in the rugged outback of Wisconsin and in the logging sequences. Wyler was an expert at domestic sequences in many films. The film is still very enjoyable and has the popular ingredients that made Giant so popular twenty years later. Edward Arnold, a popular figure in so many films of the 30s, has an excellent role as the central character.

He is supported very well by Walter Brennan who won the first of his three Oscars for his performance. Usually he portrays the slow man of the West. Here he portrays a Swedish migrant very effectively. Joel Mc Crea features and was very popular in so many films of the time. The treatment of the growth of a family is presented with enthusiasm but also with a critique of the money-making capitalists of the 19th century and there is dialogue about the exploitation of the forests and the need for conservation. The film is an entertaining example of film-making in the 30s.

1. The novels of Edna Thurber, their popularity in being filmed? This film within that tradition? Its contribution to the Hollywood tradition of the pioneering American family saga? How enjoyable is this kind of story?

2. The film as an example of Americana? The appeal of the history of the United States, pioneering, the heritage, the growth of families and prosperity? Their troubles? How real, how much legend? The praise of the enterprise, the critique of the methods and the emotional clashes? The significance of the title in this regard?

3. The black and white photography, outdoor logging sequences, the indoor family sequences? The portrait of society over several decades? A 30s treatment of these themes? The work of two noted directors - how well did this blend?

4. The portrait of the 19th century, the pioneers in the mid-West? The hard work, the enterprise, the get-up-and-go? The importance of showing the loggers at work and the lengthy collage of the processes of felling the trees and transporting the logs? How did this create a credible atmosphere for the development of the family?

5. Barney as 19th century type - a big man, tough, relentless and ruthless, ambitious? The way that he was able to drive men, make deals? His infatuation with Lotta? His going against this in his arranged marriage? His success in achieving his ambitions - and the results in terms of friendship, loneliness, making a fool of himself when old? A credible portrait for popular appreciation of this kind of self-make tycoon?

6. The portrait of men in the mid-West; at work, friendship, at the bars and drinking, gambling, fights, throwing around money, relationship with the women in the saloons? Lotta and her presence in the saloon, her singing, her trying to get back the money from the boss, her response to Barney's friendship, the importance of the fight with the trays? (And the irony of Barney's success in winning so much money against the tricksters?)

7. The importance of money in developing America, the men who made it, throwing it around, gambling? Barney and buying Lotta’s wardrobe? The self-made man and the taking for granted of having money?

8. How well did the film move over the decades to 1907? How well did it establish life in the earlier generation and make the contrast with the turn of the century? The characters and their ageing? The presentation of the grown family? Power, the factories and plant, the conservation issues, family tensions? The revelation of Lotta's death?

9. What had happened to Barney in the intervening years? His character, size and energy, power, wealth? The status of his marriage - and seeing his wife only in her old age? His relationship with his children? His hostility towards Richard, his dealings with Evie? His being snappy in his work, the reaction of his secretary? The contrast with what he was like when he was younger? The contrast with him after he met Lotta's daughter? The potential for an affluent greatness and the possibility of earning it? His being old and lavish, his being foolish as regards Lotta, the possibility of divorce, his jealousy and dealing with his son, his manoeuvring his whole family, clashes and fights? His being hurt at the end - how well did he face the truth? The forgiveness of his wife?

10. The portrait of Barney's wife and our knowledge of her father, the arranged marriage, Barney's love for Lotta and his sacrificing her for his own ambitions? Her place in society, concern about her daughter's marriage? Her patience, knowing about Barney's infatuation, her revelation of this at the end and helping him to stay with her?

11. The importance of the character of Swan? waiter Brennan's interpretation and skill, communicating the Swedish background and manner - its humour and idiosyncrasies? His being a friend to Barney, sharing his experiences, supporting him, participating in the fight? The importance of his telling the truth to Lotta, his marrying her and loving her, the effect of her death on him? The audience seeing him in his old age? The renewed friendship with Barney? The tensions with his daughter? The visit to Chicago and its enjoyment, his return to work for Barney, his not having enough to do? His apprehensions about the situation? His being a good man?

12. The two Lottas? The portrait of the mother and her being in the saloon, singing, trying to get the money back from Barney, falling in love with him, her excitement at being appreciated, the bitterness of her disappointment, her gratitude to Swan for marrying her? The contrast with her daughter? The fact of the same actress portraying the two women? Her working in the cafe and her attention to Barney when he arrived, her ambitions and schooling, her not wanting to see what happened, her infatuation with the wealthy life and enjoyment of the train ride, Chicago? Her falling in love with Richard? Her telling Barney the truth?

13. The importance of Carrie - a place in the family, love for Swan, service of Barney, seeing the truth, confronting Lotta?

14. Richard and Evie and their place in their father's family, their being used to wealth, marriages, business? Evie and her strengths, talking with her father, breaking the engagement, her love for the man in the factory, her father accepting this and also her mother? Richard and his strengths but gentle manner, clashes with his father, love for Lotta, his speech-making, the dance, confrontation with his father?

15. The background of the American people in the film - of the pioneering 19th century, the men of the outback, the saloon people? The people in the cities, the towns, the factories? Josie and her confrontations of Barney?

16. The presentation of the strata of American society - at Iron Ridge, the train sequence and the women and the clothes they wore, Chicago and its wealth, the mills, the manager and owner and his receiving the guests at the dinner dance etc.?

17. The film's presentation of the growth of a family, the dynasty?

18. The morals and behaviour of America? The American moral heritage -especially the ethos of success and the building of society?

19. Themes of capitalism, wealth, politics (and the discussions about Teddy Roosevelt), conservation?

20. Though the film was made in the 30s, does it seem very dated? The perennial interest of the themes, the relevance of the issues?

COLORS

US, 1988, 126 minutes, Colour.
Robert Duvall, Sean Penn, Maria Conchita Alonso, Don Cheadle.
Directed by Dennis Hopper.

Colors caused great controversy in the United States on its release. It is a blunt and brutal portrayal of gangs in East Los Angeles and the police working to control them. The action is vivid, violent, brutal. The language is tough.

The film was directed by Dennis Hopper, actor for so many decades and then director, especially with Easy Rider in 1969. After a mixed career, problems with drugs, Hopper rehabilitated himself in the mid-'80s and moved back again to direction and a great deal of character acting, including an Oscar nomination for Hoosiers.

Robert Duvall is very good, as usual, as the senior policeman. Sean Penn is his arrogant self-confident partner. The drama is not strong - rather the film is a series of episodes highlighting the life of the gangs, the Los Angeles people's disgust, the need for police work. The subplot of the personal lives of the policemen is very subordinate. There is a grim ending with Duvall's death but his memory living on in the rather crude, but effective, story of the two bulls. Vivid police story.

1. The impact of the film? Brutality and violence? Strong language? The work of the police? The Los Angeles gangs? The protest in the film? The work of Dennis Hopper?

2. Los Angeles locations, the streets, East L.A? The precinct? Homes? Authentic atmosphere? The stunts and the special effects?

3. The title, the recitative of colours, the gangs and the symbolic colours they used?

4. The introduction to Los Angeles, the familiar city, the different city? Urban suburbs, the racial mix, education and lack of education, unemployment, the homes, gangs and their violence, the attacks, the age of the members of the gangs, the drugs?

5. The portrait of police and their work, the precincts, the bosses, the patrols and buddies, tough, dangers, confrontations, battles, weapon attacks, holding the groups, those running away, violence, interrogations?

6. H6dges and Danny, Robert Duvall and Sean Penn: work, experience and the rookie, seeing them in action, tough, attitudes towards the criminals, to the gangs? Danny and his push, wanting to be in a rush, despising the gangs? Hodges and his restraint, more human touch, experience, his story of the two bulls looking at the field of cows?

7. The gang members and different personalities, families, the deaths, funerals, the passing shooting and the attack on houses? Contacts and deals? Personal and impersonal? Building up to the fights, the final massacre?

8. The sketch of Louisa, at work, friendship with Danny, pleasant, together, sexual biography, at Hodges' home, with the children? Her prostitution, his disillusionment, her final comments on him?

9. Hodges at home, the wife and children, ordinary, the barbecue? Danny and Louisa?

10. The mistakes, the attack on the house, the man having sex and his being shot? Life as easy? The edginess of the police? Investigations?

11. The finale, the desperation, Hodges and his work, the trigger-happy gang member and Hodges dying? The pathos of his death, needless, the end of his work?

12. The continuity, the new rookie, member of a gang in Los Angeles? Danny telling him the story of the two bulls?

13. The comment on the times, the problems - the people at the meeting and their desperation?

14. In the tradition of films about police and buddies, about gangs? The attempt at realism?

THE CHRISTMAS TREE

France/US, 1969, 110 minutes, Colour.
William Holden, Bourvil, Virna Lisi, Brooke Fuller.
Directed by Terence Young.

The Christmas Tree is a change of pace for director Terence Young who made several James Bond films, a number of Charles Bronson action films and is usually linked with tough entertainment. This film is rather the opposite, a story of sentiment about a dying boy and his father's attempts to make him happy before he dies. Some audiences will find the film heart-warming while others will find it mawkish. Its anti-war theme could be important.

1. Was this a film designed for children, younger audiences or adults? Why?

2. What was the initial relationship between Pascal and his father? What was the relationship of Catherine to both?

3. Were these relationships well built up and genuine?

4. Did you understand at first the significance of the plane and the bomb dropping off Corsica? why was Pascal affected and not his father?

5. A bomb dropped off Palamares in Spain in 1966 like this. Does this make this story plausible? Could the incidents in this story happen?

6. How did Pascal's father react to the news of his son's illness? How should he have reacted?

7. Was it a good idea to give Pascal the happiest six months of his life? Was this really good for him? Wouldn't this spoil him? Wasn't it extravagant or is such trouble and expense worth it for a human life?

8. Did the presents, outings, love, make Pascal happy? How?

9. What role did the assistant play in making him happy? Did you like him? Why?

10. Were you surprised to find out that Pascal knew all the time that he was dying? How would children of his age (10) react to such news?

11. Was the stealing of the wolves extravagant? Why did Pascal love wolves and want to read about them? Were they worth the risk when you saw the fight between the horse and the wolf and the danger to Pascal?

12. Were the final sequences well done - Christmas, the tree, the shopping, Pascal's present for his father, Catherine's presence, the death, the howling of the wolves, the sound of the plane flying over?

13. Was the film too sentimental, or was it moving and sincere?

14. How was the film anti-war? Did it put its message strongly? What comment did the film make on the arms race and bombs?

15. Was the film really too much of a modern fairy-tale with a sad ending - the title, the wealthy family, the wolves?

A CHRISTMAS STORY

US, 1983, 89 minutes, Colour.
Peter Billingsley, Darren McGavin?, Melinda Dillon.
Directed by Bob Clark.

A Christmas Story is an unusual entertainment. While it focuses on a young boy and his desire for an air-rifle for Christmas, the film is entertaining for adults as well. It is based on stories and a novel by Jean Sheppard, 'In God We Trust, All Others Pay Cash'. Sheppard himself does a voice-over commentary as the older Ralphie.

With its focus on Christmas, a young boy and his desire for an air-rifle, the film focuses on the American family of the '40s, the lifestyle of the time, the commercialism of Christmas and highlights fantasies of young boys as well as some of the harsh realities of the treatment of children. Peter Billingsley is excellent as Ralphie. Darren Mc Gavin croaks and snarls as The Old Man and Melinda Dillon is pleasant as the mother.

The film was directed by Bob Clark who made such thrillers as Dead of Night and Black Christmas, Murder by Decree as well as the Porky's series. He also directed Tribute and Rhinestone.

1. An entertaining and offbeat Christmas story? A piece of Americana?

2. The re-creation of the '40s, the Indiana suburb, the family home, schools, shops? The commercial Christmas? The fantasy sequences? Editing and pace? Musical score - and the range of Christmas songs and carols?

3. The title and expectations? A happy story? Charm? Expectations fulfilled? The changing of expectations? The original novel.- and its ironic title? The author doing the voice-over for Ralphie?

4. The film as Ralphie's story? Peter Billingsley and his presence and appearance? The young hero? His place in the family? His being loved, getting into trouble? The Red Ryder air rifle? The store window? His desire for a Christmas present? His imagination of derring-do during his ordinary life? Home and mother, little Randy and his being persuaded to eat, father and the nickname of The Old Man, the neighbours' dogs, the newspaper competitions - and the irony of the sexy lampstand that he won and displayed? Ralphie at school, the essay, its poor reception by Miss Shields? The bully? The fantasy of success at school and its lack of fulfilment? The preparation for Christmas, the buying of the Christmas tree? Ralphie and his swearing - and having the soap in his mouth? The fight with Scott Farkus? The reaction of his father? The visit to Santa Claus - and his lukewarm reaction to the present? Ralphie's disappointment? The practising in the garden, Ralphie hitting his glasses? His excuse? Christmas dinner - and the irony of the disappearance of the family turkey? The end of Christmas day for Ralphie? The point of view of the voice-over of the older Ralphie - a memoir?

5. The portrait of mother and father? Mother and her love, her fussing, looking after the baby, teaching it to eat, the preparation of the Christmas dinner and the dog eating the turkey? The Old Man and the dogs, the competitions, the win and his pride? His seeming to ignore Ralphie? The gift? A child's memory of mother and father?

6. Randy and Ralphie's relation to him? Randy and the difficulties with eating the food? Scenes of family life?

7. Santa Claus and the dashing of expectations about the gift? Miss Shields and her class - and her not enthusing about the rifle?

8. The fantasy sequences - the imagination of the nine-year-old? Of the '40s?

9. The atmosphere of the '40s, the music, the look, the commercials and products, the expectations of children? A nostalgic look back from the '80s?

THE CHRISTMAS GIFT

US, 1986, 97 minutes, Colour.
John Denver, Gennie James, Jane Kaczmarek, Mary Wickes, Pat Corley.
Directed by Michael Pressman.

The Christmas Gift is one of those many American telemovies, so-popular with American audiences, that focus on Christmas, hardship, sentiment -and happy endings. This film focuses on a prominent architect, his being a widower, his attractive child, the big business behind him, a visit to Georgetown, Colorado to change it and make it prosperous, his visiting the town and liking the people, realising his attitudes, leading the campaign against the developer, helping the townspeople to a generous way of acting - and, of course, settling in Colorado with the heroine and his daughter.

It is all done quite pleasantly. John Denver is quite good as the architect. He sings to his daughter in the middle of the film.

The film has popular American ingredients - which may be a bit much for other audiences, but which is nevertheless quite pleasant for Christmas screening.

1. A pleasant contemporary story? Business and development? Money? Family? Christmas giving?

2. New York, the contrast with Georgetown, Colorado in the winter? The picture of the Colorado town and its homeliness, its spirit? Winter, the Rockies?

3. The title and its reference to George Billings, his daughter, the people in the town? The town and its gift to Jake and his family?

4. The Christmas setting, the focus on Santa Claus and gifts, belief in Santa Claus, the contrast with the moneyed developer and his tax shelters? The legend in Georgetown, the pioneers and the Rockies, Santa Claus, the tree, the gathering, the pageant? The centenary of the legend and their fulfilling it?

5. John Denver as George Billings? Widower, father, whiz-kid, Mr Renfield and his admiration for him? His work? The gift for his daughter? Going to Georgetown? Surveying the town? The drawing of the town and its Christmas celebrations, Georgetown fulfilling it? His busy attitudes with Susan at; the Post Office? His mellowing, Bud, Henny, the hotel? The traditions? Susan and her guidance? The attraction? The pageant and the rehearsals? The buying of the farm? Renfield's arrival? George's change of heart? His attack on him at the meeting? Alex's running into the snow, the search? His gratitude at her being found? The Christmas religious ceremony and his speech? Confrontation with Renfield? The proposal about the mortgages? The gift to Jake and his family? The reunion with Susan? His being fired, staying in Georgetown? The effect; of Christmas on him?

6. Alex, her love for her father, Christmas, Georgetown, entering into its life, the friendship with Susan, Aunt Henny, Scruff and the riding of the horse, the hideout? Her shock attitude towards her father, running away? The rescue? The Christmas gifts - the doll's house and the farm given to Scruff and his father?

7. Susan and the background of her life in Georgetown, in Denver, the return, her art, the Post Office, rudeness to George, apologies, the sleigh rides? Falling in love? Love for Alex? Disillusionment with George? Supporting him in his change? The happy ending?

8. Renfield and his tax shelters, committees, developers? Taking over Georgetown? His arrival, denouncing George, pressurising the mayor? His not winning?

9. The people in the town: Bud and his taxi, the plans to get him an engine? Aunt Henny and her running the hotel? The people at the gas station? The mayor and his concern about the money? The bank? Jake and his having to leave? Scruff and his surliness? At the dance? The life of the town: the letter day, the letters to Santa, the dance, the ceremony at the Christmas tree and the speeches, the legend, the religious ceremony, the pageant?

10. The blend of sentiment, comedy, pathos? Christmas viewing?

THE CHRISTMAS COAL MINE MIRACLE

US, 1977, 98 minutes, Colour.
Mitchell Ryan, Kurt Russell, Andrew Prine, Barbara Babcock, John Carradine, Melissa Gilbert.
Directed by Jud Taylor.

The Christmas Coal Mine Miracle is a better than average telemovie. It has a Christmas setting and thus ensures its being shown regularly at that season. However, the film is also one of those social minded telemovies and looks at life in a small town, a close-up on a family and its difficulties, the running of a town by a rich industrialist and the difficulties of the coal miners and their oppression by industry and management. The characters are well drawn and their stories interestingly interwoven, climaxing in a mine accident and a rescue. The problems of the family are perhaps easily sorted out, but the optimistic ending is given a Christmas setting to give some force and some emotional satisfaction to the audience. Films and documentaries like Norma Rae and Harlan County, U.S.A. have given us fictional and documentary background to mine work, factory workers and their plight and management and union difficulties. This film uses this background for its human story.

1. An entertaining telemovie, the portrait of a family, of a town? The social mindedness of the film? Its ability to involve its audience emotionally, cause them to reflect on social situations?

2. The focus and tone of the title? The Christmas setting, especially for the resolution? The focus on the miracle - the survival from the mine disaster and the resolution of problems? The optimistic tone?

3. How well did the film capture an authentic atmosphere of the town, how, mines? Authentic Middle America? How well did the film observe in detail the lives of the people? Audience identification with the various characters and their situations?

4. The picture of the coal mines, the bosses and their ruthlessness, the foreman doing what the boss ordered and making people go into unsafe mines, the challenge from the miners but their need for payment and their willingness to obey, the lack of protest? The double talk of the authorities, the need for inspections? The fact of explosions, supervision, dangers? The risk for the men going down the mine, the ultimate disaster and the trapping of more than seventy men? The alarm and the involvement of the whole town in the rescue, the need for quick digging and the risk of further explosion, men being crushed by the rock? The fact that the men were saved but determined to protest? This story seen within the history of African mines, the exploitation of the miners and the need for social reform?

5. The detailed portrait of the town, life in a small town, Matilda and her desperate need to escape, her dismal views about her future? The contrast with her mother having made the most of living with less but with love? Johnny bringing Matilda home, making her stay? Matilda becoming involved in the family and this helping her to see her future?

6. The device of having Kelly speak the narrative? The point of view of the little girl? Her outspokenness, her language and her mother's rebukes? Her comments on Johnny and Matilda's weakness? Her being sent out so as not to hear adult talk? Her making of the dolls and selling them at the shop, her wanting to buy the rocking horse, the clash with the store man and Mr Caulfield, the smashing of the window, her defying Caulfield at the mine site? Her future?

7. The contrast with Matilda and her preoccupation about marriage, the discussion of marriage, premarital sex, escaping from the town? Johnny and his decisions about her, taking her how? His being abused by Matthew? His making good? The possibility of a successful marriage?

8. Matthew as the focus of the family - a strong and tender man. a leader? His confronting the foreman but unable to change things? His support of Arthur and Carrie? His wise comments in the house, his sternness of manner, his love and devotion to his wife, his wanting her to wear the special dress at Christmas? The preoccupation about Tim and his decision to buy the rocking horse, the discovery of it in the trunk? His decisions in the mine, his supporting Johnny, the possibility of protest and change of conditions?

9. The portrait of Rachel - her background, her abilities in making her home nice, her love for her children? Her support of her husband? Helping Carrie? Her guiding the family with tenderness?

10. Johnny and his poverty, desire to study, love for Matilda but doing the right thing by her, his decision to go down the mine, his anger when they were trapped, Matthew sustaining him and helping him to be a leader?

11. Arthur and his drinking, poverty, Carrie and her pregnancy, her needs? Their pride? His being formerly trapped, his heroism in going down the mine? His being able to face the future?

12. How well did the film interweave the various stories and the personalities? How well did we get to know the characters, care about them and their difficulties?

13. The Christmas finish and the exchange of gifts, a sign of optimism and love and self-giving? An entertaining telemovie, useful social reflection?

A CHRISTMAS CAROL

US, 1984, 96 minutes, Colour.
George C.Scott, Nigel Davenport, Frank Finlay, Angela Pleasance, Roger Rees, Edward Woodward.
Directed by Clive Donner.

A Christmas Carol is a pleasing '80s version of Charles Dickens classic. The story has been filmed many times - directly with Alastair Sim as Scrooge, as a Leslie Bricusse musical with Albert Finney, in animated versions.

This film has television screening in mind. Director Clive Donner (who began his career with film versions of Harold Pinter, Alfred the Great - and later moved to television and television style movies such as Vampyra, Rogue Male, Thief of Baghdad, To Catch a King) does a workmanlike job on the film. He is aided by an excellent performance from George C. Scott as an unexpected Scrooge. (Scott had worked with Donner in a 1983 version of Oliver Twist.) There is a very fine English supporting cast - who add dignity and presence but whose parts are generally restricted. The ghosts, as usual, are presented in a somewhat bizarre fashion- Frank Finlay as eccentric, Angela Pleasence as an odd Christmas Past and Edward Woodward as an almost over-rollicking ghost of Christmas Present. The film has interesting economic background - echoes of Victorian oppression and poverty with reference to the 20th century. The film also retains Dickens' sentiment with the story of Tiny Tim.

The film is, however, quite an enjoyable version of Dickens' novel.

1. The popularity of Dickens' novel? The range of versions? An interpretation for the '80s?

2. The film geared for the television audience? At home, the home atmosphere? A colourful presentation? Stylish? The star cast?

3. Dickens as a popular writer of the 19th century - eminently suitable for cinematic adaptation for the widest audiences? The quality of this adaptation: plotline, characters, mood, message?

4. Audience knowledge of the characters, expectations: Scrooge and his miserliness, his change? Tiny Tim? The atmosphere of Christmas? Poverty? Change of heart?

5. George C. Scott's presence and style as Scrooge? A big man, imposing, stern? An American actor adapting to a British character? Seeing him at work, with his colleagues, refusing donations? A shrewd financier, hard in money deals? His attitude towards his star, towards Bob Cratchett and the darkness of the office? Corresponding to Scrooge's gloom? The visit of Fred Holywell? The clash with his nephew? His going home alone? The severe attitude towards those celebrating Christmas? To the poor? His belief in self-enterprise? Home and his loneliness? The visit of Jacob Marley, their conversation, Marley's death, the doom for Scrooge? The opening up of the experience of the ghosts?

6. The three ghosts - as characters, style, costume? The oddball presentation of each ghost? The ghost of Christmas Past and her inviting Scrooge back? The image of young Scrooge, the severity of his father, his loneliness, his falling in love with Belle, the choices to be made, his choosing money, Belle and her marriage and children? The ghost of Christmas Present and his rollicking style: the Cratchett family, their meagre meal, Tiny Tim and the operation, the jokes about Scrooge yet their toast to him? Fred and his wife and their celebration of Christmas, the jokes about Scrooge? The ghost of Christmas to Come: Scrooge old, miserly, alone, his death? Tiny Tim and his death? The effect on Scrooge: waking. feeling himself alive, change of heart (credible?), going to the Cratchetts, buying them the turkey, going to Fred? Bestowing good cheer? The shock of his friends and relations? The celebration of the day, the games at Fred's? God bless us, every one!

7. The sketch of the Cratchetts: Bob at work. careful, his pleasant wife. the children, Tiny Tim, the jokes despite the meagre meal, the toast to Scrooge? The reality with the feast. the joy and celebration? Bob's raise? The prospects for Tim?

8. Fred as the gentleman, his wife and her criticism of Scrooge, the opportunities for Scrooge to change. the welcome, the games?

9. Tiny Tim and the sentiments of Christmas? Tiny Tim and tears?

10. A piece of Victoriana? For the 20th century? Christmas and the spirit of Christmas?

CHRISTINE

US, 1983, 105 minutes, Colour.
John Stockwell, Keith Gordon, Alexandra Paul, Robert Prosky, Harry Dean Stanton.
Directed by John Carpenter.

Christine is one of several films made from Stephen King novels in 1983-84 (Cujo, Dead Zone, Firestarter). It was made by John Carpenter who established his reputation as a horror film-maker with the original Halloween. He followed it up with The Fog, Escape from New York, The Thing.

Christine is a satanic car. There had been several previous films about possessed cars including Crash, The Car. The Knightrider popularised a personalised car for television audiences.

However, Christine is malevolent. She is destructive and interchanges personality with the awkward personality who falls in love with her and buys her. In fact, the screenplay highlights the relationship between hero and car. The film focuses on teenage behaviour, attitudes towards sexuality and permissiveness in the opening part of the film and seems to make a parallel with Arnie's experience with Christine. Ultimately, of course, she is a destroyer. The film does not work with the shock and suspense tactics of other King films. Rather, it establishes its mood, makes suggestions and then unleashes Christine.

It is a clever film rather than an impressive film.

1. The work of Stephen King? His focus on the 'supernatural'? Suspense, shock? His imagination? The work of John Carpenter in horror films? A satisfying combination?

2. The film as a piece of Americana? The focus on teenagers and their '80s style, attitudes, permissiveness? The focus on cars in the United States? The prologue with the '50s and the pride in making cars? The transition to the '70s and '80s? The California background, the ordinary town, family, school? Police? The credible setting for the horror film?

3. Cars and Detroit, the American pride in cars, machines, gloss, speed, power, parts? Knowledge of cars and their operation? The praise of the car? The diabolical power and influence of the car?

4. Stephen King's imagination: the possessed car, its diabolical history, the repressed teenager, his being possessed and changing, falling in love with the car, destroying, being destroyed by it? Parallels with other King novels and films e.g. Carrie?

5. The theme of the misfit, society, evil, menace, transformation and destruction of society? In the American context?

6. Teenagers, attitudes towards sexuality, talk, poses, propositions? The car as a prestige symbol, sex symbol? The use of cars for sex? The screenplay parodying attitudes towards the car? The hero and his selling his soul for the car - and being damned?

7. Christine as a personality: the opening, the assembly line, the Plymouth in the '50s, seen as a quality car, antique? The music, rock and roll background? The red colour and its symbolism? The gloss of its interiors? Its procession on the assembly line, its turning destructive, jamming the hand, the African American, death? The transition to the present? Christine as an old and abandoned car? The story of the owners, the cruelty? Arnie and his sighting Christine, love at first sight, wanting to possess her, obsession? His building Christine, growing to understand her? Experiencing her changes? His change along with that of Christine - in appearance, manner? His looking more diabolical? The encounter with Leigh and her being choked at the drive-in? Arnie being bashed by the gang? Christine being bashed and renewing herself? Her starting to kill? The fire? Darnell? Christine on the road, confronting? The attempts to destroy her? Her being diabolical and not dying? Christine as a feminine Devil and her power?

8. Christine in the context of the American town, college? The girls, the boys, tough, football, friendships, relationships? Dennis as the embodiment of the average young American? Leigh as the average girl? The contrast with Arnie and his awkwardness. his parents. his ability with machines? His changing? Injuring Dennis? The final confrontation between the two sets of values - what profit in selling one's soul? The comparison with the American way of life compared with the diabolical?

9. The portrait of Arnie: awkward, gawky, mocked, his parents and their criticisms, the home scenes. school? Rivalry with Dennis? The local thugs and their taunts, violence? The seeing of Christine, defying everybody, the clashes, the clashes with his parents? His gradual transformation e.g. the glasses, appearance, clothes, appearing more diabolical, the encounters with Darnell, the deal, the car, taking Leigh out, the choking? The thugs and the cruel vengeance by Christine and Arnie? Pursuit, the police, his revenge on his parents? Visiting Dennis in the hospital? His ultimately being possessed and dying? His talk about love and relationships?

10. The contrast with Dennis - smug, smart, friendly, sport, love for Leigh, the Cunninghams, the experience of the injury. the hospital, his helping Leigh, trying to help Arnie, the end?

11. Leigh as heroine, college, relationship with Arnie, the outing, almost killed, growing fear. joining with Dennis to try to save Arnie?

12. The town thugs, their brutality. the revenge?

13. The parents and their severity, Arnie's attitudes, revenge?

14. Darnell and his owning of the yard, toughness? Darnell as a tough bargainer, background, friends, attitude towards Arnie, Dennis?

15. The police, the investigations - and the conventions of the enquiry film?

16. The importance of the special effects - the focus on Christine, her renewing herself. her being able to squeeze through streets etc., the destruction wrought?

17. The film as a piece of Americana horror? In the context of the American way of life, cars, teenagers and their mores?

THE CHRISTIAN LICORICE STORE

US, 1971, 84 minutes, Colour.
Beau Bridges, Maud Adams, Gilbert Roland, Monte Hellman, Jean Renoir, Theodore Flicker, Gwen Welles.
Directed by James Frawley.

The Christian Licorice Store is a cinema oddity and received very little release. It echoes the uncertainties of the anti-heroes of the late '60s and early 1970s - this time a tennis star who succumbs to the superficiality of the celebrity round and money and the media. Beau Bridges gives his usual efficient performance in the central role. Maud Adams who made a few films such as Rollerball, The Man With The Golden Arm, is the co-star and there is a brief performance by Gilbert Roland. For the art cinema audiences there is a long sequence where the hero and heroine interview the celebrated French director, Jean Renoir. Many Hollywood personalities appear as guests at parties e.g. director Theodore Flicker, actress Gwen Welles.

The screenplay was written by Floyd Murtrux, writer of several screenplays and director of such films as Aloha Bobby and Rose, American Hot Wax, Hollywood Nights. Direction is by James Frawley who worked in television and directed the satiric Kid Blue, The Big Bus and The Muppet Movie. The film is not particularly entertaining, nor very interesting - it is an example of a trend that was representative enough of the early 1970s.

Music is by Tim Mc Intyre - who was to appear for Murtrux in American Hot Wax. The title derives from the ironic lyrics of a song used later during the film.

1. Audience interest in the film, characters, themes? How entertaining? Limited release of the film? Its being particularly dated and tied to its time?

2. The film reflecting the late '60s and early 170s: personalities, types, issues? Individual themes, social themes? The arty and modern treatment?

3. Audience involvement in the life of the characters, their questions and problems? Audience interest in sport, the world of sport? The possibility of the celebrity being able to live a human life or not? The role of the coach? The star, the media, interviews, casual relationships, women? The lure of the commercial world - advertising, film stardom?

4. The irony of the title and its imagery? The later song and its tone, lyrics? Irony about heroism and success? Corruption?

5. The portrait of the hero - his skill at tennis - on and off the court, the discussion with J.J. about his racquet? His ability to listen to advice? The frequent travel and the plane trips? Television interviews? Casual relationships with women? Meeting Cynthia at the film screening, the build-up of the relationship? His superficial relationship with her? His moving on to competition? Boredom? The interlude with Jean Renoir and the discussion about the meaning of life? The discussions with Cynthia? His instability, watching the television sports greats? His leaving and becoming involved in the film world?

6. The decline of his character? His narrowing of interests, selling himself to television and film? His final self-absorption? The prospect for his life during the '70s?

7. Gilbert Roland's portrait of the past star with his memories, a better day of sports activity and skill? Less commercial? His advice to Frank? His death? The TV programme about the sports greats of the past and the changes?

8. Cynthia as heroine - photographer and her skills, Hollywood, her meeting with Frank and the beginning of the affair, the fidelity, trying to build the relationship, the domestic scenes, her inability to related to Frank's boredom? Watching him on the television commercial at the end?

9. The sketch of the Hollywood types? The groupies?

10. Sport and its achievement and the tennis sequences and the use of professionals?

11. The media world and the use of the media?

12. The reflective passages of the film? The quality of the reflection about the meaning of life, unsettled times, futility? How much insight in the film - or how much a reflection of moods of the time?