THE CHEAP DETECTIVE

US, 1979, 92 minutes, Colour.
Peter Falk, Ann Margret, Eileen Brennan, Sid Caesar, Louise Fletcher, James Coco, John Houseman, Dom De Luise, Madeline Kahn, Marsha Mason, Fernando Lams, Stockard Channing, Nicol Williamson, Phil Silvers, Abe Vigoda, Vic Tayback.
Directed by Robert Moore.

Neil Simon entertainingly spoofed the murder mystery genre in the wit and absurdity of Murder by Death, directed by Robert Moore. Peter Falk parodied the Bogart private eye. Her he is given the full treatment by Simon Moore. The plot line is Casablanca transferred to San Francisco (most of the main characters are there) with Maltese Falcon-like investigations - except that every cliche has its banality spelt out in a mixture of corny and clever humour that commands a continual smile and many guffaws, best if you know and value the old movies. A large starry cast bounces off Falk. The ladies are particularly entertaining, especially Madeleine Kahn, Marsha Mason, Eileen Brennan, Louise Fletcher.

1. An enjoyable comedy, parody, of detective stories, the use of the original Casablanca? The perennial popularity of Casablanca with audiences, films, parodies e.g. Woody Allen?

2. The reputation of Neil Simon and his style of comedy, wit? His capacity for spoofing particular genres? His affection for the genre?

3. Its re-creation of the period, the 40s, San Francisco, costumes, atmosphere, the rich, the seedy? The musical score? An authentic atmosphere of the private eye of the 40s?

4. Why were Private Eye films so popular? The individual tough hero, the particularly tough American type, the nature of his strength, the jobs that he was asked to take on, the people hiring him, mystery, the confrontation with danger, the relationship with the mysterious heroines? The cheap atmosphere of the detectives? How well did this film portray the styles of the original, parody them? The significance of the title?

5. How well did the screenplay combine the genre of the private eye with the basic plot of Casablanca? For the particular characters, their styles, appearance, dialogue? For particular types? For the details of the plot? The humour of transferring to wartime San Francisco and the need for the refugees to move to Oakland via the ferry - and open a French cafe there?

6. The gallery of actors and actresses in the film? Each with their particular style, comic reputation? Their capacity for embodying a type? Their imitating the various types from the detective stories, from Casablanca? How much did the enjoyment of the film depend on this?

7. Peter Falk as Lew Peckinpah? The play on Sam Peckinpah’s name? Peter Falk and his television image of Colombo? His coat? Transferring that image to the private eye of the 40s? As representing the private eye? His heroism and lack of heroism? Revealing the initial affair with his best friend's wife? Her killing for him? His relationship with the police -collaboration, differences? The importance of the number of women in his life - variations on the mysterious heroine? The importance of the blonde wife of his best friend, his secretary with her cleverness and her brash devotion to him, the seedy singer with whom he has the one night affair and who is devoted to him, the elegant well-dressed wife of a refugee with the past in connection with him, the femme fatale and wealthy woman married to the rich migrant? The contact and communication between them all? His deals with people, his help, his investigations? The importance of the interviews, especially with his secretary and her breaking of the code? The fat man and his restaurant, his own private taxi and taxi driver? The fat man and the confrontation with him? Solving the mystery and getting all the women?

8. The picture of women in the film: the passionate wife - with the lack of brains, but devotion - the parody of the number of killings? Her arrival in his home and the deal in taking her to jail and his waiting for her? The comedy spoof of this kind of wife, killer? The singer and her presence, a big woman, her song in the cafe, having nothing else to do but go home with him, her hopes for a future with him? The wife of the refugee and the parody of Ingrid Bergman in Casablanca - to appearance, tone of voice. dialogue, lines? A devotion to her husband, getting his visa, the relationship with Lew and her willingness to sacrifice herself? The irony of actually giving up her husband (and his not seeming to worry?) Ann Margret and the parody of her style as the femme fatale, her wealth, her playing and teasing Peckinpah, and the breaking of her identity and her lapsing into broken English? His secretary, her devotion, her cleverness in breaking the code, her waiting outside during the comic scenes where he was encountering each of the women and hiding them in a different room?

9. Particular scenes of humour: the club, the visit to the wealthy house and the notes being exchanged, the women hiding in various rooms etc.

10. The parody of Casablanca - Lew as the parody of Humphrey Bogart? The fat owner of the cafe, and the irony of his shooting the villain and his being wounded for so many years and then dying? The ageing decrepit villain who was being sought out and who comes to life with his wife but is shot? The parody of the Sydney Greenstreet fat man and his power and discussions, the parody of the Peter Lorre assistant? The French refugee and his wanting to open the restaurant in Oakland, the parody of Paul Henreid in Casablanca? The Germans, patriotism, songs. The officer's death?

11. The build-up to the finale and the seemingly heroic ending but the husband going off leaving his wife?

12. How entertaining the poking fun at America, American styles and traditions? What insights does parody offer? The ambiguity of values and the breaking of expectations?

CHARLOTTE'S WEB

US, 1972, 85 minutes, Colour.
Voices by Debbie Reynolds, Paul Lynde, Henry Gibson, Agnes Moorhead.
Directed by Charles A. Nichols and Iwao Takamoto.

Charlotte's Web is a classic children's story, a delightful fable about values by means of characters in spider, pig and rat forms. This animated version is pleasing, although it uses the cute, naturalistic style of drawing which gives it sometimes a sugary niceness. The songs by the Sherman Brothers are enjoyable, although not particularly memorable. (They have added songs to Mary Poppins, Tom Sawyer, Huckleberry Finn etc.). Debbie Reynolds gives a pleasing voice to Charlotte. Paul Lynde is entertaining as the rat, Templeton. A good film to use for the youngest audiences.

1. Was this an enjoyable cartoon? How delightful was the story and the treatment?

2. Comment on the style of the drawing and of the songs. Did they add to or detract from the charm of the film?

3. For whom was the film made? What age group? Why?

4. Were the characters attractive? Why were they so likeable -especially when they were pigs, spiders, rats?

5. Which situations were drawn best? And made most likeable?

6. The character of Charlotte, (and Debbie Reynolds' voice, its subdued style)? Why was Charlotte attractive, even though a spider? The importance of her web? Charlotte's place in the farmyard? Her friendship with Wilbur? Her giving of herself for Wilbur? Her love for her eggs, and her children? The impact of Charlotte's death?

7. Wilbur the pig, His likeable nature? His being saved by Fern - as a runt doomed to be killed? His treatment in the home, growing up, his fainting? His being sold and his growing up and finding his place in the second farmyard? His need for friends - with Charlotte, with the geese, with Templeton? His response to Charlotte's kindness to him? His love for Fern and his not understanding her growing up? The time at the fair? His realisation of Charlotte's death? His care for her children, especially the small ones who couldn't fly away? Wilbur as a hero?

8. Why was Templeton the rat so attractive? Even though he was really self-centred? His friendship with Charlotte and his finding the words for the web? The humour of the sequence where he ate everything at the fair?

9. The humans in the film - how attractive and likeable? Why? The early scenes of the family, the killing of the pigs and the interest of Fern and her brother? Fern's love for Wilbur? Fern's love for the boy down the street and her growing up?

10. The importance of Charlotte's web - a touch of magic, the centre of interest and attraction of the film? The role that the words played in the film and for Wilbur? The web and the words as Charlotte's gift to Wilbur?

11. How enjoyable were the sequences at the fair? Why?

12. The importance of Charlotte's eggs and their being taken back to the farm by Wilbur and Templeton? The growth of the children and Wilbur's caring for the youngest three? The memory of Charlotte living on, and Wilbur's learning friendship and love from Charlotte?

13. The theme of the film, which was mentioned frequently, of having a true friend, the nature of friendship and of love? How important were these themes for the film? How well would they have been communicated to young audiences? Would young audiences learn much from these themes in this film? How?

CITIZEN KANE

US, 1941, 119 minutes, Black and White.
Orson Welles, Joseph Cotten, Everett Sloane, Dorothy Comingore, Ruth Warwick, Paul Stewart, Ray Collins, Agnes Moorehead. George Colouris.
Directed by Orson Welles.

Citizen Kane has frequently been named as the Best Film ever made and its viewing over the almost seventy years since its first release tends to confirm its very high rating. It is an excellent film on all counts.

The amazing thing about the film is the genius of Orson Welles behind it. Only young, he co-authored the screenplay, a complex work of flashback, realism and dramatic power. He directed in a most imaginative way, collaborating his photographer, Greg Toland: angle shots, full use of black and white shadows… And, of course, he directed himself in a fine performance as Charles Foster Kane, ageing from the young enthusiastic journalist to the dying megalomaniac who whispers 'Rosebud' on his deathbed. The audience discovers that Rosebud is his childhood sled. It is a final word and an American commentary on the Gospel saying, ‘What does it profit a man to gain the whole world and lose his soul?’.

Citizen Kane uses the device of a journalist trying to understand a character, piece together the different stages and facets of his life by interviewing friends, acquaintances and rivals, looking at newsreel footage.

Welles also directed his Mercury Theatre players, many of whom became familiar in films: Joseph Cotton, Everett Sloane, Agnes Moorhead.

Wells was very daring in his day – he was only 26 the year the movie was released – and modelled Kane on the media tycoon, William Randolph Hearst, his career and his relationship with the actress, Marion Davies.

Citizen Kane explores a man, America, power, clashes of wills, friendship and love, and, ultimately, the meaning of life. It should be seen by as many as possible.

1. This film is considered to be one of the best ever made. Why? What are the main qualities for its reputation? Its impact on its first release in the early 40s? Continuing impact?

2. The film as the product of the genius of Orson Welles: writing, directing, acting? This film at the beginning of his screen career, the quality of his acting at the age of 25, his interpretation of the older Kane? The quality of the script, its structure, the verbal wit and intelligence? His particular skills as director, what he drew from the actors, his visual set-ups, use of light and darkness etc.? Citizen Kane as a work of commercial art? How much did the film focus on Orson Welles himself?

3. Comment on the comparisons with the career of William Randolph Hearst. The similarity to the life of other American tycoons especially Howard Hughes? The sagas and mysteries of American wealth, power? American judgement on these tycoons? World judgement?

4. The importance of the structure of the film: the initial preventative barbed wire, the 'No Trespassing' sign, the room and the atmosphere of death, the bowl with the artificial snow, the last word 'Rosebud? The audience on a journey into Xanadu and out again, with the warning at the end of 'No Trespassing'? The importance of the fact that others did not know the significance of 'Rosebud'. but the audience did? The symbolism of the word 'Rosebud', the symbolism of the sled? Was this an important symbol, or as some say, a journalistic trick?

5. The use of black and white photography, the importance of light and darkness, shadows, brightness? How did this contribute to atmosphere, to characters, e.g. Susan Alexander, Big Jim Gettys and his being photographed in the dark? Themes of light and darkness, black and white? How much grey was there in the film?

6. The importance of starting with death, the tone that this gave the film? The biblical theme of 'what does it profit a man'? The moralizing tone right from the beginning? How did this moralizing, parable tone continue?

7. The impact of the newsreel device: the march of time, its popularity in 1940, the style of the newsreel. the American bumptious style, the presentation of surface, the sensationalistic style comment, the tone of the commentator? The device for giving us the 'mini-film' of the life of Kane? Sufficient information about his origins, his career? A quick summary look at the character and his career? How well did this newsreel penetrate the character and the times of Kane? Its comments on his origins, fortune, on Thatcher and presenting Thatcher's comments. his success, the Depression, Hitler and his declaration that there would be no war, the presentation of Xanadu and its comments on this palace, the presentation of his funeral? How much did the

8. The device of the quest to discover more about Kane? The use of Thompson as a searching figure, the audience sharing the quest and puzzle, especially with the 'Rosebud' emphasis? The presentation of the men interested in getting to understand Kane, the journalists, the film men, their interest in the story, their presentation for the public? What rights did they have to pursue the privacy of Kane?

9. Thompson and his journey to the Thatcher estate: the mystique about Thatcher, the library, the vast statue, the silence of his memorial, the respect of the keeper for the library and the manuscript? The emphasis on the manuscript and Thatcher's story about Kane? The framework for the flashback for his origins? What did Kane do to Thatcher? Thatcher's observation on what Kane did not achieve?

10. The visualizing of Kane's origins: as seen through Thatcher's eyes, the simplicity, the Colorado Lode? The boy's relationship with his mother and father, the mother's strength, the father's weakness? Thatcher and his taking the child away. the symbolism of his being hit with the sledge, 'Rosebud'? The atmosphere of money, the seeming harshness of the mother? How did Kane remember his mother and her influence on him? Love or not, giving him away?

11. The gradual growth of Kane. his education and his corresponding irresponsibility? His attitude towards his fortune? The continued confrontations with Thatcher. Thatcher's dislike of him? The irony of their later ideological differences? Their observations on what it was to be a great man? (Would Kane have been a great man without his money?)

12. The introduction of the paper, his decision to run the paper, his motivations? Whim, popularity, the use of money? The atmosphere of joyfulness with the arrival, with Jed Leland and Bernstein? Their hopes, the stuffy men on the staff, changing the working hours, going after sensations? Questions of circulation, the growth of the paper, Kane changing the front page and then declaring his principles. (and the later irony of Leland's use of them?). The gaining of the new staff (the device of the photo)? The party, the speeches, Bernstein's adulation. Leland's distancing? The song about Charlie Kane and Kane's joining in? Kane's running of the paper, his relationship with his employees (the cup memento given to him?)? Was Kane a great newspaperman?

13. The interview with Bernstein? Bernstein in his old age, the nature of his memories, the story of the girl in white? The atmosphere of money, the American atmosphere and political situation at the turn of the century, the play for power, the role of the press? Kane and his responsibility for the Spanish-American? war? The corrupting influence of power?

14. The presentation of Kane's marriage, his shyness and arrival with Emily, the way of his announcing his engagement? The marriage and his ambitions, political expectations. the presidential connection? The visualizing of the marriage in the famous 'breakfast sequences', comment on the technique, the communication of mood, relationship? What had happened to the marriage?

15. The irony about the marriage to Emily when the audience knew of the marriage to Susan Alexander, had already seen Susan Alexander at the beginning of the film in her drunken state? The contrast with the pleasantness of the meeting with Susan, the mud on the suit, the simplicity of her toothache, her taking him in, his making her laugh. especially with the shadows, her not knowing his reputation and identity, her singing? What fascinated Kane about Susan? The contrast with Emily? The contrast with his ordinary world? The nature of the liaison and its effect on each?

16. The irony of the liaison at the time of his political ambitions, the dram of the rally, the crowds, the huge photo, the emphasis on 'Citizen Kane', his playing to the gallery, the adulation of the crowds and his followers, the distance of Emily? His moral attitudes, especially to corruption, his attitude towards Gettys? (Gettys in the shadows). The significance of the content of Kane's speech? The sudden revelation of hypocrisy? The irony of the showdown and Emily's use of the address and her going to Susan's place with him? The confrontation and the dramatics of this? Emily's feelings, Gettys' power, Kane's helplessness and obstinacy, Susan being ignored and worrying about her reputation? His decision to stay with Susan? How foolhardy was this, how honest? The after-effects, especially on Kane's career and ambitions?

17. The paper and its use and abuse of Kane? Ruining his chances at the poll? The irony of the two headlines at Kane's headquarters?

18. Jed Leland and his memory of Susan's wedding, the pomp of the marriage, Susan's singing lessons and the effect on her/ the opera house and the sensationalism of its being built, the opera choice for her? The shambles of her performance, her being hurt, the contrast with her view of the lessons, the exasperation of the maestro and Kane's pressure on him? The irony of Leland's review and Kane's finishing it and firing him, the money given to him? The impact on Susan and her attempted suicide? The irony then of her later singing career and her drunkenness? What had Kane done to Susan?

19. The character of Jed Leland: Thompson's meeting him as an old man, his whimsy and the cigars, his attitude towards the nurses? How much truth was there in what he said, in his memories? His memory of support for Kane, their clash, his going to Chicago and not speaking, his reaction to the opera, to the review, to his being sacked, the money? The importance of Leland's comments on Kane's greatness, his friendship, his loving, his wanting to be loved, money and power?

20. The impact of the Depression on Kane, a crash, but not so badly affected?

21. The buildings of Xanadu? The significance of the name, the gigantic proportion of Kane's ambitions and wealth? The mammoth size of it, the March of Time commentary on it, the later presentation in the film2 The collection of artwork, pictures, its vastness? The room with the huge fireplace, the distance between Kane and Susan, her playing jigsaw puzzles, her wondering about New York time, the emptiness even despite the party? what had Kane achieved? The importance of his growing solitary attitudes, becoming a recluse?

22. The build-up to Susan's walkout, her standing on her own feet. The melodramatics but the effectiveness of Kane's smashing her room?

23. The final interviews with Raymond? The character of Raymond, sinister attitudes, spying? His observations, comments on 'Rosebud?

24. The aftermath of Kane's death, the reporters and the photographers, the assessing of the wealth, the packing of everything in crates, the mystery still remaining? The irony of the visual presentation of 'Rose-bud' burning?

25. The film as an example of the quality of American film-making, the qualities of Hollywood? Visuals, acting, the music?

26. A film about the American themes of money, power, influence?

27. What is it to be a great man, in oneself, the effect on others, loyalty and love? The themes of human nature, of good and evil?

THE CITADEL

UK, 1938, 113 Minutes, Black and White.
Robert Donat, Rosalind Russell, Ralph Richardson, Emlyn Williams, Penelope Dudley, Francis L. Sullivan.
Directed by King Vidor.

The Citadel is a classic version of A.J. Cronin's novel. Directed by veteran King Vidor, who made such films as The Big Parade, Northwest Passage, Duel in the Sun and War and Peace, it came from a period when M.G.M. made films in England, e.g. A Yank at Oxford, Goodbye Mr. Chips. Robert Donat is at the peak of this career, having made such films as The Count of Monte Cristo and was about to make his Oscar-winning Goodbye Mr. Chips. Rosalind Russell is very subdued as the attractive heroine. There is a very strong supporting British cast, especially Ralph Richardson. Cronin has a lot to say about the medical profession, concern for the poor, snobbery and the desire for wealth. His message is still relevant even though couched in the atmosphere of the past. Other films from Cronin novels were Beyond this Place and The Spanish Gardener. Perhaps best known is the television series, Dr Finlay's Casebook. The Citadel is a rewarding film of the 30s.

1. The film is considered a classic of the 30s. Why? Film-making, photography, acting, treatment of themes, screenplay?

2. The work of A.J. Cronin and his insights into the world of medicine, the medical profession, the service of doctors and the public?

3. The significance of the title? The early references to it and a symbol for the ideals of medical dedication?

4. The theme of 'What does it profit a man to gain the whole world?' How well was this dramatised and illustrated?

5. The prologue and its comment on the critique of individuals, of some doctors (but not of the medical profession)? How just was the portrayal of doctors? The critique of those who exploited their profession, sponged from the rich, were incompetent?

6. The quality of the screenplay; the focus on particular incidents.. the next incident presupposing the previous one and what had gone in between incidents? The links between the various phases of Andrew Manson's career? Christine's reaction?

7. Robert Donat's performance as Andrew Manson? A complex character, a mixture of strengths and weaknesses? The initial impact in Wales, his skill and dedication as a doctor, his hesitation in helping Benny? His attack on Christine in the school and his exasperation about the villagers and isolation? The importance of his participation in the birth of Moran's child and his saving the child? The reasons for his deciding to help Benny? The blasting of the sewers? His impetuosity, his lack of being satisfied with ordinary things and his wanting more? A credible mixture of good and bad?

8. Rosalind Russell's performance as Christine? Seeing her in the school and her decisions about isolation? The consultation about the costs and Andrew's treatment of her? The discussion abut bike riding, the humour of the proposal? The marriage, the move from the town and the sharing of the house? Sharing his research and the bitterness of people's reaction against them? The arrival in London and the sharing of his hopes? Her reaction to his improvement in life? His leaving her at Orlando's as symbolic of what was to come? The gifts? Benny's arrival and her joy at seeing him again? The wealthy car? Benny's death and its repercussions? Her telling the truth to Andrew? Her support in the court case? A good woman, sincere and devoted wife and support?

9. Benny as an interesting catalyst? His odd remarks and behaviour at the beginning of the film? His friendship with Andrew? The blast and the results? His hopes for Andrew and his disillusionment upon his return? His drinking, telling the truth to Andrew? The pathos of his death? Andrew's reaction and waiting while Dr. Ivory did the operation? The use of Benny's voice as conscience on the bridge?

10. Andrew and his good days? His investigation on lung difficulties, treatment of the miners, participation in the life of the people, the accidents? Jenkins and his reaction at not getting a ticket? His leading the miners in their vandalism? The case and the hearing and Andrew's comments on it?

11. The accident of the hysterics and the shock? The encounter with his doctor friend? The meeting with Ivory, Gough? His presence at operations for the fee? Wealth, bets, golf? The world of medical abuse and the way it was presented? Absorbing his energies year after year? Taking him away from genuine research?

12. A change in him and his character? As symbolised by the car? Denny's vision and inviting Andrew to help and his refusal?

13. The repercussions of Denny's accident, being present at his death and accusing Ivory of incompetence? His decision to help the American researcher even though he was not qualified? His previous encounter and refusal to help? His decision to participate despite the professional risks?

14. The significance and drama of the court case, the content of the defence of himself and the medical profession?

15. An exploration of an individual and the meaning of his life, values and ambition? Themes of service and humanity, the betrayal of ideals? The optimism of the assertion of right?

CIRCUS CASABLANCA

Denmark, 1981, 99 minutes, Colour.
Directed by Erik Clausen.

Circus Casablanca is a Danish road film about a group of offbeat characters - Charlie the conman and his small circus, Ib, his friend and supporter of the circus acts and Laila, the neurotic girl whom they befriend. It is spring and summer in Denmark as this small group goes around the countryside encountering people on the streets, beaches, factories, on television etc. The characters are drawn humorously and realistically - at times sympathetic, at times very irritating. As a view of a subculture, the film has warmth and interest.

1. An entertaining slice of life and view of a subculture? The road movie plot? The detailed sketching of characters?

2. The Danish atmosphere: countryside, cities, people, a cross-section? Colour photography? Jaunty score and songs?
3. Audiences and their response to circuses? The spectacle, the special acts? The Circus Casablanca as a seedy, small and tawdry carnival side-show? On the move? The comparisons with real circuses? Circus Casablanca as the circus of the little man, the ordinary man with success, failure, cheating, happiness, disaster, the rebound? The circus as a symbol? The characters representing the ordinary citizen?

4. Charlie as central: the conman, the actor, the salesman? His strength of character, warmth? His self-centredness and drive? His continued spiels? Salesman - tough and rough (and humorously vulgar!)? The plot opening in spring, the season for travel? His attachment to Rosita - and her death in the fire? Collecting Ib, friendship with Carl and his wife, going on the road? The humorous encounters with the police making them move on? The showman, exhibiting the acts? His believing in himself and the acts? Picking up Laila and making her part of the troupe? Friendship with her, hurting her? Making her part of the magic act? His reliance on Ib, pushing him, ridiculing him? The goal of buying the cannon and making Ib the human cannonball? The continued phone calls to the agent? The variety of jobs? The performance for the union and collecting the money (and stealing off the top)? Being on TV? The range of people encountered? The selling Swampoo and his ability at it, the advice of the floor manager, the rebellion against him? The visit to Liliana and his children? His disappointment with her? Stories about Carl, memories? His death and the funeral celebration? The magic act and its poor reception? The evening with Gerda and the burning of the car and caravan? The fight with Ib? His resilience and the final tap-dancing with his son playing the spoons? A well-rounded character portrayal? A sketch of the wanderer?

5. The comparison with Ib - his cleaning the windows, relationship with his mother? The variety of his acts as a strong man? The illustration of his escaping from the chains and ropes? The breaking of the slab, the fire-eating? His shyness? His stupidity and shrewdness? His attachment to Charlie and being able to be persuaded by him? His attention to Laila - admiration, frustration? His fear of the cannon - yet his getting inside it and smiling? Life on the road, his regards to Liliana? Boredom when Charlie was working in the shop? His admiration for Carl and telling the stories? His fighting Charlie at the end - and his final working with Laila?

6. Laila - her appearance, getting the lift, becoming involved, cooking, sexual relationship, disappointment with Charlie, sharing the acts? Friendship with Ib - talking with him, hearing the story? Her background, neurotic or not? Her participation in the magic act? The fire? The ending? A likable girl?

7. Carl and Ib's mother - Carl's death and her tribute that he made people dance and be happy? Liliana and Benny, the kids?

8. The picture of the police - their telling the group to move on and their being mocked? Their winning out in the end? The union officials and the performance on the television? The compere and the town and his anger about the funeral, the magic act? The townspeople and their viciousness? Gerda and Charlie's approach to her, her response?

9. The road, sharing the way of life, work on the streets, in the countryside, on the beach, in the markets? Danish lifestyle? The economic situation?

10. Benign realism and optimism?

CIRCLE OF TWO

Canada, 1980, 108 minutes, Colour.
Richard Burton, Tatum O'Neill, Robin Gammel, Michael Wincott, Kate Reid.
Directed by Jules Dassin.

Circle of Two is a mild Canadian romance. It shows the infatuation of a teenage girl with a celebrated artist and his reliance on her for regaining his inspiration and coming back to work.

Though the themes are fairly commonplace, the film is of interest because of its being directed by Jules Dassin, the blacklisted American director who made such interesting films as The Naked City, Rififi, Never on Sunday, Topkapi. It is also of interest because of the starring of Richard Burton with Tatum O'Neal. Burton gives another of his world-weary, sorrowful performances. Tatum O'Neal is pleasantly brash - but not much more. She doesn't show the potential that she had as a younger child in such films as Paper Moon.

1. An interesting human study, bittersweet romance, infatuation?

2. The work of Jules Dassin and his career? Canadian production? Moderate success?

3. Contemporary settings: Toronto, the city, family life, the artist and the gallery, studio? The use of Toronto locations and an atmosphere of authenticity?

4. The title and its focus? The credibility of the relationship: the fact, psychological credibility, the experience for Ashley, for Sarah?

5. Themes of love, romance, needs? The old man, burnt-out, uninspired? New inspiration, tenderness and care? The adolescent, her virginity, fending off a brash boy? Attracted towards a gentleman, experience? Ability? The hurt in the relationship and its break? The growing experience for both?

6. Tatum O'Neal's portrait of Sarah: 15, her life at home, her relationship with her parents? Love in the family, strictness, discipline from her parents? Her friends, riding the bikes, school? Paul and his pushiness? The ordinary way of life, the girls' chatter, bets, going to the X-rated movie and talking about it? Ashley saving her from Paul finding her? Her talk with Ashley in the cinema, in the cafe? The bond between the two, her telling her life, their going out. influencing Ashley, the buying of the hat, posing for the portrait, her offer to pose nude? The effect on her? Romanticising the platonic relationship? Sharing, falling in love, the question of her virginity? offering herself to Ashley? The jealousy of Claudia? Paul and his chasing her through the field, the attempted rape? The hospital sequence? The discussions between Ashley and her parents? Her parents locking her up? The doctor and her advice, the birthday party, going to New York, waiting for Ashley? Claudia? The break? The painfulness yet growing up? The finale with her graduation and her memory of the experience?

7. Richard Burton's portrait of Ashley: 60 years old, career, burnt-out? Asleep in the porno cinema? Meeting Sarah again, helping her with Paul, the sharing of memories, stories? His being enchanted by her, going out with her. jogging, working, talking, the portrait, destroying one yet moving on to another, the effect of the relationship on him? His seeing of the old man and painting him? The buying of the hat? The memory of the relationship with Claudia. her loyalty to him in difficult times contrasting with that of the gallery manager? Paul and the hospital sequence? Sarah's father shutting the door in his face? His walking out, going to New York, the showdown with the gallery manager, the self-assertion, not wanting a retrospective of his work? Encountering Sarah, the finale, sending her back to her life? The effect on him? (And the irony of Richard Burton's own life, and his death soon after making this film)?

8. Paul, jealousy, chasing Sarah, drugs, the attempted rape, his parents away in Europe?

9. The sketch of Sarah's girlfriends, schoolgirl activities, chatter, birthday parties etc.?

10. Sarah's parents, their way of life, relationship with their daughter, strictness, locking her up, the birthday party, reaction against Ashley?

11. The doctor and her matter-of-fact style, advice to Sarah?

12. Claudia and her loyalty, help, jealousy of Sarah? The gallery director and his fickle friendship?

13. The portrait of an artist, the painting, studio, inspiration, the portrait of Sarah, the old man?

14. Details of city life and atmosphere, the frankness of style in the portrait of the romance?

15. Themes of contemporary love, relationships, friendship, sexual relationships, platonic relationships? Growth through experience?

CINEMA

U.S.S.R. 1979. 75 minutes. Black and white.
Murman Dzinorija, Guram Lordkipanidze, Avto Kereselidze, Ketino Kabulija.
Directed by Liana Ellava.

A very attractive Russian film, made in Georgia. The Georgian films are generally much more gentle than their western counterparts - a sense of humanity and comedy. This film, made in black and white and echoing the styles of the early silent film industry, shows the period at the turn of the century in detail and gentility. The hero goes to study in Paris and returns with a camera. He then proceeds to film incidents and people in the area - although with hostility from his own family. He tries to persuade people to invest in the film industry and foretells its successful future. In his attempts to build up his films he finally disappears and the collected material is screened for the public, with great popularity. The film has charm, humanity - and is an interesting look at the origins of a national film industry.

1. An attractive Russian film? The style and light touch from the area of Georgia? Entertainment value, history?

2. The film's communication of love of the cinema? Its black and white stylised photography? Its visual style and elegance? Its presentation of a comedy of manners in the early 20th. century period? The echoing of the techniques and photography of silent film? The importance of the soundtrack?

3. A glimpse of the origins of the Russian film industry? The exhilaration of the Lumiere Brothers and Paris? The possibilities of cinema in Russia? The novelty, curiosity? Public opinion against it? The hero as a man of vision? The details of life that he photographed? The people's response to being photographed, to watching themselves on the screen? The memoirs of a particular period? The collage at the end as a final record of this particular period?

4. Film history - the Russian origins? The comparison with other European countries? Film as entertainment, seen at carnivals, magic lantern shows? Audience response?

5. The characterisation of the hero Sosiko - the elegant dance and singing with his fiancee at the opening? His place in his parents' home? Russian aristocracy? The study in Paris and the farewells? Ills return home, expectations of him? The exhilaration with the camera? His wandering through the streets and photographing what he saw - the old man carrying the piano and his death, a stage performance, the flight of the balloon, his fiancee and her riding the bicycle? The details of the workers and the close-ups of their faces etc.? His exhilaration with what he was doing? His young assistant and their working together? The Prince and his expelling him from his home? The family's reaction? Sosiko and his enterprise, testing out his film and the burning down of the tent? Financial difficulties? The council meeting in the city and the rejection of his plans? The balloon flight and his disappearing from sight? His memoirs and their contribution to the Georgian heritage? A humorous portrayal? A character study?

6. The picture of Georgia at the turn of the century - elegant Russian society soon to be overthrown, the workers, the ordinary people of the town, the pompous city council? The details of life, work - the carnival and the man with the magic lantern etc.? Landladies? Eccentrics who fly balloons?

7. The film's gentle touch in portraying human nature sympathetically? Audience response to watching sympathetic sequences on the screen? The power of cinema and its place in the future?

8. The visual delights of the film, the gentle quality, insight and history? The possibility of this kind of film for all national industries and the origins of cinema in that country?

CINDERELLA LIBERTY

US, 1973, 117 minutes, Colour.
James Caan, Eli Wallach. Marsh Mason, Burt Young.
Directed by Mark Rydell.

Cinderella Liberty is a very likeable film which, while tackling emotional entanglements in the sleazy atmosphere of a US Port is filled with basic human goodness and some hope.

James Caan portrays Ordinary Sailor John Baggs, a sensitive and kindly man, victim of navy inefficiency and his own feelings for a pregnant pool hustler and her son. The joys and disappointments of the relationship are movingly portrayed, skirting the dangers of sentimentality and giving the audience an emotional life. Caan and Marcia Mason are excellent and there is good support from Eli Wallach as a down-and-out sailor. The film was directed by Mark Rydell who has made such varying films as "The Fox", "The Reivers", "The Cowboys", "Harry and Walter Go To New York". This is an entertaining and pleasing film which offers much for discussion about life and love.

1. The meaning of the title and its emphasis on freedom? The overtones of the fairy story - how was it verified? Cinderella needed for the transforming of Maggie and Doug? How were they Cinderellas? How was Johnny Baggs a 'fairy godmother' figure?

2. How entertaining was this film? How entertaining in its basic humanity? In its presentation of ordinary human goodness in ordinary sordid situations?

3. How consistent were the behaviour patterns of the principal characters? Johnny and his sensitivity. his response to Maggie. the result that this had on him, and his pursuing of Maggie in love for her fulfilment? Maggie and her pool-room life, her response to positive help, her self-destructive return to a poorer form of life? Doug and his sordid background and his gradual response to love and kindness in his life?

4. Comment on the communication of loneliness in the film. The emphasis in the opening on sailors rejoining families,, Johnny being alone, How did this contrast with the end with sailors leaving and farewelling families and Johnny with a family? How was the message and meaning of the film summed up by this transition?

5. Comment on the presentation of Navy life and its impact on John? The Navy as a job which he did efficiently, its possibilities for promotion and for communication with others. the treatment that he received by Forshay. the impersonal atmosphere of the Navy as regards his health, his files, payment and his personal life? How did the Navy represent the impersonalism of modern society?

6. How attractive a character was Johnny? As an ordinary seaman, his explanation of his home life, his use of leave as a lonely man. his betting with Maggie, his night with her, sexuality in his life? How great was his sensitivity. his response to Doug. his finding him on the Ferris Wheel and bringing him home? How did he change in his concern for Doug. taking him out. the use of language, his work on shore patrol? When did he begin to love Doug and Maggie? His concern for them and the resultant happiness? His concern for the baby and his taking responsibilities? What attitudes did he have in organizing the marriage? The happiness of the marriage, helping Doug with his teeth? How much did they suffer with the death of the baby? How much did he suffer with Maggie’s turning her back on him? Why did he not give up? How did his love for Doug help him to continue?

7. How well drawn was the picture of Maggie? Was she credible in her role at the poolroom ,as a hustler? Her explanation of her New Orleans background? How good a mother was she? Where was her failure? Did she love Doug? How did the sequences with the Welfare Officer show the objectivity of her failure? Why did she respond to Johnny? How happy did she become with the love and the prospect of marriage? Somebody wanting her? The prospect of the baby being called John? How important was her pregnancy for her and her attempts to lead a healthier life? The strenuous nature of the birth. John's presence during the birth? Why was she so broken with the death of the baby? Another failure? Why did she return to her old ways? Was there any malice towards Johnny? The hurts inflicted on him?

8. How attractive was the portrayal of Doug? His cheekiness and yet the sentiment in the performance? The picture of brash cheekiness? His language and talk with his friend on the Ferris Wheel? His hostility to Johnny? His love for his mother? His following Johnny on the Shore Patrol and learning -friendship? What did he learn in his response to Johnny? His response to love and friendship? His growing attitude of love to his mother? The teeth etc.? The sharing of food, the cake etc.? How happy was he when the baby was born? How saddened with his mother's change of heart? His reliance on Johnny? What future would he have with Johnny and searching out Maggie?

9. The importance of Lynn Forshay for the film? The old Navy life that Johnny led, his revenge on him and their laughter together? The disillusion when Forshay was sacked from the army? The impact of the seediness of his job at the strip joint? His celebration of the birth of the baby with Johnny? Did you expect that they would change places at the end? Were you glad that this would be a new life for Forshay?

10. What was your initial attitude towards the welfare Officer? Why? Was she merely doing her job? Was she sympathetic towards the family? Did your attitude change when she agreed to help Johnny? Why?

11. What view of the family did the film take? What insight into family relationships did it give? What insight into goodness, hope, love?

12. Which details of this story impressed you most? Why?

13. How valuable a film was this as regards values entertainment? Human insight? Some inspiration and encouragement in living?

CINDERELLA

US, 1950, 75 minutes, Colour.
Directed by Wilfred Jackson, Hamilton Luske, Clyde Geronimi.

Cinderella is an engaging, delightful Disney animation feature. After the success of the early Disney films, the war effort and the films with mixture of animation and live action dominated the Disney Studios. Cinderella - and then Alice in Wonderland and Peter Pan - were a return to the films associated with Disney.

The film follows the storyline very familiarly - though some critics have noted that the stepmother and the ugly sisters get off scot-free. The Disney Studios have added some engaging animals, especially two mice -Jacques and Gus, a dog called Bruno and a villainous cat, Lucifer. The animal experiences interweave with those of Cinderella and in some ways parallel her plight and her success. There are a number of engaging songs including 'So This is Love', 'A Dream is a Wish Your Heart Makes', 'The Work Song', 'Sing Sweet Nightingale' and the popular 'Bibbidi Bobbidi Boo'.

The film was a great success on its first release and has continued to attract young audiences.

1. The continuing popularity of Charles Perrault's fairy story. The number of times in which it has been recounted and filmed? An appropriate topic for Disney animation? Its popularity in its time? with subsequent generations?

2. The quality of the Disney animation: the colours, the decor, costumes? Sense of period - at the stepmother's home as well as at the castle? The delight of the animal world and their helping Cinderella? The magic touches with the glass slipper, the fairy godmother, dressing Cinderella for the ball, the midnight disaster? The special effects for magic and charm?

3. The musical score and the insertion of the music, the songs? The songs illustrating characters and situations?

4. The familiar portrait of Cinderella - her place in the household, the persecution of the ugly stepsisters, the domination of her stepmother? The details of her having to work hard in the house? The invitation to the ball and her not being allowed to go? The delight of the animals preparing a dress for her - and the horror of the stepsisters destroying it? Her encounter with the fairy godmother? Going to the ball? The delight of the ball and dancing with the Prince? Midnight? Her being prevented-from having her foot put in the slipper? The animals helping her? The happy ending? A delightful heroine - and the type of rag-to-riches fulfilment of a dream?,

5. The stepmother - the witch-figure? The ugly and jealous stepsisters? Their arrogance? Their disdainful treatment of Cinderella? The preparation for the ball and their vanity? Their cruelty towards Cinderella and her dress? The ball? Cinderella's success? Their wanting to prevent the Prince seeing her? The fact that they were not punished at the end?

6. The fairy godmother - the funny old fairy? Her measuring Cinderella, preparing everything for her, her instructions?

7. The importance of the animals? The world of the mice? The characters of Jacques and Gus? Bruno as the old dog and his laziness? Lucifer as a Disney villain? The cruel cat? The dangers in the animal world paralleling Cinderella's experience? The mouse in the stepsister's cup? The chase by Lucifer? The confrontation with Bruno? The happy

8. The King and the Prince - as expected from the story?

9. The special delight of seeing Disney animation version of a popular story? The designs and the behaviour of the characters? Romance, sentiment, humour? The touch of cruelty? The highlights of the animated version?

10. Disney's contribution to making popular fairy tales accessible to 20th century audiences?

CHU CHU AND THE PHILLY FLASH

US, 1981, 100 minutes, Colour.
Alan Arkin, Carol Burnett, Jack Warden, Ruth Buzzi, Lou Jacobi, Danny Aiello, Danny Glover.
Directed by David Lowell Rich.

Chu Chu and the Philly Flash is a pleasant minor comedy. It is a good vehicle for Alan Arkin to be matched with Carol Burnett. Screenplay is by Barbara Dana (Alan Arkin's wife). There is a very good supporting case led by Jack Warden as the villain, with a number of character actors including Ruth Buzzi and Lou Jacobi. Direction is by David Lowell Rich who has made quite a number of telemovies - mainly entertainingly conventional. The film is the funny and touching story of a chase (which more than resembles What's Up, Doc) and of two oddball characters. Carol Burnett has the flashier role despite the name given to Alan Arkin. The film probably entertains better on the television screen.

1. An enjoyable comedy? Character study? Presentation of eccentrics? Chase and mixed identity comedy?

2. Locations, the introduction to the characters and situating them in their surroundings? Colour photography? Music - especially for Carol Burnett? Special effects - especially for the mix-ups and the car chase? Musical score?

3. The establishing of Flash and Emily as eccentrics? Their being down and out? Their chance encounter? Antagonism, helping one another -mixed motives, falling in love? The Commander as the eccentric villain? The oddball down and outs? Landlords etc.? The conventions of the oddballs being persecuted, being heroic at the end?

4. The plot resemblances to What's Up, Doc and the retrieving of the bag? The encounter with the crooks and violence? The chase - and ending up in the water? A blend of realism and contrivance?

5. Alan Arkin's comedy style as Flash? Drinking, wandering, the chance for heroism? The encounter with Emily? Friendship, falling in love, shared activities? The Commander and his control? The various friends? The humour of situations?

6. The contrast with Emily and her Carmen Miranda performance? Dress? Has-been style? Her apartment? Her motives for getting the money? Teaming up with Flash? Rivalry? The happy ending?

7. The Commander and his control - Jack Warden's heavy style as the comic villain? The henchmen? The destruction of the boat?

8. The range of villains and the missing bag? The hotel rooms? The violence and the deaths? The chases? Runyon-type villains for this kind of comedy?

9. Johnson, Consuelo, Vittorio and the landlord and their contribution in comic touches?

10. The comedy routines, timing, verbal jokes, visual jokes, farcical situations? Danger and the escape from danger? The car chases? An entertaining minor comedy?