BRASHER DOUBLOON

US, 1947, 72 minutes, Black and white.
George Montgomery, Conrad Janis, Nancy Guild, Florence Bates.
Directed by John Brahm.

Brasher Doubloon is an interesting B-budget Philip Marlowe story. Dick Powell had created the character in the 1944 Murder, My Sweet and Robert Montgomery had been Marlowe in The Lady In the Lake. Humphrey Bogart had been outstanding in The Big Sleep.

George Montgomery is a pleasant but rather bland Philip Marlowe although the settings and the mystery are typical Chandler material briskly done for the brief running time of the film. Later Marlowes included James Garner, an ironic Elliot Gould in an updated version in Altman's The Long Goodbye and finally Robert Mitchum in re- remakes of Farewell My Lovely and The Big Sleep. This is not the greatest of the Marlowe films - perhaps it is the least. However it captures the atmosphere of Raymond Chandler's novels in the forties when they were so popular and is a contribution to the private eye genre. Florence Bates is outstanding as the villainess - she was striking in Rebecca.

1. The popularity of Raymond Chandler stories? The private eye stories and films, especially the tough films of the forties? Phillip Marlowe as the chief example of this detective?

2. How interesting an example of Chandler-Marlowe? private eye films? The strengths and twists of the plot, the picturing of the private eye, the brevity of the story and its presentation?

3. The basic characteristics of Philip Marlowe - his personality, his involvement in cases, the invitation of the mystery girl with her complex background and involvement in violence, a rich family with cover ups and scandals, a complex gallery of villains especially from the underworld, the relationship with the police? His sardonic comments on life and experience? irony, violence?

4. How suitable was George Montgomery as Philip Marlowe? Age, appearance, his bland manner, toughness, romance, his ability and smartness, quickness of wit and of action?

5. Why is Phillip Marlowe a typical American hero type? The individualist, working for himself, not with the police, able to be trusted, fidelity to his case, personal relationships, yet detachment? Strengths and weaknesses?

6. The plot taking 24 hours, the brevity of the film? How clear the presentation of the various strands, meshing them together? A satisfying mystery and investigation?

7. Merle Davis as heroine? The demure woman opening the door and welcoming him, communicating an atmosphere of fear and terror her wariness of being touched by men, her devotion to Mrs Murdoch, explaining her yet afraid of her, the romantic attachment to Marlowe and being taken on as a case, kissing him? Marlowe's suspecting her? Her devices to get the film and the coin back, the gun and forcing him even to strip so that she could get the coin? The contact with Vannier? The climax and her admitting her guilt? The revelation of Mrs Murdoch's hold over her and using her? The quick move into the happy ending? The typical complex American heroine - sweet and demure on the surface, complex underneath, capable of violence? Romance?

8. The initial portrait of Mrs Murdoch - her imperious way, domination of Merle, love for her son? Her abrupt manner, her treatment of Marlowe, dismissing him? Her comments about her son? Her pose as the devoted mother and widow? Her arrival at his office? Her unmasking and her presence in the film? A good villainess for this kind of film - and the complexity of the ageing woman as villain?

9. Leslie and his hold over Merle, aggressiveness towards Marlowe, in league with the gamblers and his violence in their club, his presence at Vannier’s? The revelation that he was a murderer? Willing to be involved in blackmail against his mother? The son of his mother?

10. The quick portrait of the victims - the coin dealer Morningstar, Vannier - their interviews with Marlowe and the audience understanding their characters, shadiness, crimes? The club boss and his toughs and their interviews with Marlowe - their brutalising him and Marlowe’s escape?

11. The contrast with the police and their ordinary methods, their disapproval of Marlowe's methods yet working with him? The climax for the showing of the film?

12. The film as a suitable denouement for the murder mystery? The drawing together of the strands?

13. Such crime films as a portrait of society, ugliness, evil, the need for justice, power for hurt in human relationships, redeemable relationships?

THE BRAIN

France, 1969, 115 minutes, Colour.
Jean- Paul Belmondo, Bourvil, David Niven, Eli Wallach, Sylvia Monti.
Direc ted by Gerard Oury.

The Brain is one of a number of light comedies written and directed by actor Gerard Oury from the 1960s to the 1990s. Often he wrote for French comedians Bourvil, who appears in this film, as well as Louis de Funes (The Mad Adventures of Rabbi Jacob). They both appeared in the 1966 Don’t Look Now – We’re Being Shot At.

This is a robbery caper with Jean- Paul Belmondo, always a charming hero and an agile athlete, teaming up with Bourvil, rather cumbersome, as robbers. However, others have plans also to rob a train.

David Niven brings some British suave style to the proceedings and Eli Wallach the American atmosphere.

An entertainment.

1. An entertaining comedy? An enjoyable robbery caper? The comic aspects of the caper? An international crime film? the contributions of comedy from the various nationalities? A good blend of excitement and humour?

2. How well did the film use farcical conventions of French and English and Italian-American? humour? The various characters as types representing expected humour? The set pieces, for example the leopard destroying the rooms, the gun fight and the fireworks, the robberies, the scattering of the money etc.? Audience response to these situations?

3. Colour photography, Britain, France as locations? The humorous musical score? The special effects necessary for the success of this kind of film?

4. The basic humour of the Brain’s plan to repeat the Great Train Robbery in France? The help of Joanna Piece? The contrast with the bumbling French crooks trying to do the same robbery? Confusion of purpose and the consequent farcical elements? The scattering of the money and the final plan for Fort Knox?

5. David Niven’s style as The Brain? The suave British colonel, the dapper way of life and its detail? Strengths of character? War background and people confident in his appearances? His pursuit of Sofia? The inspector and his help? Scenes of jealousy, for instance at the swimming pool? The humour of the Italian compared with The Brain's suave English manner? 'The contrast with Arthur and Anatole with the French characterisation? Bourvil and his bovine good-natured humour? Jean Paul Belmondo and his agile stunt work and genial good humour? The humorous combination of these characters and the robbery?

6. The various preparations for the robbery - The Brain in England and his dapper timing and official recognition? Anatole and Arthur by way of contrast and the ‘soap’ from prison, cars, getting to the scene of the robbery?

7. The robbery itself in all its details, the various ways and timing? Where did audience sympathies lie?

8. Detection. cross-purposes, betrayals, shoot-outs?

9. The humour of The Brain fearing detection and the humour of his characteristically heavy brain? The irony of the ending with the Statue of Liberty?

10. How good-natured a film? How humorous a presentation of themes of honesty and dishonesty, ingenuity, jealousy, enterprise? The light touch on human foibles?

BOYS’ NIGHT OUT

US, 1962, 115 minutes, Colour.
James Garner, Tony Randall, Howard Duff, Patti Page, Janet Blair, Fred Clark, William Bendix, Jessie Royce Landis, Oskar Homolka, Howard Morris, Zsa Zsa Gabor, Jim Backus.
Directed by Michael Gordon.

Boys’ Night Out is an amusing American style comedy about sexual manners and mores. It is very much a film of the early sixties - the wry social comment of American male-female relationships, marriages, the tone that boys take on their night out. It reflects the kind of writing of Paddy Chayevsky in such films as 'Bachelor Party'. It also has overtones of the sociology of sexuality which derives from the Kinsey Report. Another film at this time with more serious tones. was 'The Chapman Report'.

The film is a blend of the serious, the comic the glossy comic soap opera. James Garner and Kim Novak are
at home in this type of role. Direction is by Michael Gordon who has made a wide range of films from Cyrano do Bergerac to a number of Doris Day comedies.

1. How entertaining a comedy? The emphasis on comedy, sex innuendo, social observation on the American male? The light touch, the values?

2. What comedy conventions did the film use? Characters, situations? Ambiguities? Sexual ambiguity? How subtly. How cleverly?

3 The importance of widescreen colour, the atmosphere of New York? The light musical background?

4. How credible was the plot? Is this how this kind of man behaved? How credible a character was Kathy? Her relationship with her doctor? How credible was it to show the four men discussing the accident of being able to rent stich an elaborate apartment? Kathy utilising these men for her research, the role of the wives?

5. How attractive were Kim Novak and James Garner as the hero and heroine for this kind of comedy? How credible a character was Fred? The bachelor, his relationship with his mother and her advice to him about marriage? His relationship with his three friends, work, train commuters, the nature of his fantasy about sex? The humour of his being able to rent the apartment? Ambiguity of his encounter with Kathy? His falling in love with her, the ways in which she tested him? How credible a woman was Kathy? Her arrival at the apartment, her pretending to be the kind of blonde they were after, her research, her discussions with the doctor?

6. How interesting were the characters of the other three men? Drayton and his telling of stories, his relationship with his wife and her finishing his sentences etc? Jackson and his family? The other men and their wives? How typical of American families and their backgrounds? what comment on family life and its quality was the film making?

7. How easily were the audience led into the situation of the boys’ night out? The song and the title and its emphases? How involved did the audience get in wanting them to find a flat? Sharing their crises and their moral risks? The humour of the final boys' night along with the girls night out? How well did the film build up to mini crises? The points being made in these?

8. Were there any memorable sequence or was this merely conventional comedy?

9. The themes of' American masculinity, femininity? The relationship of the sexes? The city and suburbia? Men’s fantasies? Was it appropriate for this kind of film to have a happy conventional ending between Kathy and Fred? Would it have been more pointed to have had an ironic ending? Does this kind of film give insight into the problems and situations it portrays?

THE BOYS IN COMPANY C

US, 1978, 125 minutes, Colour.
Stan Shaw, Andrew Stevens, Michael Lembeck, Scott Hylands, Craig Wasson, R.Lee Ermey.
Directed by Sidney J. Furie.

The Boys in Company C was a memoir of training for and fighting in Vietnam 1967-8 in the late seventies. John Wayne's vigorously loyal Green Berets' came out then. The U.S, critique came much later, Perhaps M.A.S.H. had to show that war could be criticised.

This film is reminiscent of M.A.S.H. but sets itself the serious task of showing Marine training and morale (the language has not been dubbed, though the rest looks like old army movies) and then is fairly relentless in its picture of fights, skirmishes, blunders and con-tricks in Vietnam - no let-up here except individual be-true-to-self heroism. A young cast re-enacts vigorously ugly recent history.

1. Why a memoir of Vietnam and American involvement in the mid-seventies? A late view of the pros and cons of Vietnam? The need for remembering? How much is a film like this a work of American conscience? (The main writer and director an Englishman?) How much hindsight into the meaning of American involvement in Vietnam and what actually happened and its effect on American society?

2. The contrast with American attitudes in the mid-sixties towards Vietnam: the enemy, patriotism, involvement, the forces? Protest at the time and its later development? How much insight into East Asian problems
in the sixties? Loyalty? The point of view put across by Collins so strongly as typical of American attitudes on
the official and general public level at the time?

3. Use of colour, wide screen? The visual impact of the look of the times, army training? The contrast of the landscapes of Vietnam with those of the United States? The portrait of the cities of Vietnam, the towns and villages, the countryside? Music? The incessant swearing and language - atmosphere of realism or not?

4. The effectiveness of the diary structure and technique? Audience interest in particular times, dates, places? The cumulative effect of these incidents? Audience involvement with the group? The irony of Poster's death at the end and the pages scattered on the ground? A bitter taste to the portrait of the involvement of these young men?

5. How credible was the group of young actors, the various types represented, race, urban and country, the cross section of American youth? Their vigour? Could audiences identify with this American group? Non- American audiences?

6. The credits and the introduction to each of them? Their arrival, the humiliations of the army, haircuts etc.,
bunks and their chatter, the growing bonds between them, atmosphere of suspicion? The ordinary interaction of a
group joining the armed forces? Their volunteering, drafting, intentions to do well. the atmosphere of possible death?

7. The techniques of the training film? The various exercises in training, the abuse, the swearing, their doing everything wrong, their doing everything right, the atmosphere of their graduation and the prospect of the Mediterranean or Vietnam? Typical military background? The pros and cons of such army training, - for combat?

8. The prospect of Vietnam, the ever-present possibility of death, the sequence with Tyke discovering the bags for the corpses. the continual giving of statistics, the presentation of the various motivations for being involved in the war, the veteran trainers who had been there, Collins and his talk, the discussions about body count? Was the film fair in giving the pros and cons of American involvement?

9. The approach to Vietnam, the experience of the ship, the soccer training and their reaction to this, the introduction to Collins and the other officers, the picture of authority? How realistic and accurate?

10. Impact of the arrival sequence with the people selling things, the raw young recruits, the inspection for V.D. the sudden attack? Violence in the middle of ordinary situations? The continual need to be on the alert? How was this reinforced by the mission of guarding the things for the General and the number that were killed for birthday presents for the General? The irony of Bisbee blowing up the bus later? Communications on the field with phones, the nature of decisions to be made, the growing body count? The introduction to Vietnam?

11. The presentation of the village and ordinary civilian life with all the seeming mod-cons? Collins and his
attitude to keep them on the move? Their marching, skirmishes, the village and Collins' suspicion that it was an enemy village and his not being able to be told otherwise, the boy and his baseball. the sheltering children after the bombing of the village? Trang and his interrogation and the sound of the boys death? Collins and his bad judgments? How was this illustrated when he went over the bridge and the men were caught on the bridge? The sequence in the rice fields and Washington stepping on the mine? Ever-present danger?

12. The build-up of the attack on the radio? The reaction on the officer and on Washington? The irony of their spending a million dollars in the false report and the bombardment of the hill and the irony? the men stripping off and cheering? The ironic comment on their involvement?

13. The decision about the soccer match, the enjoyment, the motives, Trang and the change of policy? Their decision whether to lose or not, the humour of when they were losing, their decision to win? The sudden irony with the shelling of the field? The pathos of Foster's death to save the children? What comment on Vietnam in these final images?

14. What was left of heroism of being true to oneself? Any loyalty to the cause, patriotism, American involvement, liberation? Saving oneself, old fashioned heroism? Personal integrity?

15. The comment on the troops in Vietnam - their money, sex and venereal disease, drugs and drug smuggling. The command and the nature of orders, obedience and disobedience, deals and confidence tricks? The irony of American men being shelled for body count and to make impressions? The uncertainty, the strategies, the racism against the enemy? How just was the film in its presentation of these issues?

17. The characterisations of the group:
- Washington - as a black man, his background, loner, attitude towards authority, combining with authority to bind the group together, antagonism towards Pyke, helping him back to life after the drug taking, his decision to smuggle drugs and his change of heart, the mine field episode, the siege of the hill, his decision about the soccer, his formulation of the final heroism ideals?
- Paw - his girlfriend, her pregnancy and the discussion about abortion, the drugs? Collins holding this over him, saving Washington's life at the mine field after his being saved with the drugs, guarding the rice, his ability at soccer and his final decision about the game, his being a father?
- Foster - the intellectual. the various scenes of his taking notes, an earnest young man, the irony of his entertaining the girls, his wounds, reappearance for the final match. friendship with Fazio and the coolness between them, the heroism of his death?
- Fazio - all talk, city background, sex-preoccupied, girls, the break with Foster, his grief at his death?
- Bisbee - his initial appearance, his hostility, the guitar and the songs, friendship, blowing up the bus after the protest to Collins, refusing to obey Collins' orders, guarding the rice fields, bonds with the children and his reaction at the siege after the soccer match?
How well delineated were the other characters, the sympathetic officers, the arrogant officers?

17. The portrait of Collins - a strong character and his determination to be right? presentation of poster attitudes of Americans, his intensity, soccer, coward, the irony of his death?

18. Themes of war, anti-war, American involvement, ordinariness of people involved in war, human nature, patriotism?

THE BOY CALLED THIRD BASE

Japan, 1978, 112 minutes, Colour.
Keigo Matsuyama, Shogo Matsuyama.
Directed by Yoichi Higoshi.

A contemporary Japanese story set in a training centre for boys condemned for various crimes. The film, while grim. has a certain optimism, especially in its presentation of institutions and their attempts to treat their inmates humanely. The problems are very much with the boys - although any imprisonment has an oppressive feeling about it. A contrast could be made with other films about prisons, especially the English prisons and the Borstals from The Loneliness of the Long Distance Runner the very grim film made around the time of this one, Scum.

1. The title and its significance, the focus on the boy? Themes? Image, symbol? The realism of the story, the dreams of a young man and their souring?

2. The focus on contemporary Japan: school, cities, problems of youth, parents, sexuality, violence, the courts, prison? The point of view of the film - observations of society, critique?

3. The traditions of the prison film? This film and its western counterparts? American prison systems. British? New prisons? Modern and more comfortable, less degrading - yet prison? The arrival, the routine, the giving up of clothes and identity? The film's introduction to the various boys - explanation, nicknames, crimes? The
attention to detail in the life of the prison, morale? The personnel? Work, sport, meals? Baseball? Questions of sexuality - memories, loneliness, masturbation?

4. How well delineated the characters? The focus on Capital Third? His background, the reality of his life, his fantasies? His poetic insights? His opportunities in life?

5. The basic story of Third and his friend? At school. the girls, experimentation, procuring? Jealousy and protectiveness? The clients? The boredom and impatience? The outbreak of violence? A naive young man? The facts as the audience saw them - an interpreted by the courts? The debt to society?

6. The companion and his presence in prison. his crying, weakness? The fact that he was caught up in the earlier story? Justice?

7. Themes of escape, hope?

8. The detail of the portraiture? The reality of these human beings - symbolising ordinary human beings, prisoners?

9. The boy's mother, his background, life before going to prison? The stories told by the staff?

10. The final images and the young man and his continuing to run? A summary of all that had gone before?

BABES ON BROADWAY

US, 1941, 119 minutes, Black and white.
Mickey Rooney, Judy Garland, Fay Bainter, Virginia Weedler, Ray Mc Donald, Richard Quine, Donald Meek, James Gleeson.
Directed by Busby Berkeley.

Babes on Broadway is a typical MGM musical of the early 40s. It is entertaining in its way – but interesting for an insight into the career of its stars and director. It is a Busby Berkeley musical. Working at Warner Bros in the 1930s, he devised choreography which was based on patterns and designs as well as the dancing and acrobatics. This is to be seen in such films as 42nd Street and Footlight Parade. He continued this kind of musical at MGM in the 40s. He was later to choreograph such films as Billy Rose’s Jumbo and the swimming sequences in Million Dollar Mermaid.

The film is a sequel to Babes in Arms and virtually repeats the ‘on with the show’ plot. Mickey Rooney and Judy Garland are seen to advantage. Ray McDonald? dances well and director Richard Quine has a song-and-dance role.

1. The popularity of MGM musicals in the 40s, their style, the show business plot, the atmosphere of the outbreak of World War Two?

2. The strength of the film as a star vehicle, the stars and their style, singing and dancing routines? Comedy and romance? The quality of Busby Berkeley’s choreography and directions? Black and white photography? The score? The Oscar-nominated song, ‘How About You’?

3. The familiarity of the basic plot, the way it was used, arousing audience interest, identification with the characters, feeling with them, the warmth of the characters and their energy to get the show going?

4. The focus on teenagers, their ambitions, especially the work in the theatre? Life in the American cities? Needs, funds, help? Working in restaurants, the Broadway dreams, dreams of success? The insertion of song-and-dance routines into this plot?

5. Background of World War Two, the highlights of the British children in America? Tommy Atkins’s song, visual presentation, morale-boosting?

6. The Broadway dreams, the young boy’s dancing? The drugstore? The producers going around to the restaurants as talent scouts? The crowds at the auditions, dreams? Lucky breaks and success? The hard breaks and failure, hard work?

7. The producer and his tough attitudes towards his shows and the cast? Jonesy and her visit to Mick’s, Tommy’s friendship with her, her support, persuading the producer for an audition? Her help throughout the film? The happy culmination?

8. Mickey Rooney’s style as Tommy, as part of the group, his own energy and push, nice guy image and his wanting to succeed? Friendship with Penny? Using situations, Penny’s anger with him, hard and soft? The show going on? The fire? Clashes with the producer? Mickey Rooney’s singing and dancing style?

9. Judy Garland as Penny, the nice girl from the country, her father, family background, honesty, liking for Tommy, involvement with him? With the British children? Her disillusionment with him, the show going on, happily reunited?

10. The sketch of the characters of the boys, Barbara Jo, Mrs Williams? Conventional types – with liveliness and warmth?

11. Songs, choreography, visual effects? An entertaining version of a perennial story about ‘the show must go on’?

BOY ON A DOLPHIN

US, 1957, 111 minutes, Colour.
Alan Ladd, Sophia Loren, Clifton Webb, Alex Minotis, Laurence Naismith.
Directed by Jean Negulesco.

Boy on a Dolphin was the first international film starring Sophia Loren. However, she had been appearing in numerous Italian films since 1950 in small parts though by 1954 she appeared in Aida as well as in Attila with Anthony Quinn.

She made an immediate impact and the same year was appearing in The Pride and the Passion with Frank Sinatra and Cary Grant and was soon to appear in films with John Wayne, William Holden, Trevor Howard and Charlton Heston.

Alan Ladd was moving towards the end of his career at this stage of the mid-50s, after being an action hero in the 40s but in minor films of the 1950s. Clifton Webb, originally a dancer, had made an impact in the 1940s with sinister and sarcastic roles in Laura and The Razor’s Edge. However, as Mr Belvedere in Sitting Pretty, he began a decade of comedies. He also appeared in Titanic and went into glossy upmarket films like Three Coins in the Fountain and Woman’s World.

The film was directed by Jean Negulesco who made thrillers at Warner Bros during the 1940s including The Mask of Dimitrios as well as Johnny Belinda. He made many glossy films at 20th Century-Fox? with the coming of Cinemascope including Three Coins in the Fountain.

The film is set in the Greek Isles with beautiful colour photography. Sophia Loren plays a sponge diver who discovers a statue of a boy on a dolphin which allegedly has magic powers. An unscrupulous collector wants to get the item – Clifton Webb. She prefers to give it to the American anthropologist who intends to return the statue to the Greek government. A blend of popular romance and action.

1. Was this an enjoyable film? Was this its main theme? Entertaining?

2. How important was the presentation of Greece? The credits sequences, the use of scenery and colour? The effect of the widescreen colour on the audience?

3. The importance of the theme of Greece? The glories and legends of Ancient Greece and achievement? The contrast with modern Greece? The ordinariness of modern Greek people? Their response to archaeological treasures? The shrewdness, money, yet the sense of pride? How well was this theme developed? Especially in the finale?

4. The theme of beauty in the film? The Ancient Greek treasures as beautiful? The contemplation of beauty? The discussion of Parmalee in the museum? Calder’s attitude towards beauty? Phaedra’s? Beauty and Greece, legend and truth?

5. How well presented was the theme of greed? Phaedra’s greed, Dr Hawkins, Rhif? And the effect on their lives? The selfcentredness of greed? Parmalee and his elegant greed?

6. The theme of greed and achievement? Of achievement outweighing greed? What kind of achievement did Parmalee want? What kind of achievement did Calder want?

7. How well drawn were the characters in the film? Did they emerge as persons, well acted? Sophia Loren’s portrayal of Phaedra? As a Greek, poor, her ambitions, shrewdness, her primitive aspects, her emotional response to Rhif and Calder? The clash with Rhif? The reliance on Dr Hawkins? Her ambitions for Nico? Was Calder a real person - Alan Ladd as an archaeologist? His role in detecting Parmalee? His practicality? The emotional relationship with Phaedra - and the final tackle?

8. How real a person was Parmalee - Clifton Webb's acid performance? An elegant criminal? Why was he a criminal? The nature of his dialogue? The shrewdness of his playing off people, one against the other? Should he have been let off at the end of the film?

9. How typical a hero was Calder? Standing for good? Typically American?

10. How did the minor characters add to the tone of the film - Dr Hawkins as an alcoholic expatriate, his medical work, his ambitions? The continual presence of the Greek investigator? Nico and his boyishness? Rhif as an Albanian, emotional relationship to Phaedra, being bought by Parnalee?

11. How important was the underwater photography for the theme of the film and its impact?

12. The importance of the sequences in Athens with the discussion about archaeology and beauty? The visit to the monastery?

13. What did the presentation of village life add to the film? The folksongs and dances etc.?

14. Was the happy ending appropriate? The various crises for Phaedra in her decisions? The achievement of finding the Boy on the Dolphin for the village?

THE BOY IN THE PLASTIC BUBBLE

US, 1976, 96 minutes, Colour.
John Travolta, Diana Hyland, Robert Reed, Glynnis O’ Connor, Ralph Bellamy, P.J.Soles, Buzz Aldrin.
Directed by Randal Kleiser.

The Boy in the Plastic Bubble is quite an interesting telemovie although inconclusive at the end. It raises questions of dangerous pregnancies. The boy that is born has to be kept in a plastic bubble because any exposure will endanger his life and he could contract any disease.

Diana Hyland is quite convincing as the harassed mother and Robert Reed is the father. Glynnis O’ Connor (Jeremy, Ode to Billy Joe, Baby Blue Marine) is the heroine. However, the focus of interest now is that the boy in his grown-up stage is played by John Travolta. This film preceded. Saturday Night Fever and Grease. Travolta’s performance, seen in retrospect, even including a short dancing sequence, indicates the abilities that he has shown in other films. An interesting telemovie for its themes and its performances.

1. How interesting and enjoyable a telemovie? The theme for home consumption? Treatment?

2. The qualities of the telemovie: the focus on close-ups, attention to character, characters within situations for television viewing? Commercial breaks? The difficult theme? Illness as geared towards acceptability for a home audience? Serious theme treatment, emotional involvement, the questions raised by the ending? Colour photography, American atmosphere?

3. How interesting and plausible was the plot? The scientific facts, the situation of the baby? The moral questions, the parents' decision to bring the child Into the world, the caesarean operation, scientific help and lack of scientific help, the need for research, the decision to raise the baby in the plastic bubble? The repercussions for the boy's growing up, the things of which he was deprived? The effects on him and his coping?

4. How interesting was the situation? For parents, for children watching? The emotional implications of the dilemmas? For medical personnel watching? The doctors and research?

5. The opening and the initial situation? The presentation of the parents, personalities, questions? Pregnancies? The doctor and his reassurances? His decisions about the caesarean birth? The medical atmosphere and the people observing?

6. The time sequence of the films the pregnancy and the birth of the boy, seeing him in the plastic bubble, seeing him as a young boy? How well did the film fill in the atmosphere of the passing years and reassuring audiences that they knew what had happened? The importance of the mother and her watching Gina swinging and her reaction to her parents?

7. The boy as a grown adolescent? John Travolta’s style in performing the role? His situation? The money that went into his home, the apparatus? The importance of the health situations his lack of immunity, the sterilisation of his world? A cage, a prison? The open door and his not being able to pass through it? The love of his parents and his response to them? Touch, even through a medium? Communication with his voice? The friends of his parents, the doctor? The importance of Gina, her presence all through the years, Todd watching her through binoculars, his falling in love with her without realising it? The importance of her presence in the classroom, coming to see him? The initiation for the Fourth of July? Her callousness and its repercussions? Her wanting to make up for it? Their talking, mutual apology? Communication? Her helping him, the cheating in the exams? The bonds between the two?
Going to school, the horse ride, showing off his physical prowess for her? The importance of his decisions to leave his plastic room for her? For himself?

8. The portrayal of the parents, ordinary people, their love and concern, the difficulties and the emotional demand, for example when the boy was young, the visits to the hospital, having him at home, potential dangers, the outings and the risks? The importance of their holiday?

9. Todd’s love for his parents? His persuading them to the holiday?

10. Todd’s reaction to the boys at the school, the girls? Fearing to be a freak, participating in the television classes, his playing around? The exams, his Intelligence? His going to the school and feeling competitive? The Fourth of July experience?

11. How did he change by the contact with people? Fulfilling, making him realise what he lacked? Gina and getting the horse to leap his plastic bubble? (The personality of the nurse, her amazed watching?)

12. What brought his experience to a head? His continually summoning the doctor to find out information about research? The risks? The dilemma and the motivation for his wanting to leave? Did the film justly portray the dilemma? The difficulties? The repercussions?

13. Did the audience want him to go out? Would he die quickly? Was the communication with Gina and with the ordinary world worth the risk? How did the film leave this with the audience as the two galloped away?

14. How enjoyable an emotional drama? How Interesting the repercussions of the questions in terms of human emotions, scientific progress?

BOXCAR BERTHA

US, 1972, 92 minutes, Colour.
Barbara Hershey, David Carradine, Barry Primus, Bernie Casey, John Carradine, Victor Argo.
Directed by Martin Scorsese.

Boxcar Bertha is one of Martin Scorsese’s earliest films. He had made Who’s Knocking At My Door and was soon to make Mean Streets. With Taxi Driver in 1975 he became a world-class director and continued for many decades with such outstanding films as Raging Bull, The King of Comedy, The Colour of Money, Goodfellas, The Age of Innocence, Casino, Kundun, Gangs of New York, The Aviator.

Boxcar Bertha is a Depression story. It is similar in vein to the range of popular films on Depression characters following the lead of 1967’s Bonnie and Clyde. There were small films about Melvyn Purvis as a G- Man, biographies of various criminals, a focus on women criminals like Ma Barker in Big Bad Momma. Boxcar Bertha is in this vein.

However, Scorsese invests his character with more humanity than was current in the popular features. Barbara Hershey is strong as Bertha and David Carradine as the almost saviour-like figure with whom she goes on her crime spree.

Scorsese is also able to create a strong visual impression of the Depression years as well as evoke the atmosphere.

1. How important was the human interest for this film to make it different from many other Depression criminal stories? The focus of attention on Bertha, her nickname, and her relationships with her friends?

2. How successful a film was it? How well made? the fact that it was based on an autobiography? Its sense of realism? Its urgency of message?

3. How interesting a picture of the Depression did it give? Of ordinary peoples homes and property? In the plight of the workers? the riches of the bosses, the railway men? The use of thugs by the rich - the persecution of the workers? the nature of crime and criminals in this era? The social situation forming criminals?

4. What insight into the history of America did this film give? the use of the traditions of violence from the 19th century to the Depression? Violence as the answer to difficulties? For criminals to rob and kill? For police to do and avenge?

5. The impact of the opening? Joy, ordinary farm life, happiness? pressure from the rich, peace of life and Bill Shelley’s death? The effect of this death on the personalities there?

6. What were the choices for Bartha in this Depression atmosphere? What else could she do?

7. How interestingly did the film present Bertha as a person? As a girl, as friendly and loving, her admiration for Bill Shuttle? Why did she then embark on a life of crime? Did it seem crime to her?

8. How did Bill Shelley contrast with her? How upright a man was he in himself? How dedicated to the workers’ cause? His use of crime in order to help the workers? How ruthless were he and Bertha? How merciful?

9. The gambling man - his relationship with Bertha, the violence that he was involved in - death? On the run with Shelley? Moving into a gang kind of life? His cowardice? His reactions to the newspapers? the consequences of what those pressures put on him?

10. Was the picture of the police and the law accurate and just? Of the railway men and brutal methods? Of the thugs who went round shooting on behalf of the police and the railway men?

11. The importance of the prison sequences and their brutality? the brutality of the warders and the effect it had on Shelley? How exciting was the escape? Admiration for Bertha’s resourcefulness?

12. What was your reaction to Bertha becoming a prostitute? What other options did she have? What way of life did she know? Her reaction against this when Bill found her again?

13. How frightening was Shelly’s death? The importance of his being crucified? The redemption figure? Of the train going along with him inside?

14. How does this film fit into the genre of depression personalities and crime films?' Was it a good example?

15. What is the purpose of making this kind of film? As entertainment? As a message film? As an exploration of society, history, character?

BOTTOM OF THE BOTTLE

US, 1956, 88 minutes, Colour.
Van Johnson, Joseph Cotten, Ruth Roman, Jack Carson, Margaret Hayes, Bruce Bennett, Brad Dexter, Peggy Knudsen, Jim Davis, Margaret Lindsay, Nancy Gates.
Directed by Henry Hathaway.

Bottom of the Bottle is a film about alcoholism. Joseph Cotten portrays a wealthy attorney and ranch owner in Nogales, on the border with Mexico. He is married to Ruth Roman. His brother, played by Van Johnson, has been in prison for five years after accidentally killing a man in a barroom brawl. He has been condemned without the help of his brother. When he escapes, he wants to help his family in Mexico and cross the border. However, the river is in flood. Cotten's wife and other people in Nogales society don’t know about the history of his brother.

The film offers a great deal of dramatic tension, the contrast in (*contrasting? – not clear) character of the brothers, their conflict. It also offers Van Johnson the opportunity for a better display of acting than was generally given him. He is persuasive as the alcoholic.

The film was directed by Henry Hathaway who had a long career in Hollywood, making a number of action films in the 1930s including the first colour western, Trail of the Lonesome Pine. He made a number of dramas during the 40s specialising in gritty realism with The House on 92nd Street, 13 Rue Madeleine, Call Northside 777 as well as Kiss of Death. With the coming of Cinemascope he made a number of colourful films including Garden of Evil, Prince Valiant, The Racers. He also directed Van Johnson as a blind detective in the parallel to Sherlock Holmes, 23 Paces to Baker Street. He continued to make westerns during the 1960s including John Wayne’s Oscar-winning True Grit.

1. The British title was Beyond the River. Which emphasis is best for the film, the drink emphasis of the American title or the escape emphasis of the British title? Which was the major theme?

2. Was this an informative and insightful drama about alcoholism? What insight into the problem did it give? The consequences of alcoholism? An escape drama? Did it generate suspense and the need for escape?

3. How important was the characterisation for this film? Were the characters strongly delineated? With an identity of their own? For a strong interaction? Was the screenplay strong in providing situations and dialogue or did this situation seem weak for the potential theme?

4. Which brother did the audience identity with? PJ or Donald? Why? How would this point of view be important for the theme of the film?

5. Initial impressions of PJ,? As a man about the city? His relationship with his wife? Wealth and his legal profession? His role in society and the type of society? His reliance on his good nature? His first interaction with his brother and his wanting to hide his identity? The fact that he had left the family earlier? That he had not helped Donald in his time of distress? That he was weak although filled with self-importance?

6, How did Donald contrast with P.J.? That he had stayed at home with his sister? His poverty? His temper? His drinking? His years in prison and his escape? His desperation? His conversation about his brother. His anxiety about his family? The irony of the closeness of distance but the swollen river?

7. What kind of person was Nora? What life did she have with P.J? the fact that she was not a drinker and yet the parties and the continual round of socialising? The pressures that society put on her relationship with P.J.? Their separate rooms? Their interest in Donald? How did she act as a catalyst for the resolving of their problems? Was this convincing?

8. Comment on the picture of society in the film? How attractive was it? How arrogant and wasteful? The arrogance of the Brekenridges? especially Hal Brekenridge at the end with his violence and impatience? How did this contrast thematically and visually with Mildred and the children in Mexico? The emotional impact of the phone call? their poverty?

9. How did the film get the audience involved with Donald and utilise their compassion? The situation of the river? Its reputation of being insecure? The questions of justice and the letter of the law? Of collaboration? What decisions did the film ask of the audience?

I0. How important were the drinking sequences in the film? The social parties? The abstemiousness of P.J, and Nora? Doc isolated at the party? His visit to the cafe and his need for drink in the morning? His alcoholic behaviour at the party and his fighting with P.J.? His taking refuge in the mountains?

11. How convincing were the sequences between P.J. and Nora? for his change of heart? Why did he not want to become involved? Why did his wife challenge him? Why did he change his heart? In helping Mildred with money etc,?

12. How dramatic was the chase and the confrontation at the river? Did P.J. do the right thing? the law? the nature of brother relationships? The fact that Donald saved P.J.?

13. Decisions come quickly at the end. The end also sounded somewhat sentimental. Did this fit in with the film? Or was it done too quickly for the dramatic impact to be effective? was it right? Did Donald make the right decision?

14. Films like this are popular entertainment, but they treat of real problems of drink and family relationships. How important are films like this for popular audiences?