BERSERK!

UK, 1968, 96 minutes, Colour.
Joan Crawford, Ty Hardin, Diana Dors, Michael Gough, Judy Geeson, Robert Hardy, Geoffrey Keen.
Directed by Jim O’ Connolly.

Berserk is a rather lurid British melodrama. As with several films like Circus of Horrors and Circus of Fear in the sixties, the circus is a setting for violent death. Joan Crawford at the age of 65 is still glamorous in the role of the owner. Ty Harden is a rather wooden hero.

However, a British cast including Diana Dors and Judy Geeson are at hand to give acting strength to the film. Rather
flatly directed, the film relies on shocks and ugliness dispersed with a great number of genuine circus acts which are very entertaining in themselves. A hit-and-miss horror thriller.

1. The tone of the title, expectations? The appeal of the thriller, murder mystery, puzzle? A satisfying murder story?

2. The lurid tones of the title, the film? In the death between the credits? The lurid aspects of circus life? The film an a British production? American and British stars? Violence?

3. The appeal of the circus and the film’s presenting a variety of acts in themselves for entertainment for example the clowns, the poodles, ponies, animals, high-wire, aerial ballet etc.? How well did these blend with the thriller aspects of the film?

4. The unreality of the world of the circus? The people present, outsiders, freaks? On tour? Playing to the public, risks? Danger? Showmen and show-women? Jealousies, unrest? The possibility of violence? How did the film play on this? The sequences with the cast of the circus? Deals and management etc.?

5. The happier aspects of the circus and the way these were presented - people as comrades, enterprise in York, the happiness of the tour, canteen life, the party for the troupe and the song of the dwarf and bearded lady etc.?

6. How well did the film build up its berserk atmosphere? The initial death, the clash between Monica and Dorando, his death, Matilda and her animosity, her death? How plausible and possible were the killings? The variety of suspects and motives? A good puzzle? A credible solution?

7. Joan Crawford's style as Monica? The background of her circus, marriage? Working with Dorando and clashing with him? Her hard heartedness, seeming lack of feelings? The employment of Hawkins, the liaison with him, his wanting a business deal? Audience suspicions of her? Matilda and the others, suspicious? The police? Her skill as an M.C. and her presence in the circus acts? Her relationship with her daughter? Her responsibility and sense of this at the end?

8. Angela and her introduction, coming home. experience at school, working, the knife-throwing, sweet and wanting to be with her mother, the explanation of her being berserk?

9. Hawkins as hero, background, his violence, deals, liaison with Monica, listening in when the police interrogated, the aspects of danger in his act? The ugliness of his death?

10. Dorando and his presence, his work, death?

11. Matilda and Laslo, Matilda and her outspokenness, cutting, liaison with Hawkins? Her death?

12. The personalities of the circus troupe, for example the bearded lady, Barney the dwarf?

13. The superintendent and his personality, mode of investigating?

14. The basic melodramatics of the film yet the basics of right and wrong, morale, relationships, love and hate, justice?

THE BELLS OF ST MARY'S

US, 1946, 126 minutes, Black and white.
Bing Crosby, Ingrid Bergman, Henry Travers, William Gargan, Ruth Donelly, Una O’ Connor.
Directed by Leo Mc Carey.

The Bells of St Mary’s was immensely popular in its time. It was the sequel to the equally popular Going My Way which won many Oscars in 1944 including best picture, best director, best story, best actor and best supporting actor for Bing Crosby and Barry Fitzgerald.

The film was directed by Leo Mc Carey with a script by veteran Dudley Nichols. Mc Carey had been prolific during the 1920s, making seventy-five feature films. However, he slowed down after that, making such classics in the 30s as Duck Soup with the Marx Brothers and The Awful Truth and Love Affair. (He remade Love Affair in 1957 as An Affair to Remember.) He made only a few films after The Bells of St Mary’s: Good Sam with Gary Cooper, My Son John which was a very anti-communist film of the early 1950s as well as the first film with Paul Newman and Joanne Woodward, Rally Round the Flag, Boys. His last film was Satan Never Sleeps with William Holden and Clifton Webb as two priest missionaries in China.

The film, as Going My Way, has echoes of a Catholic church that has long since passed. One focused on the inner city parish. The other focused on an inner city parochial school. Ingrid Bergman, getting her opportunity to play a nun (although three years later she was to be Joan of Arc), is very good as the superior of the school who believes in rules and discipline. She clashes, amicably, with the rather more easygoing parish priest played by Bing Crosby. Henry Travers appears as a genial businessman who comes to the rescue of the school by donating a building for the school’s use.

The film is interesting to compare with later presentations of priests and nuns, especially after the 1960s with the updating of the Second Vatican Council as well as the changing styles and behaviour as regards religion and church.

There was a television version made in 1959 with Claudette Colbert and Robert Preston in the central roles.

1. How enjoyable a human comedy, religious film?

2. The 1940s and styles of film-making, black and white photography, the stars? The forties attitudes towards religion? In what did it consist? The linking of comedy and sentiment to religion? The mystique of priests and nuns? Bing Crosby and Ingrid Bergman playing such roles?

3. How close were the events and characters in this film to real life?

4. The picture of the Catholic Church, in America, in the forties, parish work, education, priests and nuns, their attitude towards religion, towards God, miracles?

5. What portrait of the nuns was given, of the community itself, of its work? Sister Benedict and her personality, her role as Superior? Her dream about the school, co-operation? Her attitude towards culture and fighting? The boxing sequence? her consistent pressure on the owner, his illness? her changing of her attitudes and telling the truth about himself to the priest? The vision of the new school? Her Minnesota background? The importance of the concert etc.?

6. Bing Crosby as a priest? His personal style, the character of the priest, cheerfulness, relating with the children? The comedy in the fighting sequences? the essay? The spiritual direction, especially by his singing? His clashing, with Sister Benedict, his attitude towards the owner of the building? The concert? The point about not telling or telling? Was his character and behaviour too facile?

7. The importance of the owner, the rich American, being pressurized, bowing to pressure? The miraculous overtones?

8.. How much of a fantasy was this film? The relationship between prayers, God's answering, superstition, coincidence?

9. The portrayal of the children, the appeal of the children, especially in the details of the concert?

10. The significance of Patsy and her family?

11. These films are described as heart-warming. Are they? The values that this film portrayed and stood for?

BELLS ARE RINGING

US, 1960, 127 minutes, Colour.
Judy Holliday, Dean Martin, Fred Clark, Eddie Foy Jr, Jean Stapleton, Frank Gorshin.
Directed by Vincente Minnelli.

Bells Are Ringing is a musical comedy with music by Jule Styne and lyrics by Adolph Green and Betty Comden (On the Town, Singin’ in the Rain).

The film was a star vehicle for Judy Holliday who in her short career made quite an impact. After appearing in some film and television she was officially introduced in Adam’s Rib, 1949, and made a strong impact. She won the Oscar the following year for Born Yesterday. During the 50s she made only a few films: The Marrying Kind, It Should Happen to You, Phffft, The Solid Gold Cadillac, Full of Life. Here she is teamed with Dean Martin who plays in his familiar style as a laidback playwright.

Judy Holliday originated the character of Ella Peterson on stage. The film is very much influenced by the stage production, especially in the musical numbers.

Judy Holliday plays Ella Peterson, an ordinary telephonist but she is more like a fairy godmother as she gives pieces of information to help the range of people she talks to on the answering service – amongst whom, the playwright who thinks she is a rather older woman. Of course, the consequences are revelation and romance.

The film was directed by Vincente Minnelli who had directed a number of musicals at MGM during the 1940s including Meet Me in St Louis and The Pirate. He also directed a number of serious films including Undercurrent and Madame Bovary. During the 1950s he made The Bad and the Beautiful, The Cobweb, Lust for Life as well as significant musicals like An American in Paris, The Bandwagon and Brigadoon and Kismet. He won an Oscar in 1958 for Gigi.

1. How pleasantly entertaining was this film? As an example of the fifties - sixties musicals? Does it seem dated now? The overtones of the title - telephones, wedding bells? The successful use of music comedy, coincidence,
romance? The overtones of the Cinderella story? How successful was the film as a whole?

2. Comment on the film as a musical. The use of songs and dances? Judy Holliday and Dean Martin? The lyrics of the songs for comedy? Was it memorable?

3. How did the film rely on Judy Holliday's personality and flair for comedy and impersonation? How attractive was she? Why? How did the film rely on Dean Martin's personality, his easygoing nature, his singing? How well did the two stars blend?

4. How attractive a character was Ella? (Cinderella?) How real a person was she? When was she real? Her performance on the phone, contrasting with her shyness and awkwardness at dating? Dithery and shy with people?
Yet her influence on the dentist, the actor, and on Jeffrey Moss? The importance of her impersonations? Her basic goodness and concern for people? The effect she bad on people, especially Moss and his writing the play? The importance for her and her falling in love? How well did she cope eventually with meeting people? The importance of the party and her escaping from it, her fears? How heroic was she at the end? A true heroine with true happiness?

5. Was Jeffrey a conventional hero? Dean Martin’s acting, singing? As a playwright and the comedy of his writing the play? The effect of Ella? Changing him? Success? The impact of his final search for her and finding her?

6 How much did the film rely on humour for its charm? ‘Sue's Ansaphone’? The personalities of the phone-answerers? Sue herself? Otto and the illegal bookmaking and the sequences of confusion with this? The police and their search and the double meanings in their search? The dentist and his songs? The actor and his impersonations? It all coming together with the title of the play and the song in the Cabaret?

7. How strong was the film on the value of happiness? Was it a success in this regard?

BENEATH THE TWELVE MILE REEF

US, 1953, 102 minutes, Colour.
Robert Wagner, Richard Boone, Terry Moore, Gilbert Roland, J. Carroll Naish.
Directed by Robert D. Webb.

Beneath the Twelve Mile Reef now looks like a very conventional drama set in Florida amongst Greek?) Americans who dive for sponges off the reefs. It is the story of a father and son (Gilbert Roland and Robert Wagner) and the clash with crooks (Richard Boone and Peter Graves). They move out to dangerous reefs where the father is killed. However, the son has to carry on the business along with his companion played by Terry Moore.

The film is colourful, recreates the atmosphere of Florida in the 50s amongst the Greek Americans. However, in its time it was the third film made in Cinemascope (after The Robe and How to Marry a Millionaire) and its cinematographer was nominated for an Oscar. This was the first contemporary action adventure made in Cinemascope.

1. How satisfying an adventure film, entertaining? Realism, ordinary fantasy adventure?

2. How well did the film work within the conventions of an adventure story, crises, characterization? The build-up for crises?

3. The importance of early Cinemascope, colour, Florida locations, the long attention to underwater photography and its impact in the film? The special effects of underwater photography, the sea life and the crises - especially for Tony? Ships? The importance of the musical score and. its style with the underwater photography?

4. How interesting was the plot? The Greek sponge fishers, the American sponge fishers and the clashes? The way of life and the interaction and the clashes, rivalry? The credibility of the underwater searching for sponges? The fights?

5. The Greek family: Mike and the patriarch of the family, his success and lack of success, money, relationship with his wife? His pride in his son? Daughter? The religious overtones, the blessing and Tony's getting the cross? A happy atmosphere? Yet the irony of the reef and the death of his son? The reef as a symbol of challenge and danger? His wife and her patience at home? Her reaction to her husband's death? Her not wanting Tony to go but her being reconciled to this? The moneylender and his attitudes? The old men on the ship?

6. The contrast with the Americans - their initial brutality, the respectability of the family and the father? Gwyneth's boyfriend and his brutality? The crises and the clash with the Greeks?

7. The symbolism of the reef and its danger, Mike's talk about it and Tony’s talk? The death of Mike, Tony and his living and succeeding?

8. The romantic overtones - the clash with the boy friend and his brutality to Tony, especially with Tony's grief at his father’s death? The final fight and reconciliation?

9. The adventure ingredients, the romantic ingredients and their blending? The appropriate happy ending? Ordinary themes of good and bad?

BELOVED INFIDEL

US, 1959, 123 minutes, Colour.
Gregory Peck, Deborah Kerr, Eddie Albert.
Directed by Henry King.

Beloved Infidel was a critical contradiction when it was released. Perhaps, many in Hollywood remembered F. Scott Fitzgerald and his life and career at first hand as well as his relationship with columnist Sheila Graham. As the decades have passed, audiences not familiar with the characters may be able to accept the interpretations of Gregory Peck and Deborah Kerr more favourably. However, Gregory Peck does not seem to be the first choice for the mercurial F. Scott Fitzgerald, the famous writer, the man down on his luck in Hollywood and becoming alcoholic. Deborah Kerr, despite From Here to Eternity and The Arrangement, was very much the ladylike person in Hollywood.

F. Scott Fitzgerald made an impact with The Great Gatsby in the 1920s, went to Hollywood and wrote a number of screenplays as well as his final novel, The Last Tycoon. His wife Zelda, with whom he lived the full socialite life of the 20s and 30s, was committed to an institution. There have been a number of telemovies about the Fitzgeralds including F. Scott Fitzgerald and the Last of the Hollywood Belles. His companion in later life (though he died at the age of forty) was Sheila Graham. This film is based on her memoirs – and so looking favourably at the relationship.

The film is a glimpse of Hollywood and its high lifestyle, the pressure on its writers, the notion of celebrity, the role of journalists and the media in perpetuating the myths of Hollywood.

The film was directed by Henry King, a veteran of the silent era as well as many significant films of the 30s and 40s including The Song of Bernadette and his final film, Tender is the Night (1962 also with Jennifer Jones). During the 1950s he made a number of adaptations of Hemingway stories including The Snows of Kilimanjaro and The Sun Also Rises. He also made the film version of the Rodgers and Hammerstein Carousel.

1. The significance of the title - indication of theme?

2. How successful was the film as biography: interesting characters, a real world, a slice of history and of life, insight into characters in their times?

2. Comment on the treatment of the film, the glossy women's magazine look, the use of colour, Cinemascope, heavy musical score, romantic and sentimental atmosphere, beaches? Were these of value or did they militate against the film and its impact?

4. The appropriateness of using Gregory Peck and Deborah Kerr in these roles?

5. How well did the film focus on Sheila Graham in order to understand F.Scott Fitzgerald? Was this a helpful structure for the film?

6. What insight into the character of F. Scott Fitzgerald did the film give, his behaviour at the party, attractiveness toward Sheila, their dancing? The area of his talent? insight into human nature? at a low peak of his
Career, bound to Hollywood (the incident of signing books in the bookshop), getting money for Zelda? Fitzgerald's life at the Hollywood studios, rewriting his screenplays? the importance of his love for Sheila, her inspiration for him to write again, his zest in writing, the idyllic sequences on the beach? What had happened to him through Sheila’s influence?

7. The weakness of his character, his reaction to the rejection of the manuscript, his drinking, not changing for Sheila’s sake, his egotism on the plane, his behaviour at the radio station? What was the central weakness of his character - his low self-worth etc.?

8. The insight into his character when he became violent and desperate, his shooting of Sheila, his wish to reconcile, the note and the telephone calls? The fact that he could reconcile with Sheila? The melodrama of his attendance at the preview? The reality of his death?

9. What were the main achievements of F. Scott Fitzgerald? What were his main failures?

10. How interesting a character was Sheila Graham? her arrival in New York, her manufactured reputation, her acid tone, her relationship with Wheeler and the New York paper world?

11. Why was she sent to Hollywood, as a gossip writer, her malice against the stars, the sequences in the studio and the clash with the star, the details of her work, her radio program?

12. Why did she fall in love with Fitzgerald and what effect did it have? Her caring for him, inspiring him?

13. The significance of the beach scene, its happiness, change of mood? The humiliation of her telling the truth about herself, as a liberation for her, as relating well to Fitzgerald and trusting him?

14. What insight into her character in her nervousness, in her radio broadcasts, her wanting to continue the broadcasts,, her fear for Fitzgerald's drinking, the humiliation on the plane, in the radio studio?

15. Why was she so frightened by his violence, refused to see him again? What motivated her reconciliation? The quality of her sorrow at his death?

16. If the film were not about historical celebrities, what impact would it have made?

17. The film as a piece of Americana, about typical Hollywood people of the 1930s?

A BELL FOR ADANO

Gene Tierney, John Hodiak, William Bendix, Glenn Langan, Richard Conte, Hugo Haas, Marcel Dalio.
Directed by Henry King.

A Bell for Adano was released in May 1945, just as World War Two in Europe was ending. Made in 1944, it anticipates the end of the war with attempts to resettle parts of wartorn Italy.

The film offers the background of Italy’s participation in the war, the alliance with Nazism, the reaction of the partisans.

John Hodiak portrays a major in charge of restoring order to the town of Adano, symbolically having to supply the bell which is the way of ordering life in the town. William Bendix, typically, is his assistant. Gene Tierney is the daughter of a fisherman. Richard Conte is a returning prisoner of war.

The film recreates the atmosphere of the town – but in something of a Hollywood way.

The film was directed by Henry King, a veteran of silent films and many prominent films of the 1930s. At this time he made a number of commercially successful films including Song of Bernadette and the portrait of the president, Wilson.

1. How enjoyable a film? How humane? A war film, a film about people and relationships?

2. The quality of the film from the mid-forties, its immediate postwar impact? Today? Americans, Italians? The fooling in its sentiment of the time, now? The universal values of the film?

3. How well did the film reconstruct the Italian war, occupation, the details of occupation? The visual presentation of war, suffering? Focusing all this in the life of one town? The people and their suspicions, their hunger, their emotional reactions? How credible?

4. The impact of American entry and occupation? The contrast with the Fascists? The film's presentation of Fascist will and its judgment on it? Popular support for the Americans? The details of the support, the lives of the ordinary people, the clergy, the fishermen, the build-up towards the end of the war?

5. How important was the bell, in itself, people's reactions, the bell as a symbol?

6. The film's focus on the Major: what kind of man was he, strengths and weaknesses, his human quality, his response to the people and the situation? His attraction to the girl and his relationship with her? The build-up into love? The background of the navy, the army, the manoeuvres to get the bell, reliance on friends, the relief, their going? The Major and his attitudes towards the rules? The credibility?

7. The importance of the character of the Sergeant, William Bendix’s style, his role in assisting the Major. his contribution to the plot?

8. The Sergeant, the M.P., the 1etters? The portrayal of the American officers, friendship and clashes? As filling out the authenticity of the story?

9. How attractive was the girl, Gene Tierney as credible in this role, her life in the town, her response to the Major, her family?

10. The importance of the role of Richard Conte, his return, the telling of the story?

11. The portrayal of heroism during the war? The nature of true heroics?

12. What comment on war and its impact did this film make?

IL BELL' ANTONIO

Italy, 1960, 105 minutes, Black and white.
Marcello Mastroianni, Claudia Cardinale, Pierre Brasseur, Rina Morelli, Tomas Milian.
Directed by Mauro Bolognini.

Il Bell Antonio was directed by Mauro Bolognini. A prolific Italian director for forty years, he came into his own at the beginning of the 1960s with La Notte Brava, La Giornata Balorda and Il Bell Antonio. He continued during the 1960s but made a number of significant historical films in the 1970s including Metello, Bubu, Fatti di Gente Perbene, Down the Ancient Staircase and The Inheritance.

Also significant is the fact that the screenplay was written by Pier Paolo Pasolini, the communist novelist who was to begin directing films with Accatone in the early 1960s and went on to The Gospel According to Matthew and a significant career.

The film is based on a novel by Vitaliano Brancati, A Portrait of Sicily, during the 1930s. However, the screenplay has been updated to the 1950s. It recreates the atmosphere of Sicily, the affluent families and their ambitions, the standards of honour, especially for marriages, arranged marriages. However, the theme is also about male impotence. Marcello Mastroianni portrays Antonio who has spent three years in Rome and returns to an arranged marriage with Barbara, Claudia Cardinale. Everybody has great expectations of him. He has the reputation of a seducer. He is expected to succeed in the world of business. However, he is impotent. The marriage falls apart and he risks incurring the wrath of family and public opinion.

The film, in some ways, was before its time. However, it indicated themes that Bolognini was interested in pursuing for the next forty years.

1. The tone of the title, handsome Tony, from Antonio’s point of view, from the point of view of everyone else? From the audience's point of view? The potential for ironies in image and reality? Heightened by the final scene of Antonio looking in the mirror at his mask and the reality?

2. The black and white photography, Catania, the atmosphere of Sicily? The city, the houses of the rich, of the middleclass, the country estates, the country vineyards and orchards? The claustrophobic atmosphere of Sicily, of Catania? The contemporary music?

3. The impact of the film for Italians, non-Italians? Originally the story was not in fascist times but transferred to the sixties. The emblem and symbol of Italy as a nation, Antonio as handsome but impotent? The implications of masculinity, sexuality and impotence? How seriously presented, comically, satirically?

4. The political implications of the story, the shadows of fascism? Italy’s place in the world? Marcello Mastroianni as symbol of handsome Italy?

5. How well did the film set the Catania world: Antonio’s house, the neighbours coming on to the balcony etc., Antonio’s reputation and the way that he was talked about in the city, his friends, parents? The background of religion and the way that it was continually portrayed? The society and upper-classes of Catania? The middle-classes trying to make their way? Old-style formality? A closed world, arranged marriages etc.? Money? Morality? The influence of the church and tradition as against modern greed? Cynicism?

6. Marcello Mastroianni as the choice for Antonio? His presence, appearance, style? Seeing him first on his return, the importance of his reputation, everybody's reaction to him, the girl next door? The various outings and the presentation of the man-about-town, driving around the city with his cousin and their conversation, the visit to the whore house and upper society being present, the way that he was introduced, political connections, the possibility of a career in business and politics? The crookedness and corruption of the background as presented in the brothel? His going off with the girl and the indications of impotence? The prospect of marrying Barbara? His seeing Barbara and the change of attitude, the possibility of love?

7. Antonio’s father and his career, attitude, response to Antonio’s reputation, cynical style, sexuality and the memories of his own father? The arranged marriage, the deals with the Puglisi family, the celebration? His attitude towards his wife? His preoccupation with the story about the impotence, his intervention, shame? The veering into satire with the presentation of visiting a mistress and the irony of his death, his photo?

8. Antonio’s mother as the typical Italian mother, the religious and fearful background, support of her husband, the happiness of the marriage, the importance of her intervention with Barbara and the sacristy and all that they stood for and the nature of their clash? Worry, Antonio’s reputation, her being satisfied with the maid's pregnancy at the end?

9. What were the values of Antonio’s parents, as handed down by Italian tradition, as cynically expedient? How realistically presented, critically?

10. The Puglisi family and their status in the town, formal ways of behaviour, Antonio’s courting of Barbara, the formality of the wedding, the aftermath of the wedding, in the discussion about the impotence and the annulment? Their arrogance, the values as compared with Antonio’s parents? The initial attractive presentation of Barbara, the young Claudia Cardinale, her photo, the emphasis on her being an angel, an ideal woman? Her formality and primness, her ignorance, her behaviour during the courting? The sensuality and the inner drive for love but her ignorance? Her marriage. in the country, her continual wanting to love Antonio? Audience curiosity and ignorance about his impotence? The scene in the countryside and her reaction? The reason for her change of attitude, the ideal woman becoming calculating, greedy? Her harshness, encounter with Antonio’s mother in the sacristy, with Antonio himself? Having the church on her side? The portrayal of her second wedding and her looking at Antonio?

12. The presentation of the church, the laws about marriage, annulment, the impression that the church supported the rich? The discussions about church law, divorce and annulment? What validity, what points were being made?

13. The contrast of the world of Antonio’s cousin, friends? Their presence throughout the film, aping Antonio’s reputation? The pathos of the sequence where Antonio explained the truth to his cousin? The cousin's reaction, audience reaction? The truth for Antonio, the tenderness of his story, the emotional conflicts, the impotence, the hopes with Barbara?

14. How credible was what had happened to Antonio? His capacity for love, inability to express it, tenderness for Barbara, the hurt at what happened? The irony of the hope, of the neighbour?

15. The effect of entering into this world of Sicily, the close-ups, the slow moving around the city, apartments, country houses? The audience being invited to ponder? Participate in the sense of failure?

16. The seriousness and humour of the servant and her presence throughout the film, at the country house, at her becoming pregnant and our knowledge of the father? Her saying the day and everybody going along with this?

17. The serious exploration of the character and plight of Antonio, the significance of his final gazing into the mirror?

18. A satiric film, a comic film, a study of Italy?

BELIEVE IN ME

US, 1971, 90 minutes, Colour.
Jacqueline Bisset, Michael Sarrazin, Kevin Conway, Antonio Fargas, Allen Garfield, Katherine Helmond.
Directed by Stuart Hagman.

Stuart Hagman directed a few television series episodes and the film about protest against the Vietnam war, The Strawberry Statement (1970).

Believe in Me is one of the earliest Hollywood films about the prevalence of drug-taking and the consequences of addiction. Michael Sarrazin stars as a trainee doctor who is a caring man and has great prospects. He meets Jacqueline Bisset who works in a bookshop. They fall in love, seem to have the future all before them, begin to take drugs including speed and soon collapse into addiction. The doctor is introduced to heroin when he is unable to pay his bills. The collapse is tragic with the two having to part, the doctor lost in the drug world, his girlfriend trying for rehabilitation.

There have been many films since but this film is of interest as indicating some of the themes at the end of the 60s. The leads were at the beginning of their careers and give strong performances.

1. The significance of the title for the themes of the film? The original was called "Speed is of the Essence". Would this have been a more appropriate title for the drug theme? The significance of the background song?

2. How enjoyable was the film? Was it too grim, didactic, moralizing? Was there a balance between plot and moralising? Did the situation seem authentic or too contrived to make a point?

3. What was the aim of the film-makers in making such a film? To utilise the drug scene of the early 1970s? the love story atmosphere, to warn about the dangers of drugs? For what audience was the film made? What effect did it have?

4. Comment on the romantic love story atmosphere of the film, the love story style, the colour, the music, young stars etc?

5. How plausible was the plot? How authentic did it seem? The identification of the audience with the characters? The impact through this?

6. Where did audience sympathies lie? With Remy or Pam? Both? What point of view did the film-makers take?

7. How attractive a character was Remy? The initial presentation of his work as a doctor, his ability to relax, his tensions? In what did he emerge as a weak character? The drugs to keep him going? His response to emergencies and the need for medical help? His capacity for relating to people, dedication, love? His concern for Matthew? His home, his way of life? His taking of drugs, how credible? His relationship with Pam and her changing him? Yet his dependence on drugs, stealing them, his dismissal? His irresponsibility in his work? The authenticity of his involvement with the drug pushers? The five hundred that he owed them? The anger in his life? His dragging down Pam? His giving up his interest in life? What future did he have? Was this tragedy avoidable? What kind of a hero for the film was Remy?

8. How interesting was the character of Pam? Could audiences identify with her? The presentation of the ordinary American girl, nice girl, in her work, relationship with her brother, friendship with Remi? The impact of Remy’s love in her life? The romantic sequences, parks and beaches etc? Her response to him and the influence of Remy on her life? Their apartment and her decorating of it? Her decision to go on drugs? The horror of the
Drug life? The degradation and sharing this degradation? How horrible was the change? Her decision then to change? What future did she have at the end?

9. The importance of Ann’s brother? What Remy might have been as a doctor, helping the poor? His attempts to help Pam? His advice being taken at the end?

10. Comment on the film’s presentation of the ugly world of the drug pushers, their methods, the degradation of drugs?

11. The commentary in the character of Matthew, as a person, his final ravings, the death on the slab?

12. How well did the film present the contrasts of moods, happiness and unhappiness?

13. The significance of the happiness for two people, the positive attitude to life? The nature of unhappiness and hurt. the degradation, starvation, Pam’s being forced to eat the chocolate sauce etc?

14. The presentation of human relationships and mutual influence? How strong is this in comparison with ideas, advice?

15. How realistic was the presentation of the reality of drugs, the danger, of drugs, modern culture and drugs? The vivid sequences of Pam’s and Tommy’s injecting themselves? The extent by the end of the enemy's taking of drugs and hurting, himself physically?

16. How valuable a film on drugs?

BEFORE WINTER COMES

US, 1969, 103 minutes, Colour.
David Niven, Topol, Anna Karina, John Hurt, Anthony Quayle.
Directed by J. Lee Thompson.

Before Winter Comes is a story of refugees after World War Two, a camp in Austria administered by the British with interactions with the Russians. David Niven is his usual self as the English major with John Hurt as his lieutenant and Anthony Quayle as a brigadier. Topol (Fiddler on the Roof) is one of the locals as is Anna Karina, star of many of Jean- Luc Goddard’s films.

The film is a mixture of the serious, the themes about refugees after the war, and some comic aspects of life in the camps.

The film was directed by J. Lee Thompson, the British director who made a number of strong films in Britain in the 1950s including Yield to the Night, Woman in a Dressing Gown, Ice Cold in Alex. He achieved some fame with Tiger Bay and then went to the United States to make The Guns of Navarone. For the next thirty years he made quite a number of action films. The films that he made around this time include Mc Kenna’s Gold and The Chairman.

1. What was the meaning of the title, especially its symbolism?

2. How well did the film present its setting – geographically? Its beauty? The situation of Austria at the end of the war?

3. Did the film present well the world of the refugees? Their suffering, their future?

4. How important was the border situation for this film - English and Russians? How was the rivalry of the soldiers important for illustrating this border situation? Why was there rivalry? How were the Russian soldiers more or less the same as the English soldiers? The example of the division of the inn for a border?

5. How important was the theme of law and order in this film? How necessary is law and order and its upholding in situations like this? Was too much made of orders by the characters in this film?

6. Were the characters interesting in themselves? Their personality clashes? The clash of the different nationalities? The clash of different classes and backgrounds?

7. How important was the work that they were doing? Did they do it well? How much emotion could enter into work like this at the end of the war?

8. Janovic - his personality and charm, the personality of Topol, the man of nations and of all moods? His importance to the refugees, his humanity and his humour? The contrast of his personality with Major Burnsides, his relationship with Pilkington, his love for Maria? The good that he did in the camp? The poignancy of his own Cate. The relentless decision that he had to go back to Russia? How sorry were you that he had to go back to Russia? Would he cope with the situation?

9. Major Burnside - as an Englishman. as a major, as a career army commander and-bachelor,. a man from middle class situations coping with this difficult war situation? His impersonal love, his attitude towards Pilkington and his contrast with Pilkington? His relationship with Janovic – friendly, seeming to do the right thing by him, then obeying orders to send him back to Russia? His attitude towards fraternising? Yet his affair with Maria? How could he work on these double standards? What was he left with at the end of the film? Did you feel sorry for him at all?

10. Pilkington - as an Englishman, as an army man, as young, as learning in this situation? His immaturity, his emotionalism? His responding to Janovic? His responding to Maria? The interrelation between him and Major Burnside and how it changed them both? His disillusionment with fate at the end?

11. Maria - as an Austrian, as a woman? She emphasised how the war had changed her life, made her a widow, made her depend on the soldier to keep alive and survive? Why did she enter into affairs with Janovic and Major Burnside? What would happen to her after the situation was cleared?

12. The other refugees - eg the man with the wife in Austria who had to go to Russia? The inevitable mistakes and the individual becoming a statistic?

13. The other soldiers - doing their job? how much personal feeling could be involved?

14. Impressions of the final decision? What emotional impact did this have at the end of the film?

15. What did the film have to say on the themes of war, justice, the quality of life, the value of an individual person, death, law and order, making decisions?

16. What did the colour, especially the snow and the blue and the fresh colours and the music contribute to the film?

17. The film was advertised as one of great beauty and of human interest. Was this so?

THE BEAUTIFUL BLONDE FROM BASHFUL BEND

US, 1949, 77 minutes, Colour.
Betty Grable, Cesar Romero, Rudy Vallee, Olga San Juan.
Directed by Preston Sturges.

One of Preston Sturges' last successful films. Starting as a writer in the thirties, he emerged as a very talented comic writer-director in 1940 with The Great McGinty?. He had great success with such films as The Palm Beach Story, The Miracle of Morgan's Creek and Hail the Conquering Hero.

This comedy western is rather slight. On the surface it looks like a typical Betty Grable vehicle. She was very popular at 20th Century Fox at the time after her success with the troops in World War Two. The supporting cast are comics and appeared in several of Sturges' other films. The film parodies the west - a bit in the vein of Cat Ballou or Support Your Local Sheriff and was probably a bit ahead of its time. The running time is short, many of the situations too obviously contrived. However, there is a sardonic look at the west and its traditions and the film provides a smile throughout - a gentle criticism of the American heritage.

1. The tone of the title, the song? The humorous lyrics? A Betty Grable vehicle and audience expectations at the time? How much a Betty Grable vehicle? How much a Preston Sturges vehicle?

2. Colour photography, the studio presentation of the west? The bar rooms, jails, courts, school-rooms, the barns? The music and songs? The special effects - especially for comedy? The traditional look of the western - and gentle parody?

3. How effective was the parody? Audience acceptance of this at the time? In the light of subsequent western parodies? The humour of the vigorous heroine, the weak heroes? The various types of the west? The various cliche situations - the shooting and the running out of town, the escapes and the disguises? rhe school-madam and her toughness? The various types in the town? The show-down and the fight? The court case? The tongue-in-cheek tone and audience appreciation of it?

4. The implausibility of the plot for parody purposes? How credible the characters? The blend of realism and contrivance?

5. Betty Grable's style as heroine? her masculine name? The variation on the western hero? The opening with her grandfather teaching her how to shoot and then allowing her to play with dolls? her being in prison and the flashbacks? Songstress, tempter, the shooting of the judge twice after persuading him to forgive her? Hostility towards Blackie? the escape with Conchita and the train trip? The reception as the school-marm? The infatuation with Charlie - and his mime and music? The poking fun at the romantic sequences especially with the two hill-billy types? The encounter with Blackie and the shooting? her control of the class? The build-up to the battle and her participation in it? The court sequence and the possibility of marrying Blackie? the corny ending? A strong heroine aping the masculine heroism of the west?

6. The contrast with the men - Blackie as the smiling villain, shooting, hanging, proposing? Charlie and his spectacles, being made fun of, playing the organ, owning the mine, hanging?

7. Conchita as a strong supporting woman? In the bar? Stealing the clothes, pretending to be an Indian - and the derogatory remarks about Indians (and tongue-in-cheek critique of Americans)? her participation in everything?

8. The judge and his wife? The humour of the situation, the treatment by the blind doctor? His forgiving Freddie and then being shot again? His doing the same during the court case? The satire in his nagging wife?

9. The people in the town: the humour of the reception, the Swedish people and their accents, the hill-billy types and Freddie's control of them with the gun, their hitting Blackie with the rock, their seeming to be dead? The battle in the town and people shooting and throwing crockery? The humour of a west where bullets didn't kill anyone?

10. How enjoyable the contrived situations? For a laugh? For a parody of the west and a humorous jolt to American understanding of the West and its heritage?