BOBBIE JO AND THE OUTLAW

US, 1976, 89 minutes, Colour.
Marjoe Gortner, Linda Carter, Jesse Vint, Belinda Balaski.
Directed by Mark L. Lester.

Bobby Jo and the Outlaw is the kind of drive-in movie that was popular during the 1970s. Linda Carter (before her Wonder Woman days) portrays Bobby Jo Baker, a carhop who dreams of becoming a singer. She goes off with her boyfriend, played by Marjoe Gortner, who sees himself as a contemporary Billy the Kid – and trouble follows. The film becomes a road movie with the two continually on the move and the police in pursuit.

The film is something of a B-budget classic of its time – illustrating the sensibilities for this kind of drive-in road move in the period.

The film was directed by Mark L. Lester, best known for being a director of various action films like Truck Stop Women, Steel Arena, Stunts, Gold of the Amazon Women, Class of 1984. He moved slightly more upmarket during the 1980s with a version of the Stephen King story Firestarter as well as a Schwarzenegger vehicle, Commando. After this he went back to a prolific career in directing small-budget action features.

1. An interesting film, enjoyable? The intentions of the film makers? What genres were they using? Their aim in using road film, gangster film, and Westerns? A particular point of view?

2. American International pictures and their exploitation reputation, their slick fact-moving style? How suitable for this kind of film? How well used? Colour, music, songs, action photography, authentic locations? Quick and bold characterization, unsubtle?

3. The importance of the special effects, the stunt work, the car chases, crashes, the shoot-outs? A using of the action conventions of seventies films?

4. The Western tone of the film: the book about the cowboys and the outlays and its reprisal at the very end, Lyall's likening himself to Billy the Kid and the background of Billy the Kid's authentic freedom and self-control, the opening with the competition about drawing, the reality of this at the end with real death, the Texas setting with the Western backgrounds and outlaws, the 19th century tradition of outlaws and their attitude towards justice and the law, the robbing of banks, the chase by authority etc.?

5. The conventions of the road picture of the seventies, the introduction to Lyall as a wanderer, seeing him wandering the roads of Texas, the stealing of the car, the police chase and the visual presentation of the open roads of Texas, the picking up of girls, the moving along the highways, the motel settings, the continued chase and pursuit, the police on the road?

6. The police dramas of the thirties: who is good and who is evil? The work of the police, their seriousness, possibility of corruption, making mistakes - for example the massacre of the people in the wrong motel room? The police and the use of the media to influence people to justify themselves? The anti-police tone of the film?

7. The use of the gangster conventions: reminiscent of the gangsters of the thirties, the Bonnie and Clyde model, the cars and the chases, the guns and the violence, the gangster outlaws in the tradition of the West, the bank robberies, the trail, life and death?

8. How well did the film blend all these styles and themes? Which predominated? How did the conventions of one genre comment and throw light on the other? How did they combine to present a particular point of view on Lyall, Bobbie Jo, Texas, the road, outlaws, the police, violence, death, morality in contemporary America?

9. The introduction to Lyall - how sympathetic was he? His winning the competition? His identifying himself as an outlaw? His background of wandering the roads? His skill at shooting, the many invitations to steal the car? Having the police chase him and yet his concern for the crashed policeman? The mixed morality in his code of behaviour? The attraction to Bobbie Jo? The songs as background to the lyrical and romantic episodes? His ambitions. sympathy for Bobbie Jo? Friendship with Essie? The encounter with Slick and Pearl and the sudden intrusion of violence? The pursuit of the police and the various ways in which Lyall could elude them? The violence of the chase, Essie’s death and the decision to rob banks? The deaths in the bank robberies? The stands that Lyall was forced to take, sharing the flight with Slick oven though disgusted at Slick's slitting the throat of the man who wanted to capture them? His concern for Bobbie Jo? The sudden violence of his death and the epitaph about the Daltons and their advice about going into impossible situations? The Dalton book as his epitaph? How interesting a character, how well drawn, sympathetic, non-sympathetic, of interest as representing contemporary America?

10; The comparison with the character portrayal of Bobbie Jo? The ordinary girl, seeing her at her job, her relationship with her mother and her mother's religiosity, drinking, the example of her sister and her going off? Bobbie Jo and the singing. the romantic interludes? The vigour of Linda Carter's performance and making Bobbie Jo seem alive? Her desire for excitement, travelling? Her hearing of the truth from Lyall? Her initial fear but going along out of love for him? Essie going along? Sharing the experiences of outings, the trip with the Indian in the water? The impact of deaths on her? Essie’s death? Her shooting during the bank robbery and the exhilaration of the killing? The stands that she was forced to take with Slick and Pearl and Lyall? Her going out to the supermarket and being recognized? Her surviving and her bitter attitude at the end? How convincing a character of contemporary America?

11. Slick an a petty criminal, his joint and the striptease set-up, his robberies? His violence being responsible for the initial shooting, the ugliness of his slitting the man's throat in the barber’s chair? His taking Lyall’s advice, his caring for Pearl and explaining why he followed Lyall? His statement that he was ready to die? His sudden death shared with Lyall? His love for Pearl - the comparison with Bobbie Jo, her job and wanting to be better, wanting better for her sister, the hostility towards her mother especially when she met her, her presence with the robberies and the driving of the car, her being affirmed by Slick's support of her and being ready to die and stand by him? Convincing characterizations?

12. The portrait of the sheriff, his toughness, Leroy and his torturing the man at the commune, the mistakes especially the shooting of the people at the motel? His control over the police, his going on the media, his following up leads, the violence of his sieges and shooting?

13. The importance of the characterization of Bobbie Jo's mother? Explaining the difference of the generations? Her wanting to be religious, loving her daughter, hostility towards Pearl? Her drinking and her reaction to her drinking? The audience’s mixed response to her?

14. The portrayal of the various people in the supermarkets? the barber and his wanting Lyall's boots, the man who wanted the reward and got his throat slit, the innocent people at the banks and those who wore killed, the beating of the old lady in the chair, the final challenger who wanted to out-shoot Lyall? Texas people - reminiscent of the 19th century, typical of America?

15. The contrast of the romantic side of the film and its lyrical style - how convincing with the violence?

16. The importance of the violence and its continual eruption?

17. The moral stances of the film, the values of the main character and the film maker's judgment on those American traditions of law and order, justice and outlaws? A complete complex look at the meaning of American life?

A BLUEPRINT FOR MURDER

US, 1953, 77 minutes, Black and white.
Joseph Cotten, Jean Peters, Gary Merrill, Catherine McLeod?, Jack Kruschen, Mae Marsh.
Directed by Andrew Stone.

A Blueprint for Murder is a small murder mystery – the kind of story that would be in a television series in later decades. A woman is looking after her niece and nephew when one dies of poisoning. Their uncle investigates, uncertain whether the aunt is guilty or not.

The film is a brief star vehicle for Joseph Cotten and Jean Peters who appeared the same year in Niagara with Marilyn Monroe. Gary Merrill and Catherine Mc Leod are an older couple.

Nothing particularly startling but a small entertainment. It was written and directed by Andrew L. Stone. Stone was a writer-director, starting his career in the 20s but making small-budget films. During the 1950s he moved into making more action and suspense-oriented films including The Decks Ran Red, Cry Terror and The Last Voyage. His final two films were the chocolate box musical biographies, Song of Norway about Grieg and The Great Waltz about the Strausses.

1. Why do murder mysteries appeal to audiences? what particular aspects appeal to audiences? What particular aspects interest and appeal?

2. What are the main conventions of the murder mystery? The puzzle, the detection, the clues, police work. the characters and motivations? How well were these exemplified here?

3. The significance and tone of the title, black and white photography, the impact of the stars, the brevity and compactness of the film? How effective?

4. How good was the plot for a murder mystery? The film presenting itself in the tradition of poisoning mysteries?

5. How interesting was the blueprint for the murder? How well thought out, how well administered, how courageously undertaken by Lynn?

6. Where did audience sympathies lie? When did audiences begin to suspect Lynn? Were there any alternatives? Suspicion of Cameron?

7. How plausible was the plan and its execution? Lynn’s role and her personality? The death of her husband, the murder of the girl, the threat to the boy? (Audience sympathy for the children, fear for them)? The plausibility of the discovery of the plot, Cameron’s involvement, Fred and his wife urging investigations? The plausibility of the police investigation? The court case? Cameron's taking initiative?

8. Did the audience identify with Cameron? His not wanting to suspect Lynn, the evidence, the change of attitude, the suspicion and fear, protecting the children, tricking her into dying?

9. How attractive a character was Lynn? Was she a credible murderess? The importance of the taking of the tablet and her brazening out in innocence? When did audiences give in and admit she was the murderess?

10. The contribution of Fred and his wife? The credibility of her suspicions? Investigations, leading to the discovery of the murder?

11. How important were the details? Were the clues rarely given to the audience? Did they have enough to work on?

12. The drama of the climax with Lynn being poisoned? Why was this sequence tense? The build-up on the ship? Lynn as a humane person? The truth?

13. How effective a mystery was this? How effective in this kind of genre?

THE BLUE LAMP

UK, 1950, 84 minutes, Black and white.
Jack Warner, Jimmy Hanley, Dirk Bogarde, Robert Flemyng, Bernard Lee, Peggy Evans, Meredith Edwards, Dora Bryan, Gladys Henson.
Directed by Basil Dearden.

The Blue Lamp is one of the earliest of the British police films, a glimpse of two policemen on the beat and their ordinary lives. It also shows the emerging youth gangs in London after World War Two. The film was shot around the Paddington area.

Jack Warner was a veteran of many British films and made his character, George Dixon, who is killed in the film, the subject of a television series, Dixon of Dock Green. Jimmy Hanley was a young star in Britain at the time and Dirk Bogarde was emerging. He made his mark as a young thug.

The screenplay was written by T.E.B. Clarke, a veteran writer of many of the films made at Ealing Studios in the 1940s and 1950s including Hue and Cry, Passport to Pimlico, The Magnet, The Titfield Thunderbolt and The Lavender Hill Mob. Basil Dearden had started directing in the 1940s and was making a number of small-budget films at the time. He made a number of action adventures during the 1950s including The Sea Shall Not Have Them. He moved into much more serious social themes in the late 1950s and early 1960s with Victim as well as Sapphire. He made a contemporary version of Othello in 1962, All Night Long. His big-budget film Khartoum, with Laurence Olivier and Charlton Heston, came out in 1966. He made The Assassination Bureau with Diana Rigg and unfortunately died in a car accident in 1971.

1. The film was considered important in its time in Britain. Why? Its portrait of the police and their police work, the documentary style, the human feeling? Its impact now?

2. British film-making in the forties, black and white photography, studio work, the seeking out of authentic locations? How does this film compare with the many American models of police and gangster films at the same time?

3. The film as a tribute to the police, the tone of the title, the study of police, work and routines?

4. The human touches of the film? How well done were they, how important for public response and sympathy for the police? How convincing in the forties, now?

5. The characterizations of Dixon and Mitchell and the film's focus on them? The older and the younger policeman? Their good nature, good fellowship, relationship with their fellow police? The seeing of them in their ordinary routines on the beat? How well could the average audience identify with them? The presentation of their domestic life in humorous detail and with sentiment? The worries of the wives, the dangers that the police ran, their not carrying arms? The dedication of this ordinary policeman? How convincing was this?

6. The presentation of Scotland Yard with its work, accurate precision, efficiency, relationship with the police on the beat?

7. The contrast with the world of the criminals - how ugly? The world that the police had to confront and control? For protecting ordinary citizens? The small-time gangsters and their lodgings, girl-friends? The cheap atmosphere of the small-time crooks? The portrait of their girl-friends? The contrast with the people that the police met on the beat - the prostitutes, the down-trodden wives?

8. The film's focus on crime, the presentation of the robbery, To, Riley killing? Audience response to this? Imagination? The importance of Dixon's unnecessary death?

9. The sequence where Dixon's wife compared sorrow with the murdered girl’s mother? How moving were these scenes - how contrived for sympathy for the police?

10. How much insight into the world of the police did the film give, how much compassion for this necessary work?

THE BLOB

US, 1958, 86 minutes, Colour.
Steve Mc Queen, Aneta Corsaut, Earl Rowe.
Directed by Irvin S. Yeaworth Jr.

The Blob has become something of a classic. In its time it was very much a B (or lower) budget science fiction film. The director went on to make The 4D Man and Dinosaurus.

The film is the familiar one of an alien life form that descends on an American town and eats up everything in its path as it grows and grows. There was a tongue-in-cheek updating in the early 1970s, Beware! The Blob (directed by Larry Hagman), as well as a proper remake and updating in the 1980s with The Blob starring Kevin Dillon.

The story has been used with variations in a number of films – for example, Slither (2006).

The film is remembered as one of the earliest films of star Steve Mc Queen.

1. What do audiences expect of science fiction films? What enjoyment do they expect? What presentation of fantasy, danger? How much do audiences like to be scared? How successful was this film as science fiction?

2. How seriously was it meant to be taken as science fiction? How much for laughs and ordinary enjoyment? This film as an example of science fiction in the 50s? And the more imaginative and preposterous aspects from outer space?

3. The importance of the setting - the teenagers and their way of life, the town itself, the teenagers and their cars, the horror show at the movies, the caravan with the restaurant?

4. How important were the characters for the film? Were they just enough for the episodes? Steve and the girls?

5. The impression of the Blob itself? How plausible were its origins, its spreading, its appearance, its ultimate growth, the cinematic effect of all this, its reduction by cold? And the end?

6. The audience belief in the plausibility of the destruction and audience fearful response to this?

7. How effective were the examples of the Blob’s destruction: the man, the cars, the theatre, the caravan? The optimum in destroying the Blob? And the irony of the ending and a sequel fifteen years later?

9. How enjoyable was the film as low budget science fiction entertainment? What values did it have in itself? As part of the history of science fiction films?

THE BLOCKHOUSE

UK, 1973, 93 minutes (director’s cut 108 minutes), Colour.
Peter Sellers, Charles Aznavour, Jeremy Kemp, Per Oscarsson, Peter Vaughan, Nicholas Jones, Leon Lissek.
Directed by Clive Rees.

The Blockhouse had a very unfortunate film history. The director found it difficult to get a budget for the film, when it was released many scenes were cut – and the film was virtually put on a shelf. However, it did appear in competition in the Berlin film festival of 1973. A VHS was released in the 1980s – but in a very cut version so there has been very little access to the film.

The film boasts a strong cast with Peter Sellers in a very serious role. The focus is on a group of men in a blockhouse, with the horror atmosphere of being buried alive, the darkness, nerves, the waiting for D-Day? – with the bombings and cave-ins.

The theme, being very serious, did not fit the sensibilities of the 1970s. Given the range of films about World War Two and these kinds of disasters in more recent decades, it will be interesting to view The Blockhouse again. Perhaps it was ahead of its time.

1. What was the ultimate impact of this film? Was it meant to be entertaining? Why was it made?

2. Was it a successful film? According to its purpose? For informing and moving audiences? What was the main audience response to it? Why?

3. Were the events in the film credible? How important was the fear of burial alive and audience response to this? How important the need for living? How important the fact that this story was true and that the final two survived in darkness for four years? The impact of this?

4. What techniques of horror film did this film use? The burial alive, the darkness, the interaction and wearing of nerves etc.? Was it made human by the events of the war, the need for survival, the interaction of the men?

5. How well did the film establish the reality of D- Day - the raids, the men at work, the men running, the need for survival and escape? How did this give a setting to the film? Effectively?

6. How ironic was the illusion of safety as they ran for the blockhouse? Would ordinary people have done this? The irony of it turning into a prison? The bombings and cave-ins etc.? The sense of menace? How did this get through to the men themselves?

7. How important was the physical set-up of the blockhouse itself, the amount of supplies, the drink, the candles, the air and space? Was it credible that men could have survived?

8. Did the film differentiate well amongst the different characters? What impact did they make in themselves? Should the film have explored their background more? Would this have made the film different? What impact did each make? The teacher and civilization, his wearing away, making peace, the quiet dignity of his suicide? The man who continued to eat? The man continually wanting to dig his way out? The authoritarian man who didn't want to steal what did not belong to him and his quickly going mad and dying? The two men and the growing affection, and one killing the other? The little man who seemed to survive all the time?

9. How well did the film show the inter-reactions between the men – good nature, fear, nerves, reading, eating, withering away?

10. The importance of the sequence with the joke and the race? The importance of the celebration of Christmas?

11. How was death communicated in this film? The horror of death?

12. What was audience response to the final message and darkness with the two men alone? The fact that they lived on for four years?

13. What insight into human nature did this film give? Into the nature of man and his survival? Into his withering away and death? His resources and lack of resources?

BLITHE SPIRIT

UK, 1945, 96 minutes, Colour.
Rex Harrison, Constance Cummings, Kay Hammond, Margaret Rutherford, Joyce Carey.
Directed by David Lean.

Blithe Spirit is based on Noel Coward’s celebrated comedy play. Charles Condomine and his second wife, Ruth, are haunted by the ghost of his first wife, Elvira. They seek the help of a medium to try to solve the difficulties – Madame Arcati. The film is full of farcical and comic situations with the polished Noel Coward ironic dialogue. Rex Harrison is very good at this kind of thing – as witnessed by My Fair Lady. Margaret Rutherford enjoys herself immensely, bumbling through as always, as Madame Arcati (she was to win an Oscar as best supporting actress for a variation on this theme in 1963 in The VIPs).

The film was an early film by David Lean who had made a version of Noel Coward’s This Happy Breed in 1944 as well as collaborating with Coward for his war film In Which We Serve (1942). Lean was a perfectionist who did not make a great number of films. After this he made his classics Great Expectations and Oliver Twist. He made such films as Breaking the Sound Barrier, Hobson’s Choice and Summertime with Katharine Hepburn. After this he made long and large spectaculars, winning Oscars for The Bridge Over the River Kwai as well as Lawrence of Arabia (1957 and 1962). He also made Dr Zhivago, Ryan’s Daughter and A Passage to India.

In 1956 Noel Coward collaborated with Frederick de Cordova for a television version of Blithe Spirit and he himself played Charles Condomine. Claudette Colbert was Ruth and Lauren Bacall was Elvira. Mildred Natwick was Madame Arcati. There was a 1966 version with Dirk Bogarde as Charles, Rachel Roberts as Ruth, Rosemary Harris as Elvira and this time Ruth Gordon as Madame Arcati. Coward himself also appeared as the presenter of a 1964 television version with Griffith Jones as Charles, Helen Cherry as Ruth, Joanna Dunham as Elvira and this time Hattie Jacques as Madame Arcati.

1. How did the title give the meaning and tone to this comedy? The wit and the lightweight humour?

2. How good was this film as comedy? The comic possibilities of the plot, the characterization and their caricature, the wit in the dialogue and the situations? The pointing up of foibles? The wit and the froth? The particularly English tone of the comedy?

3. How was this film a typical product of the 40s? The style of photography, editing, acting? The contrived theatrical tone of the film? The quality of the colour? The English atmosphere?

4. How effective was the satire on marriage? The fantasy overtones for Condomine and his relationship with his wives? The two wives themselves, Elvira and her flippancy and its effect? Ruth and her practical nature? The reactions of two wives and why they married Condomine? The fact that he was hag-ridden?

5. How important was the performance of Rex Harrison, so British, witty, shallow, the quality of his small talk, his role as a writer, his curiosity about séances, his response to situations, people, his wives?

6. Comment on his reactions to each of the wives and how they differed. irony of his wanting to escape? The humour of his death?

7. How important for the film’s success was Madame Arcarti? The quality of Margaret Rutherford's performance? Its characteristic style? How funny? Why?

8. How successful was the parody of seances? The methods and superstitions of people? Would this be offensive to people who really believed in seances? Or was it genuine parody seeing the humorous element in the rugged British style?

9. The comedy in Edith and her being drawn into the plot? The fact that the situation depended on her? The comedy of the typical British maid?

10. How enjoyable was the central séance sequence? The laughter, the overtones of reality, the reactions of the Bradmans etc?

11. How did the film depend on the encounters between the various characters? The staginess of this? The reliance on the dialogue? Ruth and Condomine both seeking Madame Arcati? The importance of the final trying to get rid of the two ghosts? How well was this filmed?

12 How much did the film reflect Noel Coward's outlook on entertainment and wit? The value of a comedy of manners in entertaining and yet highlighting aspects of society and behaviour, and of morals?

THE BLISS OF MRS BLOSSOM

UK, 1968, 93 minutes, Colour.
Shirley Mac Laine, Richard Attenborough, James Booth, Freddie Jones, William Rushton, Bob Monkhouse, Patricia Routledge, John Bluthal, Sheila Steafel, Frank Thornton, Barry Humphries, John Cleese.
Directed by Joseph McGrath?.

The Bliss of Mrs Blossom is based on a play by Alec Coppel who was a prolific playwright and screenwriter contributing to a lot of British comedies of the 1950s as well as to Hitchcock’s Vertigo. This is a film with a very light touch – an amoral touch although based on a true story. It is also evocative of the rather psychedelic style and sensitivities of the late 1960s. Shirley Mac Laine portrays Mrs Blossom who has the benefit of both husband and lover. The film is satiric in style, often a spoof, relying on the talents of the rather gifted cast.

Shirley Mac Laine was at the peak of her career in the 1960s and was soon to be Sweet Charity. Richard Attenborough had made a number of strong British films and was soon to move into direction with Oh, What a Lovely War and Young Winston. It is interesting that there is a range of British comedians in the cast including Bob Monkhouse, Patricia Routledge as well as two Australians, John Bluthal and Barry Humphries, with a glimpse of John Cleese.

The film was directed by Joseph McGrath? who had a slight career. The next year he was to continue in this vein, only more so, with his version of Terry Southern’s The Magic Christian. He also made Digby, the Biggest Dog in the World as well as the Peter Sellers vehicle The Great McGonagall?.

1. Was this an enjoyable comedy? Why? What made it funny? How satirical was it? Why are satires enjoyable? What is the point of satire?

2. What attitude towards human nature did the film have? Optimistic or pessimistic? The picture of society in the film. for or against? Its use of conventions especially of romance? Its upsetting of conventions and poking fun of
convention - its presentations of its characters as types? Its poking fun at types? Its picture of love and romance? Its insight into its nature by reason of its jokes and its subtlety? the opening with the talk of Paris and the picture of London? How did this set a style for the rest of the film?

3. Comment on the use of the visuals for the message and the impressions? The use of lavish colour? The variety of shots, angles? The speed of the editing cuts? The whole wacky atmosphere of the film? The wit of the dialogue in the situations? How did this combine to make the film distinctive?

4. What were your impressions of the morals of the film? What notions of good and bad? Of society, legality, hypocrisy? Did the upsetting of morals become immoral? Or was the film very moral in what it presupposed in its audience?

5. How attractive a character was Mrs Blossom? As an ordinary housewife? Her relationship to her husband and her pandering to his whims? Her dreams? Why did Ambrose fulfil her dreams? Was she good or bad? her humour in coping with the situation? Her compromise with husband and lover?

6. Was Robert Blossom an interesting character? His being pictured at the factory and at work? The humour of his working at a brassiere factory? As the typical British husband at home? His relationship with his wife, especially during his conducting of the orchestra? The humour in this? His breakdown and what he suffered? Was it worth it? Were Mrs Blossom and Ambrose to blame? Was he any better when they began to help him with his work and he made so much money? His philanthropy? The irony of this kind of man as a philanthropist?

7. Was Ambrose Tuttle an interesting character? How ordinary was he? Did he intend to take up residence? Why did he stay? Did he really love Mrs Blossom? How humorous were his adventures upstairs? His satire in his teach yourself program?

8. What did the detective and his assistant add to the film? The humour of their idiotic style? Their slowness in detecting? Comedy of situation? As a threat to the situation in the attic (Why did they draw the wrong conclusions?)

9. How humorous were the sequences with the psychologist? What was being satirised here? In dialogue and in the style of filming?

10. The humour with the dog?

11. The sequence of the art exhibition aid the humour of the dealer? Barry Humphries style?

12. What had they achieved after several years?

13. How humorous was the resolution? inevitable? Why?

14. The irony of the divorce situation? The truth that was told during the court case?

15. How ironic was the ending of the film? Was this inevitable? What was the message?

16. How interesting a comedy of manners was this? Its insight into human behaviour and attitudes? On the nature of love and marriage? Of man and woman? Of truth and fantasy?

BLANCHE

France, 1971, 92 minutes, Colour.
Michel Simon, Georges Wilson, Jacques Perrin, Ligia Branice.
Directed by Walerian Borowczyk.

Blanche is based on an epic poem, Mazepa, written by Juliusz Slowacki, who lived from 1809 to 1849, born in the Russian empire in what is now Ukraine. (The epic was also filmed in Poland in 1976.)

The film was directed by Walerian Borowcsyck, a celebrated if controversial director. He was born in Poland, 1923, and died in Paris in 2006. He trained as a painter and lithographer and began making films in the 1940s. However, he moved to France and made a number of films during the 1960s. Blanche is the culmination of this kind of film-making. After Blanche, he began to be much more interested in sexuality, even pornography, and made a number of striking films, especially during the 1970s which created quite an amount controversy including Immoral Tales (1974), The Story of a Sin (1975), The Beast (1975), Behind Convent Walls (1977), Lulu (1980).

This film is much more straightforward. It focuses on a young woman, the wife of an older king in a castle in a faraway land. Everybody is in love with her or infatuated with her. What follows is tragic clashes – with only the king surviving.

The film has veteran Michel Simon as the old master of the castle, the husband of Blanche. Georges Wilson is the king. The film is excellent in its re-creation of the Middle Ages, the style of life in the castle, the peasants in the surrounding countryside, the austerity of this way of life.

The film won the Interfilm (Protestant association) award at the 1972 Berlin film festival.

1. The overall impact of this film? How striking, why was it striking? Enjoyment, interest, fear and revulsion?

2. The French origins of the film in production, actors, setting, original novel from the 19th century? The vision of a Polish migrant director? The director and the tradition of his films with the attention to people imprisoned, the strangeness and alienation in the world, people as objects and victims of passion, the great attention to environment, the attention to detail, especially objects and symbols in rooms?

3. The importance of 13th century France for atmosphere and setting: the importance of the colour, grim colour? The expectations and background of pageantry, costume? The austerity and harshness of the castle, the, people, their way of life? The castle with its exteriors and interiors? An atmosphere of royalty and hierarchy of power? An enclosed world? The contrast with the countryside with its beauty and its awesome grimness? The images and the juxtaposition of detailed images? The importance of the medieval music, singing, strident melodies and tones. falsetto singing? What was the overall medieval atmosphere?

4. Audience response to these settings in terms of fairy tales, romance and heroism? The contrast with the Grimm stories of giants and evil in castles? A blending of these styles for this particular story? The castle as a microcosm, the story as a fable about life? The importance of the distancing of time and the land for a 20th century audience? Nevertheless the value of the fable in revealing the nature of relationships, power, imprisonment within one's environment and people's responses?

5. The significance of the castle: its appearance, its charming aspects, its foreboding, its protection, as a fortress? The Baron an a personality ruling this castle, at home within this castle? His kindly aspects, ogre? The King and his administration of the land, from a society which was represented by such castles? The rules of behaviour and the norms and values of a castle way of life?

6. Blanche within the castle? The symbol of the dove within the prison bars? The whiteness of Blanche’s name and appearance? Whiteness and innocence? The fairy princess and the imprisoned princess? The wife of the Baron of the castle? The object of lust and aggression on the part of the King? Nicolas, Bartolomeo? Her experience of prison and suspicion rather than her innocence? The inevitability of this kind of castle killing the dove?

7. How interesting in terms of character study, themes were the juxtapositions of the environment, the incidents and details of the way of life of each of the characters? The moral comment by such juxtaposition?

8. The character of the Baron, his way of rule, the age difference with Blanche? His style?

9. Blanche and her innocence, the bath sequence, the importance of her dressing, her properness, hostess? Victim of lust and aggression? Her extricating herself and retirement to her bedroom? The victim of the Baron's suspicions? Being put in the dungeon? Her innocence, the inevitability of her decision about her death - the pathos of her contemplating the poison and drinking it? Can innocence survive in such a world?

10. The Baron and his downfall, jealousy, the evil elicited from his jealousy? His attitude towards Bartolomeo, the King? His aggression towards Bartolomeo? His injustice towards Blancho? His finally being appalled at the destruction, especially of Nicolas? The inevitability of his death? How innocent a man was he, innocence being destroyed within this world?

11. The personality of the King, the preparations for his arrival, his place in the hierarchy of rule and power? His lustful response to Blanche, his pursuing her? His entry to her room, the gash? His face being saved by Bartolomeo? ilia reaction to Bartolomeo’s being walled up? The irony of prayer being the occasion for such a discovery? His attitude towards Blanche, plans for taking her away? Bartolomeo thwarting his plans? How much was the King's power and lust, which was in control of castle and people, the reason for such destruction?

12. How important a character was Bartolomeo for the plot and for the themes? As a charming young man, womaniser? His reputation, his advance preparation for the King? His loyalty and gashing his hand for the sake of the King, incurring the wrath of the Baron? The importance of his hiding in Blanche's room and the irony of his being walled up, the irony of the King rescuing him, yet the irony of the King causing his destruction because of the note and Bartolomeo’s interception and decision? His fighting for Blanche, attacking Nicolas?

13. How realistic a figure and symbolic a figure was Nicolas? Enclosed, inbred affection? As the son of his father, his devotion to Blanche, his willingness to die on her behalf?

14. The seeming triumph of good with the thwarting of the King's evil? but its only being a temporary success? Was the success of goodness ever possible?

15. Audience sympathies towards the end for King, Baron, Nicolas?

16. Audience response to Blanche's destruction? The final symbol of the dove - symbol. significance?

17. The ugliness of the ending with the torment and torture of Bartolomeo, the incessant galloping, the circular punishment? Hell and purgatory images? A pessimistic ending?

18. The film presenting a microcosm of universal good and evil, victims, cruelty, power and jealousy?

BLACULA

US, 1972, 93 minutes, Colour.
William Marshall, Vonetta Mc Gee, Denise Nicholas, Thalmus Rasulala, Gordon Pinsent, Elisha Cook Jr.
Directed by William Crain.

Blacula comes from the early 1970s when black actors and directors were beginning to make their mark and make popular films like Shaft. William Marshall was one of the stars of the period.

The film is a variation on the Dracula story – adapted for the black audience. William Marshall portrays an African prince who visited Dracula and was bitten by him centuries before. When he is brought to the United States, he goes on a rampage, especially following a woman who reminds him of his wife. The variations on the story from Bram Stoker are wrought in a contemporary situation with a doctor finally tracking Blacula down with the help of the police.

Director William Crain’s career was mainly in writing and television directing – though he made another film in this vein in 1976, Dr Black, Mr Hyde.

1 Why do horror film appeal to wide audiences? What are the horror conventions and why do they appeal?

2. The title of this film and its emphasis on the black aspects? The film as a black film for black audiences? Its quality as a horror film?

3. The particular American emphases in horror? The contrast with the English vampire style? What was particularly American, for example, blacks, car chases, Los Angeles locations etc.?

4. The importance of the prologue and its credibility? As setting a tone for the film? An indication of black themes and race prejudice? Was there sufficient follow-up on these initial indications?

5. Was the transportation of Blacula to America credible? Did the plot have an atmosphere of credibility?

6. Mamualdi as a person? A good man made evil? A presentation of the good and evil In ordinary people? As a vampire figure? His biting and terrorizing his victims? His search for his wife? His love for Tina? His death? Was he an interesting vampire character?

7. Gordon and the police investigations? How interesting? How conventional? Gordin and his relationship to Michelle?

8. Tina as the heroine and victim? Her ordinariness, relationship with Gordin and Michelle, the emotional attraction to Mamualdi? Her taking the place of his wife? Her death and her having to be killed?

9. The various sequences of horror, for example the photographer and her being killed, the taxi driver and the morgue attendant? Was the finale adequate for this kind of horror film? the pathos and horror of the deaths?

10. How good an example of vampire films was this?

THE BLACK TENT

UK, 1956, 93 minutes, Colour.
Anthony Steel, Donald Sinden, Andre Morell, Michael Craig, Donald Pleasence, Anton Diffring.
Directed by Brian Desmond Hurst.

The Black Tent is the typical war adventure film from the British studios of the fifties. Donald Sinden And Anthony Steele appeared in many of these films. This story is quite colourful, combining the atmosphere of the desert and World War II. It avoids the happy ending. The screen play was co-written by Bryan Forbes who wrote many screen plays and was to go on to become a very successful director.

l. An interesting and entertaining war film? Conventional? Authenticity contributed by the Libyan background and the atmosphere of the desert people?

2. A war film of the fifties? memory of the war, the contemporary setting? The war style with the action sequences, the presentation of the Arabs? Conventional presentation, differences?

3. Importance of the colour photography, English and desert locations? Atmospheric music?

4. How credible was the plot? The English background, the role of the sheik, and their people in the desert during the war? English prisoners and their place with the people in the desert? particular battle sequences and strategies? The unhappy ending instead of the conventional romantic happy ending? sufficient for the purposes of the film?

5. The initial focus on Charles Holland and the information about his brother? Holland as the traditional British gentleman, his background, wealth, the honour of his family? His search for the truth and his presence in Libya? The effect of the story on him, his appeal to his nephew? As a character, as a type for his role in the film?

6. The main focus of attention on David Holland - audience expectations on him and his presence with the desert people, the possibility of his being a traitor in the war? The introduction to his plight, personality? His friendship with the people, the friendship with the sheikh, the love for Mabouka, the marriage and the child ? His feeling at home with the people? The presence of the Germans and his strategy? The importance of the English defeat by Rommel, the change after El Alamein and his rejoining the fighting? His making the promissory note? the will and his diary? A conventional British hero, how well presented?

7. The portrayal of the people of the desert - the sheik and his wise rule of his people, his help to David Holland, shielding his memory from Charles, the revelation of the truth, his helping him during the war, his disappointment with Faris as a son in law? his hold over his daughter and his grandson - his pleasure in his grandson deciding to remain with the people that he knew? Mabouka and her love for David, her leaving her decision to her son? The boy and the dilemma with which he was faced? his decision and the reasons for it?

5. The incidental British characters, the officers and those who gave the information to Charles Holland?

6. The war sequences and their vivid presentation? The African locations and desert settings?

7. Themes of human nature, race? the attitudes of the British and their heritage? The contrast with the desert people and their heritage? The significance of the ending?

8. How much insight into human nature via this very British adventure story?