BEYOND THE POSEIDON ADVENTURE

US, 1979, 114 minutes, Colour.
Michael Caine, Sally Field, Telly Savalas, Peter Boyle, Jack Warden, Shirley Knight, Shirley Jones, Karl Malden, Slim Pickens, Veronica Hamill, Mark Harmon.
Directed by Irwin Allen.

Beyond the Poseidon Adventure is a sequel that cannot be recommended. Most people consider it a very silly film as well as an exploitative one.

The Poseidon Adventure was one of the better action adventure films of the early 1970s, a disaster film with an effective and big cast as well as special effects. (It was remade, to less advantage, in 2005 as Poseidon).

Michael Caine and Telly Savalas are captains of two salvage companies who send boats to get all the goods and wealth from the Poseidon – even while the passengers are still alive struggling to survive.

A fairly starry cast appears in supporting roles – but not enough to give the film sense or class. It was directed by the king of disaster films, producer Irwin Allen. Allen had produced a number of action adventures, writing some, including the ludicrous Story of Mankind as well as films like Voyage to the Bottom of the Sea, Five Weeks in a Balloon, The Towering Inferno, The Swarm.

1. The popularity of the original film? Disaster material, the epic scale the human interest, themes of survival and heroism? The need for a sequel?

2. The impact of this film in itself? In the light of the original, as a quality sequel? The reworking of the main plot elements the surface characterizations, the melodramatic situations? Motivation, issues? The disaster and crime material popular in the late 70s?

3. Colour photography, Panavision, the sea, the upturned Poseidon, the decor of the upturned ship, the special effects? The score?

4. The opening with Mike and Celeste and their companion? The storm and its vigour? The introduction, the theme of the upturned 'Poseidon' and the flashback of its overturning? The problems of the overturned ship, coastguard, salvage? The motivation of this group going to the ship? The adventure ingredients - 'Boys' Own' style? The pursuit of the jewels in the Purser's office and the money? The change of motivation with the survivors and the rescue, the loss of the wealth - did it matter? The basic values guiding these characters?

5. The immediate contrast with Stefan? As a type, sinister appearance, his henchmen, their arms? Their going with Mike? The murder of the girl, the searching out for their cargo? The machine gun fight? The credibility of such a group looking for the 'Poseidon’? For such fighting within the ship? Audience response to such conventional villains?

6. Mike as leader, his enterprise? His concern especially about his sick companion and their bonds of work together? Working with Celeste and slinging off at her, calling her Monkey? The bond growing between the two? His ingenuity in getting the money and the jewels? The contrast with Celeste and her presence on the boat, her stories, cheeky manner, the mistakes and the accidents, her helping? her work during the rescue? Her care for the sick companion? The diamond at the end and the prospect of a happy ending? The old companion and his illness. his helping with the rescue, audience sentiment for his plight the sequences of his feeling his illness, his decision for death to save the others? Conventional hero, heroine? Sentiment?

7. The presentation of the ship, physical appearance, the ship upside down and the ingenuity in getting out? Explosions. dangers? The ending and the swimming to safety? The fear, the various shocks? The chemicals on board, guns etc.?

8. The adventure ingredients, survival, shooting? The loss of people during the rescue, the deaths? Themes of tear, anger, selfishness, hopes? Accidental deaths?

9. The crass American and his shouting and pushing his weight around, continual growling, challenging? His love for his daughter, hostility towards the boy who rescued her? his ugly remarks? His redemption by the death in the gun battle?

10. The blind man and his wife? Their being prepared to die, their selflessness during the rescue, the danger as he climbed the ladder, the fear, age, the sudden drowning of his wife and his grief?

11. Gina as the pleasant nurse, her story, her helping everyone?

12. Tex and his satire on the big-hearted Texan style, his help, promises of money, his being revealed for his occupation as cook, swimming to safety, the bottle of wine, his death?

13. The sketching in of the characters - sufficient for this kind of entertainment adventure? Audience identification, sentiment? Traditional values incorporated into this kind of popular entertainment?

BEYOND THE FOREST

US, 1949, 97 minutes, Black and white.
Bette Davis, Joseph Cotten, David Brian, Ruth Roman.
Directed by King Vidor.

Beyond the Forest has to be most of the most extreme examples of Hollywood melodrama. It is everything that a soap opera normally has – and then some.

One of the reasons for the extremities is the presence and performance by Bette Davis as Rosa Moline, the wife of a small-town doctor who dreams of better times and going to Chicago. When she gets enough money to leave her husband, she goes to Chicago and takes up with a businessman played by David Brian. When he doesn’t want her, she returns to town pregnant.

The film is immortalised in Who’s Afraid of Virginia Woolf when Martha, played by Elizabeth Taylor, comes into the house and repeats Bette Davis’s line from this film, “What a dump,” emphasising the “p" in dump.

Joseph Cotten is supportive as the wronged doctor. David Brian is sinister as the businessman.

Max Steiner’s score was nominated for an Oscar – and incorporates the popular theme of “Chicago”.

The film was directed by King Vidor. Vidor had had a long and very successful career in Hollywood from 1913 when he began directing. The Big Parade in 1925 was one of his greatest achievements. He also made such films as The Crowd, The Patsy and Hallelujah at the time of transition to sound. He continued to make films during the 1930s, including Stella Dallas and The Citadel and moved into the 40s with another heightened melodrama, Duel in the Sun. He continued directing until 1960 making another high melodrama, Ruby Gentry, with Jennifer Jones as well as the version of War and Peace with Henry Fonda and Audrey Hepburn and Solomon and Sheba.

1. The meaning of the title? Its relevance to the situation of the town? Indication of themes?

2. The film as a Bette Davis vehicle? On what aspects of her talent did it rely? A melodrama of the late forties? Black and white photography and atmosphere? The use of music,. especially the Chicago theme?

3. The appeal to audiences of turgid melodrama? Soap-opera appeal? Romance and evil? A court-case and flashbacks? A bad end for an unheroic heroine?

4. The film’s emphasis on the town? The portraying of it in detail? Its ugliness, narrow outlook, the mills? The visual presentation and its effect on Rosa?

5. The importance of the openings the empty town, the curious people in the court house, the court-case, the emphasis, focus on Rosa? The nature of the narrative?

6. Rosa as the focus of the whole film? What type of woman was she? As she looked and sounded? How suitable was Bette Davis for this role in terms of beauty, age? The ambiguity of an older woman trying to look younger? How evil a woman was she? How weak? Her being hated by the town? Her role in the town, her husband's
career? Her relationships with people and her arrogance? Her desires and ambitions? How was she driven and why?

7. The emphasis on the station, and the train going to Chicago? How was Chicago a dream world? The playing of the theme and its recurrence during Rosa’s desires?

8. The man whom Rosa had a passion for? In himself, as a businessman from Chicago, his allowing himself to be held by Rosa? What hold did she want to have on him? Her trip to Chicago and insisting on seeing him? Her being played with? Rejected? The significance of her walk down the Chicago streets to the music?

9. The contrast with the attractive daughter? What did this do to Rosa?

10. Rosa and her husband? What kind of relationship? His trying to please her? Her impatience and moodiness? Their holidays together, her deception of him and her meeting her lover? Her wilfulness in the shooting and the murder? What motivated her to murder?

11. The trial, its effect on her, effect on the people? Public opinion and its effect? Standards and double standards?

12. The significance of Rosa having a baby? Did she have any motherly Instincts? Her growth in weakness, hatred being abandoned? Her telling the truth and the spite in her telling the truth?

13. The melodrama of her death and its irony at the station? A bad end for a bad person? Was this over-melodramatic?

14. Did the film illustrate the moral given at the beginning about a wicked person? Did the film give insight into evil?

THE BEST OF ENEMIES

Italy, 1962, 104 minutes, Colour.
Alberto Sordi, David Niven, Michael Wilding, Harry Andrews, Noel Harrison, Ronald Fraser, Bernard Cribbins, Duncan Macrae, Michael Trubshawe, David Opatoshu, Amedeo Nazzari.
Directed by Guy Hamilton.

The Best of Enemies was written by Suso Cecchi D'Amico, veteran screenwriter of many Italian films for classic directors like Fellini. However, this film was directed by Guy Hamilton, a British director who had made a number of interesting small films in the 1950s including An Inspector Calls and The Colditz Story. He was to go on to make Goldfinger, Diamonds Are Forever, Live and Let Die and The Man with the Golden Gun as well as Battle of Britain and two Agatha Christie stories, Evil Under the Sun and The Mirror Crack’d.

The film is set in north Africa during World War Two, a battle of wits as well as a battle of arms between a British commander and an Italian commander. David Niven versus Alberto Sordi. The film shows both squads – even, eventually, playing football. To this extent, the film is critical of war, wants to show the nature of common humanity, with serious episodes as well as comic episodes.

There is a strong British supporting cast led by Michael Wilding and a strong Italian supporting cast led by Amedeo Nazzari. The film won a Golden Globe in 1962 for best foreign language film – and also received a nomination for the film best promoting international cooperation.

1. The significance of the title and its irony on friendship and enmity? A war film. of the early 60s? Its purpose for presenting the war, criticising war? How effectively?

2. The use of wide screen and colour, African locations, the irony of the musical themes often making the points?

3. Why were Italians and English chosen to represent this kind of clash? Why the World War II setting for the points being made about enmity and its futility?

4. The presentation of the British characters? how accurate and how much parody in the presentation of the stiff Englishmen, their hard attitudes the appropriateness of playing the game and keeping up appearances, the lack of external emotion?

5. How expected was the presentation of the Italian attitude: the emphasis on reputation, on cowardice, on emotivity, on rising to the occasion?

6. What did the film say about war being waged by national attitudes? How much did these particular characteristics influence what happened? The presentation of the English: the mission, the pilot and his daredevil attitudes, trying to scare the Italians who were considered beneath them, arrogance even at arrest? The character of Richardson and what he represented?

8. Richardson as a prisoner and his continued arrogance, the return of the mission even after he had been allowed to escape, the continual blows to his pride urging him on even when his feelings moved in the opposite direction? The irony of his capturing and being captured?

9. The contrast with the Italians, the Italian leader feeling sick, not so proud, allowing the English to escape, disappointed at their return, tricking the English e.g. with the escape from the fort? How wily were the Italians?

10. The importance of the mutual chase the goat, the burning and everybody landing on the island? The growing need for mutual help for survival and the comment of this on war?

11. Their experiences together and the growing mutual respect and help? The ambiguity of the resolution? The English winning yet standing by and saluting, the Italians being prisoners but keeping dignity? What comment did these final sequences make on war, anti-war?

BERLIN TUNNEL 21

US, 1981, 141 minutes, Colour.
Richard Thomas, Horst Buchholz, Jose Ferrer, Nicholas Farrell, Kenneth Griffith.
Directed by Richard Michaels.

A telemovie made for the 20th anniversary of the building of the Berlin wall. It is sincere and moving although very long. Filmed on location, it has the atmosphere of divided Berlin. There is a German supporting cast but Richard Thomas makes the film accessible for international audiences. There are several sub-plots which merge together for the final attempt at escape, with joy and with tragedy. There is a postscript with footage from John F. Kennedy talking about the Berlin wall and the spirit of freedom. This is a satisfying tribute to Germany and the sufferers from the Berlin wall and a timely reminder of the rights of all individuals to freedom. While it is propaganda, it is a moving and persuasive story.

1. The impact of the film? As human drama, as the memory of history, as a reminder of the clashes between East and West? As propaganda for the West? As a drama highlighting human rights?

2. The impact of the film as a telemovie, for the home audience, emotional involvement, appreciation of the message and point? Availability to a wide audience? For reaction and understanding?

3. The use of Berlin locations, the feel of the city, of the wall itself? The atmosphere of 1961? Germany, divided Germany, American reaction? The epilogue from J. F. Kennedy? Changes in Germany over the 20 years 1961-81? Afterwards?

4. The initial focus on Sandy and Richard Thomas? The ordinary American, his involvement with Lise, his hopes, talk of America and freedom, the similarity of the United States and Germany? Leading to the tanks and the building of the wall, the sudden oppressive situation and the barriers? The symbolism of his being behind the wall? His permissions to go to and fro but the East Germans prohibited? The transition to Joachim and his family, his university career, his younger brother wanting to leave? Family issues and decisions about staying or going? George and his fiancee, the arrest of her father, his decision to drive the car through the barrier, the shooting and his thinking the girl was dead? The uniting of these sub-plots in the building of the tunnel?

5. The visual presentation of East Germany and its drabness, the impact of the separating wall, the barbed wire? The contrast with West Berlin? The physical extent of the wall, the sentries, the story of the escape, hanging all day and crying for help? The barrier to human rights?

6. Sandy and his recruiting of Emmerich for building the wall? His sounding out the factory, the situation in East Berlin, the clash with the young soldier and its later ironies? Emmerich and his finally being persuaded to build the tunnel? Joachim, Georg and Bruno agreeing to help? The film’s communicating the hard work, the frustrations of digging? The techniques for digging and shoring up the tunnel? Danger of floods, collapse? Georg and his tears? Joakim and his injuries and fears about modelling? The background of the men and their working at their ordinary jobs? The strength of motivation to make them dig the tunnel?

7. Sandy and his relationship with Lise, continued contact with her, his contacting the other families and trying to persuade them to leave? Worry about Georg and the discovery of the informer? Emmerich’s shooting the informer and Sandy's inability to do violence? The later encounter with the young policeman, the discovery of his being a spy, luring him to Lise’s apartment, shooting him? His saying List and attempting to help Georg? The irony of his dying in the tunnel and Lise being saved? His being presented as hero - with initiative, concern, hard work compassionate insight, forced to violence?

8. Emmerich and his intensity, the deaths of his relatives in tunnels, his antagonism towards Georg, his discovering the informer with his background, kidnapping him and shooting him, saving his family and rescuing the others? The morality of killing versus saving people through the tunnel?

9. Georg and his love for his fiancée the escape with the car, his helplessness and thinking his girl was dead? The hospitalization of his girlfriend and the blackmailer? Emmerich and Sandy confronting him? His joy at learning of the girl’s freedom? His family being followed and unwilling to go through the tunnel? His waiting for the girl and the irony of their being caught?

10. Bruno and his age, the story of his wife, the encounter with Herr Komansky? His artistic background, the discovery by Herr Komansky and his permission for them to dig? His helping with the escape?

11. Joakim and his university work, his modelling, his hoping his family would come out, their final decision to come with Lise?

12. The young soldier and his giving information, the encounters with Sandy, the build-up to his death? The executions of these informers?

13. The background detail of life in East Germany – family, apartments, cafes? Tension? The contrast with West Berlin?

14. The melodramatics of the actual escape, timing, flooding, the walls collapsing? The pursuit by the East German soldiers?

15. The importance of the epilogue by John F. Kennedy? The point being made about freedom - and its validity? The stances of the West versus the East? As symbolized by the experience of the Berlin wall?

BENJI

US, 1974, 86 ,minutes, Colour.
Patsy Garrett, Alan Fiuzat, Cynthia Smith, Peter Breck, Edgar Buchanan, Deborah Walley, Christopher Connelly.
Directed by Joe Camp.

Benji has to be one of the most popular dogs ever seen on screen, rivalling Lassie. Not only did he star in this film, he starred in a sequel, For the Love of Benji and Joe Camp continued to make other films including Benji the Hunted in 1987 as well as Benji: Off the Leash as late as 2004.

Benji is a stray dog who becomes the pet of two children. Their parents disapprove. However, when the children are kidnapped it is Benji who finds them again.

Benji appeals to all dog lovers – and this initial film has been a family favourite for decades.

Director and writer Joe Camp must be proud of his dog because he has been writing films for Benji for over thirty years.

1. How enjoyable a film was this? For what age group was it made? Was it a family film as stated? What made it a family film? How successfully?

2. How attractive a dog was Benji? Why? Why do family audiences like dogs? How did the film capitalise on this?

3. Did the film seem to humanise Benji? Too much or just right? The technique of identifying with Benji? Close-ups of his face, his looking, his memory, his ingenuity? His relationships with humans? His heroism? How attractive did this make Benji?

4. How effective was the showing of Benji’s daily journey? Its repetition and audience expectation of what would happen? The change when he found Tiffany? The change when people were not there to help him in crisis? how successful was the screenplay in generating interest and providing for suspense?

5. How successful was the plot in portraying characters? Benji’s relationship with them, the danger of the kidnap plot, and the binding in of the suspense and the finale? Did the film retain interest well, generate suspense and interest? The effect on children? The details of their identification e.g. the kicking of Tiffany, the closing of doors, the girl putting the note in her handbag etc.?

6. How attractive and interesting were the humans in the film? Especially in the initial sequences, her kindness to Benji, her talk with the children at the end? The contrast with the doctor and his unwillingness to want the dog , his saying it had diseases etc.? The children and their love for the dog, feeding and combing it, and their sorrow at not being able to have it?

7. What did the p policeman add to the film with his conversations, and his talk about Tiffany? The humour with the lady with the cats? His getting old and talking over his problems with Benji, giving him the chops?

8. How did Tiffany add to the interest of the film? The attraction between the two dogs, the way it was portrayed, their runs in the park, the flowers etc.? (Too romanticised or just right?) going into the house? Tiffany's being kicked, the memory for Benji? The ending with Tiffany?

9. How interesting was the kidnapping? The people involved, their attitudes? Riley's fear of the house? Their attitude towards the children? Their kicking the dog?

10. How well portrayed was Benji’s trying to help the children? His seeking out the humans, frustration, the running etc,? right for this film?

11. How humorous was the chase at the end? the children's response to the humans chasing Benji? Benji’s heroism? The value of the happy ending and its satisfying aspects?

12. What family values, human values, love of animals, did the film stand for ? How were they reinforced?

BELLISSIMA

Italy, 1951, 115 minutes, Black and white.
Anna Magnani, Walter Chiari, Tina Apicella.
Directed by Luchino Visconti.

Bellissima is an entertaining film about a showbiz mother. She bears comparison with a lot of the showbiz mothers satirised in many American films. However, this time she is played by Anna Magnani, the veteran and classic Italian actress who had appeared in Rossellini’s Open City. Magnani was to win an Oscar in 1955 for her performance in Tennessee Williams’ The Rose Tattoo and was to appear also in several American films including The Fugitive Kind, based on Tennessee Williams’ Orpheus Descending, with Marlon Brando and Joanne Woodward.

The film was written by Cesare Zavattini, writer of many of Vittorio de Sica’s films including the classic Bicycle Thieves.

The film was directed by Luchino Visconti who had experience of film-making and was able to satirise life and film-making processes at Cinecitta. He had made Ossessione in 1943 and La Terra Trema in 1948. He was to make Senso in 1954 with Alida Valli and Farley Granger and then move to his strong period in the 1960s with Rocco and His Brothers, The Leopard, The Stranger, The Damned and in 1971 Death in Venice.

This is a trifle – but an entertaining one in its insights into Italian-style show business mothers.

1. The impact of this film as regards entertainment. a glimpse of Italy and Italians? An Italian style, the reputation of Visconti?

2. The film as representing Italian film-making around 1950? Black and white, realism, the presence of Anna Magnani?

3, The atmosphere of Rome in the years after the war, the city itself, poverty, the needs of the people? the film industry and its status among the people? Open air theatre, the aura of the studios and the glamour?

4. The detailed picturing of Rome the apartments, the streets, family life? The details of people's interaction with one another, the women calling from window to window etc.?

5. The credits sequence of the orchestra playing, the introduction and information about the talent quest?

6. The atmosphere of the line-up of ambitious mothers with children? The crowd, Cinecitta? Madeleine and Maria being lost? The women pushing, the atmosphere of the producers and the film staff? The detailed presentation of the auditions? The little girls singing and dancing?

7. Anna Magnani style as Madeleine? A woman of Rome, emotional and intense? As a mother, as a woman? Her anxiety and looking for Madeleine? Being cranky with her, pushing her through, going to the head of the line, her seeking help from Amerigo? Keeping the Information from her husband using up all the money? The aura of the movies and her husband and herself watching them?

8. The presence of the dramatic coach and her acting background? Imposing herself in the family? Her taking of Maria and teaching her imagination and acting? The advice about the photos and the visit of the photographer? The importance of Maria’s going into the semi-final? The arrival at the studio, make-up, hair? (The humour of the young boy cutting off her plaits?) Madeleine’s going into the projection box, her anger with the producers and their laughing at her daughter?

9. How beautiful a little girl was Maria? Her being pushed by her mother, her fear, crying, getting lost? Her being coached by the dramatic actress? The revelation that she had made a fool of herself and cried during the test? Her mother’s reaction and taking her home, their wandering the streets? Maria asleep and being brought home finally?

10. Madeleine's attitude after her experience of the producers and company laughing? Her abuse and disillusionment? The atmosphere of the contracts, her husband wanting to sign? The reason for her refusal? The importance of the bond between husband and wife In the final sequence, his taking off her shoes?

11. The contrast of the world of film and film-making? The busyness, rush, impersonality, cliche? Amerigo as a young man on the make, the Italian male and the attraction towards women? The promises? His laughing during the screening of the test? His anger at being fired? His presence and attempted persuasion for the contract? Madeleine slapping his face and all that that symbolised?

12. The glimpse into the world of film-making, advertising and promotion? The film’s comment, critique? How much self-criticism Insofar as It showed the film-making world and presented an attractive little girl as heroine?

13. The Italian way of life, Italian characters and their Impact on the world? Values of making a living? Family relationships, ambitions? An enjoyable human document?

THE BELLE OF NEW YORK

US, 1952, 82 minutes, Colour.
Fred Astaire, Vera Ellen, Marjorie Main, Keenan Wynn.
Directed by Charles Walters.

A brief Fred Astaire vehicle of the early 50s. It is light fluffy entertainment. Astaire dances well as usual and is partnered by Vera Ellen with whom he had worked in 1950 in Three Little Words. Direction is by Charles Walters who had directed Astaire with Ginger Rogers in The Barkeleys of Broadway and with Judy Garland in Easter Parade. There is some humorous support from Marjorie Main.

1. The entertainment value of M.G.M. musicals? In their time? Now?

2. The appeal of Fred Astaire, his personality, dancing? Vera Ellen and her dancing? An enjoyable duo?

3. The artificial world of the American musical? Colour photography, décor, costumes? New York at the turn of the century? The importance of the special effects - especially the walking on air when in love?

4. The appeal of the songs. their lyrics? The quality of the dancing?

5. The love story conventions? The wealthy hero and his having to humiliate himself and face reality? The attractive heroine and her toying with being naughty but nice?

6. Fred Astaire's presentation of Charlie - the wealthy playboy, the sequence with the girls before his marriage, his attraction towards Angela, his fear or work but doing it on her behalf, the humour of his work and the accident, his decision not to marry Angela, his hurting her? His being upset when it appeared that she and Elsie would go to the restaurant? Walking on air when in love? The songs and the dances to illustrate his character?

7. Vera Ellen's personality and style as Angela? The belle of New York, at work, charity, attracting the men and the police? Mrs Hill and her friendship with Angela? Elsie? The attacks on Charlie? Falling in love? Her response to his working? Her being left as a bride? her decision to go to the restaurant with Elsie - the song Naughty But Nice?

8. Mrs Hill as the philanthropist and wealthy woman of New York? The humour of her being in the restaurant during the raid at the end?

9. Elsie -comic relief, the contrast with Angela in appearance, singing and dancing, the parallel when dressing up to go to the restaurant?

10. The picture of the men needing charity, Charlie’s lawyer, the police of New York, the girls working for charity?

11. The theme of religion, conversion, charity? The spoof on being good and upturning morals - Naughty But Nice? Entertaining fluff with conventional attitudes?

BELLE DE JOUR

France, 1966, Colour.
Catherine Deneuve, Michel Piccoli, Jean Sorel.
Directed by Luis Bunuel.

Belle de Jour is one of the most popular films by Luis Bunuel. He made it after his return to Spain from Mexico in the early 1960s. In the 1960s he made quite a number of significant films including Nazarin and El. In Spain he began controversially with Viridiana and The Exterminating Angel. This won him acclaim at Cannes. With Belle de Jour he won the Golden Lion in Venice, 1967.

Bunuel is usually associated with more surreal styles of films – something he continued into the 1970s with such films as The Discreet Charm of the Bourgeoisie and The Phantom of Liberte. However, with Belle de Jour, he aims at more simple style, more direct realism – even though the fantasies of the central character are surreal.

This also was one of the most significant performances by Catherine Deneuve who had just made Repulsion for Roman Polanski as well as the lighter musicals The Umbrellas of Cherbourg and The Demoiselles of Rochefort.

Here Catherine Deneuve portrays a suburban housewife who is unsatisfied in her marriage with Jean Sorel. She decides then to act as a prostitute during the day hours. She contacts a madam – played by Genevieve Page. Amongst her clients are Michel Piccoli and Pierre Clementi.

The film is reticent in its visual presentation of sexuality. A marked difference to the more explicit films beginning to be made at the same period. The film is intellectual as well as sensual, explores issues of morality and sexuality as well as marriage and fidelity. It explores the relationship between fantasies and reality.

Forty years later veteran Portuguese director Manoel de Oliveira made a sequel to this film, calling it Belle Toujours. It has the character played by Michel Piccoli returning to visit Severine. Unfortunately she is not played by Catherine Deneuve but by French actress Bulle Ogier. It is a brief film – and offers reflections on the action of Belle de Jour as well as a reflection on the consequences.

I. The ultimate impact of this film? How enjoyable was it and satisfying? How puzzling and thought and emotion provoking? Why?

2. What attitude did the film show towards Severine? Sympathy for her? An understanding of how she thought and felt? Did it make any judgements on her?

3. How important for audience response was the visual beauty of the film? Colour, the performance of Catherine Deneuve? her appearance, decor, the fact there was no music? Comment on the fact there was ugliness in beauty.

4. How real was the film? The nature of the fantasies and the repressions, the real life experience of Severine? Which sections were fantasy and which sections were reality? How was one able to tell? How important were the final sequences with Pierre for judging the fantasy and reality? Which of the final endings was reality? Pierre dead and paralysed or Pierre alive? How did this indicate the whole film may have been a fantasy on Severine’s part and none of it really happened? How important was fantasy for liberating Severine in her attitudes towards her husband, sexuality? Were the fantasies the liberating thing or was the reality of the prostitution the liberating thing? Comment on the film’s presentation of the objective and subjective and their inter-relationship? Does it matter what really happened or what was fantasy for the impact and theme of the film?

5. How important was the theme of identity, of love and relationship, and sexuality? What insight into the character of Severine did the film give? Her fantasies in themselves? As a woman, wife? Her love for Pierre and frigidity? Her fears? Was she a different personality as belle de jour? Her timidity, her change, her liking for prostitution? Initial fright, lowering of her standards, facing reality?

6. The encounter with the Japanese and his sadism? The professor and she was unsatisfactory? With the Count and the morbid and fantasy implications of photographing the dead? Her being thrown out by the servant? Her encounter with Husson and his inability to relate to her because she was not pure? The nature of her love for Marcel and the hold it had on her life, the sexual and physical fulfilment? Severine at home and being confronted with Marcel and the implications?

7. How did the film draw out the consequences of love and of guilt? If all was real, Pierre’s injury and paralysis? If unreal, the guilt that Severine felt? The guilt that she wanted to be rid of?

8. Was the character of Pierre drawn to contrast with Severine? As a husband and man,, his nobility and gentleness, his professionalism as a doctor, the way that Severine imagined him in her fantasies? As forgiving and in real life? The double presentation at the end Pierre in Severine’s mind and fears in reality?

9. The subtlety of the character of Husson - the initial meeting, his social chatter? His lust for Severine, his social position, his talk about the house of ill fame, his attitude towards sexuality, believing Severine’s innocence. the implications of his encounter with her, his telling the truth to the air? Why did he tell the truth? was this noble for him? So that Pierre would not suffer unjustly?

10. The character of Madame Anais – person, sexuality and relationship to the prostitutes and Severine, her role in the brothel? Her hold over the women, her seductive attitude towards her clients? Her hold over the cleaner and her daughter? Her moral standing and attitudes?

11. The violence in the film - was it credible, sadistic, real?

12. What values and insights into humanity did the film explore? The nature of reality and fantasy, repression, sadism and satisfaction? Such scenes as Pierre and Severine talking on the beach?

13. The use of visual symbols for the film, the coach, the horsemen, the cattle and their names, the duel? the count and his coffin? Could this be called a sympathetic case book of a modern woman facing sexuality and love?

BEN

US, 1972, 94 minutes, Colour.
Lee Montgomery, Joseph Campanella, Arthur O’Connell?, Rosemary Murphy, Meredith Baxter, Kenneth Tobey.
Directed by Phil Karlson.

Ben is probably best remembered for its Oscar-nominated song (winner of the Golden Globe), ‘Ben’ which was sung by a young Michael Jackson. In fact, it is rather eerie insofar as it is sung to a pet rat. Even more eerie is that the rat is a vicious leader of a killer pack.

The film capitalises on the popularity of the thriller Willard, with Bruce Davison befriending Ben and experiencing extreme animal menace. The same is true of Ben – but with a lighter touch. Lee Montgomery portrays a young boy who befriends Ben. Comments on the film range from those who like pet rats to those who abhor them and judge the film accordingly.

The film is minor horror, directed by veteran Phil Karlson who made a number of tough films in the 1950s. The film is mainly for those who enjoy rodent terror films. The original Willard was remade in 2001 with Crispin Glover in the Bruce Davison role.

1. How enjoyable a horror film? Its relationship with Willard? The ending of Willard
portrayed during the credits? Standing on its own feet, an appropriate sequel?

2. How well did the film link with ‘Willard’? Was it important for this linking or not?

3. The transition from Willard and his relationship with Ben and the other rats and his own private warfare to the social warfare of the rats? Willard and the rats turning against him as significant for what was to happen during. this film?

4. The importance of the city and its environment, the police trying to cope, the night of Willard’s death and their investigation and the rate attacking the police? Defending themselves? The importance of the many sequences of people watching, the type of shots of people silently wondering and watching? The social implications of the rats as a plague, menace? The destruction and the confrontation of rate and people? The fact that the rats could win so much and, had they been bigger, could have defeated the human beings? The final comment on the territorial imperative and rats and humans wanting room to survive?

5. How appropriate were the gory visuals for this film? Exploitive or not?

6. How well did the film link Willard and Ben with Danny and his family? Their watching on the night of Willard’s death? The introduction to the family and their background?

7. The focus of the film on Danny and Ben? In what ways were they similar, different? Danny as young, his illness and care of his mother and sister? His fantasy world, his own workshop with the games? His marionettes and his singing? His needs? Ben as a pet responding to him and fulfilling his needs? His mother and Eve and Danny’s blocking them out for the sake of Ben? His blocking out the appeal of reason and society for the sake of Ben? How credible was this in itself? Plausible for the film’s plot?

8. His initial encounter with Ben, his talking to him and their communicating? How credible was his saying that he was the only friend? How plausible was the scene where Danny composed the song ‘Ben’? Its use throughout the rest of the film? Sentiment, a love song with its sentimentality, the irony of its being addressed to a rat? Ben, the marionette, performing for Ben, the real rat? Ben and his communication, protectiveness even to violence in scratching the bullying boy? The various visits? Sleeping in the bed? Danny going down the sewers and visiting Ben’s home? His shutting his eyes to the ugliness and destruction? Danny wanting to save Ben? Ben returning
to be nurtured by Danny?

9. How much was Danny torn between what he should do and his love for Ben? His opting to lie to his mother, sisters to the police? His defiance for the sake of Ben? How did this reach a climax with Eve pursuing him into the sewers and having to be saved by Danny?

10. How well did the film present Ben as a character? Close-ups, his sound, his eyes, the indications of communication? His leading Danny? His controlling of the other rats, his indication for their destruction - comment on their killing of the police, their killing of the people in the sewers, the long sequence of their destruction in the supermarket, the humorous irony of their upsetting the women in the saunas and exercise areas? Ben leading the confrontation of the rats and the humans? His surviving?

11. How well did the film sketch in the characters of the police? The men responsible for the sewers? The ironic statements of the newspaperman and his reporting and lack of heroism?

12. The warfare between humans and rats - the use of weapons, flame-throwers, flooding? Indications of battle and warfare?

13. The atmosphere of melodramatics? The rats as a plague? An allegory about confrontations within society?

TWO RODE TOGETHER

US, 1961, 109 minutes, Colour.
James Stewart, Richard Widmark, Shirley Jones, Linda Cristal, Andy Devine, John Mc Intyre, Harry Carey Jnr.
Directed by John Ford.

Two Rode Together is a standard John Ford film. It is not as strong as some of his masterpieces like My Darling Clementine or Fort Apache or the cavalry films with John Wayne. It is similar in some ways to the first half of The Searchers, his classic of 1956.

James Stewart is an ageing alcoholic marshal and Richard Widmark is his upright first lieutenant. They have to go in search of Indians in order to buy back white prisoners. The film has the military setting familiar from many a John Ford film.

The film preceded The Man Who Shot Liberty Valance and Cheyenne and How the West Was Won, both of which featured James Stewart.

The film was written by Frank Nugent who wrote eleven screenplays for Ford ranging from Fort Apache to She Wore a Yellow Ribbon and Wagon Master, Mister Roberts as well as The Searchers.

1. How enjoyable a western was this? How conventional? How well did it use Cavalry and Indian conventions? Critics were hostile in view of John Ford's career. Were they justified? The use of action and the holding of interest?

2. The importance of the title and the interplay of Mc Cabe and Gary? The relationship of the two men - Gary's sense of duty, his Cavalry code, his ideals, his disgust at Mc Cabe, his forcing him to the mission, his attitude towards money compared with Mc Cabe’s, their chatter and their friction, the reasons behind this, Gary's attitude
towards people, his hardness broken by Marty and his experience, the impact of the Indian camp, the mission, how did he change? How did he compare with Mc Cabe as a lazy marshal, James Stewart’s personality, as self-interested, the money, the refusal of the mission, his attitudes towards danger, his courage and skill, his humanity in the Indian camps the rightness of his decisions, his expectations of people, his shooting of Stone Calf, his saving of Elena, his response to the people's snobbery at the dance, his future with Elena? What made Mc Cabe change? The quality of the experience the two men shared? The contrast of duty and slackness? The humanizing effect of a dangerous mission? The reality of principles, truth and deception?

3. How interesting was the picture of the west ? Its dangers, pioneering, the role of the Cavalry, outposts and outpost life, Indian raids, the effect on families, memories etc.?

4. The picture of western outpost society - principles, pioneering, joys and sorrows, the hypocrisies of any society, curiosity towards Elena, ugly behaviour, the life in the wagons? The role of the Cavalry, the example the Major in this community?

5. How interesting was the portrayal of the Indians? Their humanity and inhumanity? The reasons for their raids, their capturing white people, assimilating white people into their own way of life?

6. The importance of our seeing the survivors - the reality of the survivors, their way of Indian life, the old lady not wanting to leave, the boy the equivalent of an Indian with his knife, Elena wanting to escape? The decisions about what was best for each person and for the families waiting? The irony of the ultimate lynching of the boy and his identity?

7. The social and human comment on the dance sequence? The people’s behaviour towards Elena? Their curiosity and snobbery?

8. The quality of the romance between Gary and Marty? The importance of the lynching and its effect on them both?

9. How different a view of the west did this film offer? An authentic view? An interesting one?

10. How enjoyable a western? What values did it stand for?