TWO PEOPLE

US, 1973, 100 minutes, Colour.
Peter Fonda, Lindsay Wagner, Estelle Parsons, Frances Sternhagen.
Directed by Robert Wise.

Two People does not figure strongly on the CV of editor-director Robert Wise. Beginning as an editor for Val Lewton in the 1940s and making such films as The Invasion of the Body Snatchers and Blood on the Moon, he began to acquire a strong reputation with The Set- Up, The Desert Rats and other features of the 1950s. In 1961 he won an Oscar for West Side Story and repeated this in 1965 with The Sound of Music. He directed a number of big-budget films including The Sand Pebbles and Star, the story of Gertrude Lawrence. He made few films during the 1970s but they included The Andromeda Strain, The Hindenburg, Audrey Rose and the first Star Trek film.

Two People was topical in the early 70s. Peter Fonda portrays an American deserter, avoiding the draft in the Vietnam War. He travels to Morocco and finally to Paris. He encounters a fashion journalist, played by Lindsay Wagner, and they fall in love, have to sort out the issues of their lives and make decisions.

The film is of particular interest in retrospect, looking at the atmosphere of American attitudes towards the Vietnam War and its consequences on people like the two protagonists, the two people.

1. The perennial interest and appeal of the love story? The tradition of love story in films, their style? Audience expectations?

2. The general tone of this title, indication of themes? Man and woman, relationships, love and its quality? The general and universal application of the title? Was it verified?

3. The importance of the Marrakesh opening? The setting of the scene, international and general application? The contribution of Marrakesh, Paris, New York? The use of scenery and atmosphere? People in a world landscape?

4. The contribution of the colour, locations, the emotive background of the music? Setting a mood for a response to two people?

5. The initial survey of the atmosphere of Marrakesh? The West and Africa, Americans in Africa, the people, the city, the hotel, the train? First class and second class?

6. The film’s situating of Evan within this atmosphere? The audience being puzzled over his presence there? Evan as a young American type? The man for these Two People? Fitzgerald seeking him out, the explanation of his case, the attitude of the police?

7. How important was his explanation of himself? His home life? His father and his mother, the draft, his involvement in the Vietnam war, the reasons for his deserting, his attitudes towards the war and his involvement, the trip to Moscow and his being entertained there, the un-American nature of this, the move to Sweden and settling there, the support of the Swedish Government, the moving on to Marrakesh, The impact of this continual moving on his life? The fact that he wanted no more running? The reasons for him giving himself up? The consequences that he would expect? How had he matured in his outlook on life?

8. The contrast of Evan with the girl? The whirl of her life, photography and fashion, international jet setting, her boy friend the photographer, her editor friend, whirling in and out of Marrakesh, her fashion style of speaking and behaviour? That she was continually on the run?

9. The importance of her explanation of herself? The woman in the Two People? Her family background, her liaison with her boy friend, her child and her devotion to him, her estimate of herself as a mother, as a career woman? Her easy way of life, mod attitudes, drugs, etc.?

10. The importance of their encounter? The encounter in the restaurant, the train and her intrusion on Evan's tears, her trying to get drugs from the Moroccans? The quality of their talk, the growing encounter, the importance of the train delay and the visit to the market, meeting and understanding each other within the buying and selling of the market, and the friend trailing along? The growing intimacy, their talk on the train, the plane to Paris and Evan's interrogation? The plan for Paris?

11. The film's portrayal of their mutual loneliness in Paris? Evan’s wandering and going to the night club versus the girl’s tiredness, the invitation to the fashionable party, her going to the party with her friend? Their meeting? The impact and significance of this meeting?

12. How had their relationship grown in Paris? From encounter to love, the demands of giving? The sexual culmination? The effect on each of them?

13. How well planned were their consequent decisions? The impact of the flight, arrival in New York? The possibility of Evan's not giving himself up? The encounter with the family, the mother, child? The picturing of Evan at ease in this kind of home life? The farewell in the park with the openness to future possibilities in years to come? The girl's realism in realizing she could not necessarily wait?

14. The contribution of the minor characters, especially the friend and her acid comments on life, on love, relationships, her not prying into her friend's life?

15. The significance of the title and the theme: people of today, the kind of world we live in, the harshness and the joy, the suffering, victims of circumstances, possibilities of love and breaking through masks, support, hope, the testing of reality and unreality? How valuable a film in presenting and exploring these themes?

THE TWO OF US

France, 1967, 97 minutes, Black and white.
Michel Simon, Alain Cohan, Charles Denner.
Directed by Claude Berri.

The first in a series of films written and directed by Claude Berri - The Man with Connections, Marry Me, Marry Me, The Sex Shop, The First Time. (In the latter, the boy in this present film was used ten years later for his adolescent period.)

This film was very popular on first release. It used to great advantage the veteran film comedian Michel Simon in a very engaging role, full of complexity with humanness and prejudice. The little boy, Alain Cohen, is also very effective. Charles Denner was to repeat his role of the father in the later films.

The film shows a Jewish boy encountering a Catholic family in Vichy France. Prejudice is explored and the message is clear - but always presented in the very humane context of human relationships. It is a very warm film, full of expressions of affection and, to that extent, shows great insight into the nature of human needs and the quality of human loving. It is a film to be recommended - and it is superior to most of the films in the series.

1. A popular film, entertaining, humane? A message film?

2. Its place in the autobiography of the director? The first in a series? Its standing on its own merits, the light that it throws on the other films of Claude Berri and his work?

3. The presentation of France during the war - the focus on Vichy France? The comment at the beginning about Marshal Petain and his fate? The grandfather as symbolising this France and its occupation, attitudes? The memory of the First World War and Marshal Petain, his work, old glories of France and their failure, the disillusionment with the experience of the between-wars phase and so much of the blame on the Jews? War and change? How well did the film re-create the atmosphere of occupied France – radio, the portraits of the Marshal, the way of life and the bombardments?

4. The black and white photography, the re-creation of the war situation in the cities and in the countryside? The detailed portrayal of French homes, farms, country people and their lives? Sorrows, enjoyment, survival? Strengths and weaknesses?

5. The war situation for the Longman family? The opening of the film with the boy stealing and the repercussions for the family's being discovered? the punishment and the father's exasperation with his son? The transition to their moving and the two boys smoking in the lavatory and being discovered and the same danger of discovery and the same punishment? The boy being called a Jew and the indication that they would be discovered - and the fact that the little boy could not play at least during the war time? How well did these incidents illustrate the plight of the family, their feelings, pressure, dangers?

6. The portrait of the mother and father? In the houses as they moved, their works, as Jews In France? The exasperation of the father towards his son and the autobiographical comments of his son about being a difficulty for his parents? The importance of the ‘Mickey Mouse, the tailor’ story and the father trying to teach his son by this? The parents being very fond of their boy - signs of affection, kissing and hugging? In bed with them, feeding and washing him? The happiness and love that was actually lavished on him? The father as an ordinary kind of man, the mother as ordinary also?

7. The repercussions of their decision to send him away, their reliance on their friend? The irony of his being sent to an anti-Semitic old man in the country? The boy's comments on going away and his not wanting to, his getting his assumed name wrong? What were the demands being made on such a small boy in a difficult and dangerous situation? The affectionate farewells, going away in the train?

8. The introduction to the grandfather - and the nickname of 'Gramps'? The impact of Gramps on the audience? Especially at the initial meal and his hostile and prejudiced comments, his treatment of his wife and daughter, his comment on eating the rabbits and vegetables, his patriotism, memories of World War One? Catholic tradition? The attention that he lavished on his pet dog Kinou and the explanation of his age? The humour of his treating Kinou as an equal human being? How striking was the grandfather - likable and unlikeable?

9. Michel Simon's portrayal of Gramps - an a man, robust man of the country, his plumbing work in the past, his labour on the farm? His memory of his past as a ladies' man, of his marriage, consciousness of his age? His disappointment In his children? Seeing him at work, at play with the boy, going to church and his hostility towards the parish priest who was pro-Jewish? The stories that he told, his tending of the rabbits, his growing in love for the boy and their sharing so much together, his being baited by the boy for his prejudices and not realising them? The long sequence of the picnic with his joy, songs? His memory of the war and his comparison with the World War Two situation, the decline of Marshal Petain coinciding with his decline and confusion, his change of attitude and inability to know what was right and wrong? what was he left with at the end?

10. Gramps as humane, robust, the vigour of his stories, his earthy language and behaviour, his helping in the house? The importance of the long anti-Jewish stories and their effect on the boy? His being baited without realising It? His treatment of the boy after his head was shaved by the teacher? The bonds growing between the two culminating in the picnic?

11. The portrait of the boy and our knowledge of him - shy at first, in a Catholic household and his having to say Catholic prayers like the ‘Our Father' which he had memorised for example, school and the kids, hostility, his fights, the taunts? Gradually settling in in the home and loving It? Enjoying eating the rabbit but persuaded by Gramps not to? The bonds with the dog? Sharing so much work, the stories, expressing love affectionately? His infatuation with the little girl and sending the postcard and the repercussions with the shaving of his head? What had the experience of the war given to him and the bonds with Gramps?

12. The portrait of the Grandmother and her sturdy presence, her devotion to her husband, even though he disregarded her so often? Her care for the boy? The son and his neutral position, love for his wife, final antagonism towards his father? The daughter-in-law and her sympathy for the Jews?

13. The importance of the Jewish question - the boy concealing his identity, circumcision, prayer, pretending to be a Catholic? The priest and his stress on Christ being a Jew? The boy pointing out the similarities of behaviour which the grandfather thought odd? The platitudes and prejudice of the grandfather, especially his listing of the enemies and yet the Jews not having done anything to him? How important was the lack of explicit resolution and awareness in Gramps at the end of the film?

14. Comment on the human touches, the family sequences and the expressions of love, meals and joy, especially the picnic, the visit to the neighbours and bartering, the little girl and her work, the little boy with his finger in his nose, the schoolteacher and her attitude towards the boys answering questions, especially in Geography?

15. The background of the war and its reality, the effect of those not directly involved in it, the raids and the shelters, the notices about reprisals, the propaganda songs, the information on the war, de Gaulle in London, the codes from the BBC?

16. How effective a portrait of a boy growing up? a portrait of an old man ?

17. The effect of this experience on the boy - how rich? The point of view of the film as that of the film-maker looking back on his past, reliving it and communicating it to the world at large?

TWO MULES FOR SISTER SARA

US, 1970, 116 minutes, Colour.
Shirley Mac Laine, Clint Eastwood.
Directed by Don Siegel.

Two Mules for Sister Sarah was an early Hollywood film in Clint Eastwood’s career. After appearing on television and in supporting roles in Universal International features in the 50s, he became a celebrity when he went to Italy and made A Fistful of Dollars and A Few Dollars More. This was consolidated with The Good, the Bad and the Ugly. On his return to Hollywood in the late 60s he began to appear in a number of action adventures as well as westerns and his career never looked back. In 1970 he directed his first film, Play Misty For Me, and, after Woody Allen, has become the Hollywood actor with the most credits for direction – including two Oscars for Unforgiven and Million Dollar Baby.

Shirley Mac Laine was a strong screen personality of the 1950s and 1960s, appearing just prior to Two Mules for Sister Sarah as Sweet Charity. She was to win an Oscar in 1983 for Terms of Endearment.

The film was directed by Don Siegel who had a strong career with small-budget films in the 1950s and early 60s including The Line- Up, Edge of Eternity, Invasion of the Body Snatchers. He began to make tough police thrillers in the 1960s including Madigan and Coogan’s Bluff with Clint Eastwood. After Sister Sarah he went on to make The Beguiled and Dirty Harry with Clint Eastwood. One of his final films was the excellent John Wayne western, John Wayne’s last, The Shootist.

The film is set in the turbulent times of Mexico when the followers of Juarez wanted to get independence from France and the Emperor Maximilian III. Clint Eastwood portrays a reconnaissance scout who encounters a nun being molested by three men whom he dispatches. However, the nun, who is involved in espionage work, becomes more and more profane as the journey continues with cigars, whiskey and swearing. It emerges that she is a prostitute in disguise. However, it did give the opportunity, even momentarily, for Shirley Mac Laine to appear as a nun – even though very quickly she moves against the nun image.

1. How enjoyable a western was this? How was the film evidently designed for audience entertainment? How successful?

2. Was the film a good western? using the conventions of the western, how well? A good example of the American revolutionary type western?

3. The value of the use of colour, Mexican locations, Panavision, the distinctive musical score?

4. How important was the presence of the stars and their mystique? The attraction of Clint Eastwood and his silent hero? Shirley MacLaine? and her comedy style? Did they combine well for entertainment?

5. Audience response to the opening and the potential rape? The presence of Clint Eastwood as the silent hero? The surprise of Shirley MacLaine? as Sister Sara? How did this set the tone for the rest of the film, was it well followed up?

6. Whit kind of western hero was Hogan? Clint Eastwood's style, laconic, skills? His attitude towards the French and leading them off, his skill with the snake, getting the arrow out of his shoulder, blowing up the train. dealing with the Mexicans? His background and the Civil Wart causes and money? Was there insight into this kind of western hero?

7. His relationship with Sara? His respect, his restraint, depending on her, his support of her and vice versa? If she hadn’t been a nun, how would he have treated her?

8. The impact of Sara? Was the audience tricked? The humour of her swearing, smoking and drinking? Her presenting herself convincingly to Hogan as a nun? Sara as a revolutionary, the snake, her being rescued from the criminals, her use of the Cross with the Indians', following Hogan’s orders about the arrow, climbing the bridge for exploding, helping him shoot etc?

9. Insight into the real Sara or was her revelation as a prostitute too surprising and changing the tone of the film? Her role in the revolution?

10. How convincing was the revolution theme? The oppression of the Mexicans, the need for the revolution. the picturing, of the French, their violence etc?

11. How exciting was the siege of the garrison? The use of violence? Audience response to this?

12. How good an example of the violent western era was this? How skilfully made?

TWO MISSIONARIES

Italy, 1974, 98 minutes, Colour.
Terence Hill, Bud Spencer, Jean- Pierre Aumont, Robert Loggia.
Directed by Franco Rossi.

Two Missionaries is a farcical comedy. Bud Spencer and Terrence Hill have made a career for themselves in knockabout (emphasis on the knockabout) adventures like the Trinity series. And they have been very popular. They have also been to Brazil in All the Way Boys, parodying the gangster movies in Even Angels Eat Beans and also dune buggy antics in Watch Out Were Mad. Here they try religion, Central America, gambling and missionary work.

One of them is actually a missionary priest using the knockabout missionary method. Its the same thing in a different disguise those who like the others will like this. It is slightly better.

1. How enjoyable is this kind of Italian comedy? Has it any value or values besides entertainment?

2. Why are films like this made? For what audience? The Italian appeal, the international appeal?

3. What is the audience appeal of the two stars? The film as a vehicle for them? The use of irony, jokes, slapstick violence?

4. How important was the central American setting? Did it seem real or a fantasy setting?

5. Was there any important social comment underlying the farce and the humour? The role of the Church in this country, the role of government and authority, the nature of oppression of the peasants, the monopolies of the international traders, the seeds of revolution, the nature of revolution? Was this merely used, or did it have realistic overtones?

6. Audience response to the religious atmosphere of the film? The initial discussion in the religious order, the nature of mission work, the image of missionaries, their religious role,(the Communion and services sequences), the trade and the helping of the people (paternalistic), the support of the religious for revolution?

7. Audience response to the two stars as priests? The irony of this? Their western and violent image translated into religious terms? How genuine was the religious feeling about the priests' work? The importance of the jokes about violence? Bud Spencer's type of violence?

8. Did the two missionaries have any characterization or were they just the expected image? Gambling, life on the boat, the relation ship to the visiting missionary?

9. How important was the detail in this films priests' life, mission work, the location photography and setting, the fights and their choreography, the gambling house, the government, the shop, the revolutionaries?

10. The comment by way of ending?

11. What values in audiences do films like this presuppose? Is this why they can be entertaining?

TWO MINUTE WARNING

US, 1976, 115 minutes, Colour.
Charlton Heston, John Cassavetes, Martin Balsam, Beau Bridges, Marilyn Hassett, David Janssen, Jack Klugman, Gena Rowlands, Walter Pidgeon, Brock Peters, David Groh, Mitchell Ryan, Pamela Bellwood.
Directed by Larry Peerce.

Two Minute Warning was released in the mid-70s, a time of many disaster movies and movies of menace and threat. Black Sunday, by John Frankenheimer, was released at the same time, with a not dissimilar story – but with some greater tension and greater authenticity as it was filmed during actual Super Bowl sports events.

The film focuses on a sniper, psychotic, firing at the two minute warning at the end of the football match causing panic in the stadium. The investigation is led by Charlton Heston and assisted by John Cassavetes. The supporting cast is standard veteran material for this kind of film, especially for television movies of the period.

The film was altered for release on television, showing footage that was not included in the theatrical version. In the television version, the attack was done to cover an art robbery adjacent to the stadium.

The film is entertaining, received an Oscar nomination for its editing with its strong pace and sense of suspense and menace as well as panic.

The film was directed by Larry Peerce who made a number of films for theatre in the 1970s including The Sporting Club, The Other Side of the Mountain and who made a number of television movies in the 70s and 80s.

As with many other films from Universal Studios in the '60s and '70s, this film has been altered for television release. Extra scenes were added to some controversial films of the '60s e.g. Three Into Two Won't Go, Secret Ceremony. For disaster blockbusters, additional material was added for television release e.g. Airport 1977.

The additional material for this film has been to alter the central film considerably. Perhaps fearing reaction to the activities of a sniper in an atmosphere of terrorism, the producers have re-edited the film and introduced a story about art thefts. The sniper in the stadium is linked with the art theft. New stars have also been added to the film e.g. Joanna Pettit, Rossano Brazzi, William Prince. While much of the original material is there, it has been re-cut for the concurrent story. It is interesting to note that the credits at the end, even of the television version, are those of the original film.

1. An interesting and enjoyable disaster film? Its place in the disaster trend of the seventies? The detail, horror, speculation, what if…? Identification with characters and their plight, fears?

2. The quality of this example, an authentic atmosphere, plausible plot? Action drama? The identification with sport?

3. Panavision colour photography, the atmosphere of Los Angeles, ordinary homes, people, cross-section of the people of the city, aerial views, television? The focus on the sport and] the spectators? The title and its reference to sport, to the ominous sniper, to police action?

4. The contribution of the cast - Charlton Heston and his sturdy leadership, John Cassavetes and his aggressiveness? The guest stars representing the cross-section of people? The screen play and its use of one day the focus on the stadium, its layout, personnel, the sports fixture, the crowd? What happened in that arena? The end of the day and the change of feelings? excitement, ordinary people and their experience of a disaster day?

5. The police, panic, SWAT? Issues of life and death?

6. The atmosphere of the prologue, the sniper and the telescopic sights, the rifle, the ordinary bike rider and death? The arbitrary choice of the victim? The anonymity of the sniper throughout the film and the selection of arbitrary victims? The violent tone of the film? (The selection of optical effects for the sniper and communicating his mentality?)

7. The subjective shots from the sniper's point of view, the range of optical effects, the editing? The sniper's killing, moving towards the stadium and the car, entering, the dogs and the killing, settling in the tower, testing his sights etc.?

8. The views of the crowd and the spectator participation, potential victims? The television screens - observing the crowd and the audience sharing this? The blimp and its communication, the blocking of various views from the blimp? The anonymous observation by television? The build-up of the puzzle, the sighting of the sniper, the danger? The fear for the safety of the spectators, Paul and his going up to investigate, the suddenness of his death, the viewing of the shooting through the television screens, the technicians and their deaths, the shooting into the television box? The T.V. commentators and their close observation and inability to help?

9. Charlton Heston and his presence and style as the police officer, his presenting himself as a peace officer? Strategies, the question of the V.I.P's, the possibility of the president's presence and decisions? Trying to cope with the sniper, decision about the two minute warning? The clash with the SWAT personnel? The regrets at the end and the only partial success? The character portrait of this policeman?

10. John Cassavetes and his style as Button - in action, seeing him at home with his family, tough aggressiveness, his having to wait, the clashes, bashing the suspect, the skill of the strategies and the energy demanded, success of his group with the tower, his wry comments at the end? The SWAT men and the risks they were prepared to take, the disguises, the deaths? the men hanging from the fence etc.?

11. Mc Keever and his responsibility, relationship with the police, Paul and the dogs, his anxiety, his being a target for the sniper, the political implications and the V.I.P’s?

12. How well did the film present the desperate nature of the situation, the need for quick decisions? The reaction to the sniping, the victims, the panic and the crowd rushing?

13. The focus on the cross-section of the spectators to give the audience an impression of the people there? The use of the guest stars for these roles to identify the people quickly? the Ramsays and the family having the picnic, buying things, the children, young husband and wife, Ramsay and his noticing the sniper and trying to tell the police, his being harassed in the interrogation? Al and his flirting with Lucy, her resistance and then friendship with him, the repercussions at the end when Lucy was almost crushed and went over the stairway? Janet and Steve coming in from the last, their arrival, their relationship, Steve out of work, the reconciliation and the potential of marriage, the irony of Steve's death and Janet's grief? Stu and the background of the money loans, the pressure being put on him, his desperate bet, the humour of the priest next to him and their talking? The irony of Stu dying? Walter Pidgeon as the pickpocket and his operations? His death? A sufficient cross-section of people to help the audience feel for the vast crowd? Identification with them?

14. The anonymity of the sniper, his subjective looking at the crowd, testing the sights, killing the dogs? The end and the violence experienced, his whimpering? The possibilities of whom he might be and the audience not knowing?

15. What was the audience left with - an interesting disaster film, the plausibility of such sniping in public areas and people's panic? The analogy of this kind of disaster film with horror films and audience reaction to them?

TWO LIONS IN THE SUN

France, 1980,110 minutes, Colour.
Jean- Francois Stevenin, Jean- Pierre Sentier, Michel Robin.
Directed by Claude Faraldo.

Written and directed by Claude Faraldo, writer-director of popular offbeat anarchic films like Bott and Themroc. This time he takes two middle-aged men and shows them leaving family and living together. It is not so much the emphasis on homosexuality as the relationship between the two men and their reaction against conventional life. In an offbeat style, with touches of black humour, they decide to turn to a life of crime to support themselves after opting out. Their entanglements involve their families an well as a kidnap attempt. They also attempt suicide but botch the job. They want to free themselves but are caught in the mesh of contemporary pressures. The film is sentimental in many ways in its affection for its heroes. However, it has the blend of authenticity as well as stylised exaggeration which are the hallmark of French satiric comedies.

1. The significance of the title and its irony? The reality and symbolism of the lions?

2. The particularly Gallic tone of the film? The atmosphere of France? The details of the French way of life? The characters within the French situation? Holidays, the road, restaurants? The business world, the professional world? Rules and regulations, marriage and divorce? Relationships and homosexuality? Freedom, opting out? Life and death?

3. The conventional introduction to the couple on holidays? Their enjoyment of the holidays, its failure? Their coming home? Bickering? The crash? The friendship with the attorney and the meal with him? Their response to him and the calculation of their plot?

4. Paul and Reno ? the film's delineation of their character? Their age, work, background? Their sense of fun, poetry? Family and divorce? The daughter ambitious to become an actress? Their declaring themselves lonely, oppressed? The quality of their relationship - the homosexual perspective? The contrast of each man in himself with the other? With the attorney?

5. The black comedy in their decision to perform the kidnap? The comedy on the life of crime - blackmail. hustling, kidnaps, loans? The ironic comments on conscience and what is right?

6. The kidnap and its irony? The loan and the smooth talk and success of the venture?

7. The daughter and her life style? Ambitions? Mireille and the alimony? The apartment?

8. The opting out of the pressurised rat race? The carefree way of life? The friendship with Babette? Sexuality, money? The light touch to this holiday way of life?

9. The build-up to the suicide? Preparations? Botching the attempt? Laughter and irony?

10. A satiric and telling portrait of the ordinary person in the busy world? Sensitivity to feelings and values? The portrait of society and its morals? Double standards? Individuals within this context? The harshness of life and death?

TWO FOR THE SEESAW

US, 1962, 119 minutes, Black and white.
Robert Mitchum, Shirley Mac Laine.
Directed by Robert Wise.

Two for the Seesaw is based on a Broadway play by William Gibson (writer of the novel Cobweb, the plays The Miracle Worker and Monday After the Miracle). It was adapted for the screen, though retaining so much of the stage dialogue and mood, by Isabel Leonard who for twenty-five years had a very successful writing career at MGM in the 1940s with Anchors Aweigh, Lost Angel, East Side West Side as well as in the 1950s with Love Me Or Leave Me and This Could Be The Night. She also wrote the screenplay for The Inn of the Sixth Happiness and The Sundowners as well as the book for Funny Girl.

The film is about a man from Nebraska, a lawyer whose wife is asking for a divorce who visits New York and encounters an eccentric dancer. Robert Mitchum, in the part played by Henry Fonda on stage, is a good choice for the lawyer. Shirley Mac Laine, in the part played by Anne Bancroft on stage, does her familiar style as the dancer.

There is a lot of dialogue as these two characters interact, search for the meanings of their life, are attracted towards each other.

1. The interest and appeal of this film?

2. Its stage origins, were they evident? The stress on dialogue? How well ‘opened out' was the film? The appropriateness of the black and white photography and Panavision?

3. The quality and style of the music and its use to create a mood as regards the two characters and their plight?

4. The significance of the title and indication of themes? The visual presentation of the seesaw struggle between them? Especially at the end with the split screen?

5. The importance of the New York opening for atmosphere? The urban greatness of New York, the loneliness, New York as a home for people? The people of New York for example at the party, in the apartments, at work? What insight into New York as a place did the film offer?

6. How well did the film delineate the character of Jerry? His coming from Nebraska, his loneliness and isolation in New York, the lawyer, the background of his marriage and divorce, his career, leaving home and wife? His need for contact, his being out of place in the New York party life? His reliance on the phone and his plea for help? How well did Robert Mitchum portray this character?

7. What were the major strengths of character in Jerry? How were they presented? In his work, law, his being needed? His capacities for insight, help for Cathie? His compassion and sensitivity for Tess even though he wanted to break from her? How much capacity for love? His final saying 'I love you’ to Gittel?

8. What weaknesses of character did the film portray? How were they visualized and verbalized? His self-preoccupation, his incapacity for giving, his using others, his capacity for jealousy? His withdrawal and not contacting people? How were these weaknesses explored, overcome?

9. How well was the character of Gittel portrayed? Being seen at the party with fleeting and superficial contacts? Her apartment and her loneliness? The quality of her life, her marriages, work? How attractive a character was she? The skill in Shirley MacLaine's performance?

10. How did the film explore and portray her strengths? As a woman, as supportive, her insight and intuition? At work? How did she grow and change through the experience of the encounter with Jerry?

11. How did the film visualize and verbalize her weaknesses? Her physical illness and the reasons for it, her fear, her need for communication? Her need of help and her helping others?

12. What were the qualities of the encounter between the two? How realistic? How ideal? Trace the ups and downs and the growth in understanding each other? The truth games and the deceit? What effect did they have on each other? For the good?

13. The importance of the character of Tess? Even though she was only heard on the phone? Her presence and her influence?

14. The contribution of the minor characters as Gittel’s friends, the people at work, the people at the parties?

15. The importance of the phone as a means of communication in the city? The possibility of answering it: and not answering it? The fact that the resolution of the plot occurred over the phone? The significance and tone and mood of the final phone call? The truth of the words said and what they expressed? Gitel’s final ringing of the phone and Jerry's just looking at it?

16. How wise a film was this? How much insight and compassion into men and women, marriage, love, loneliness, truth and lies? The difficulties of living in a modern city?

TWO FLAGS WEST

US, 1950, 92 minutes, Black and white.
Joseph Cotten, Linda Darnell, Jeff Chandler, Cornel Wilde, Dale Robertson, Jay C. Flippen, Noah Beery Jnr, Arthur Hunnicutt.
Directed by Robert Wise.

Two Flags West is a very interesting western. It is set in the civil war in the south with a strong performance by Jeff Chandler as the major in charge of a fort with minimum forces. He is forced to accept prisoners from the south whom he dislikes intensely, almost as much as the Indians. When he is involved in the killing of the local chief’s son, the Indians run rampant and attack the fort.

The film is a strong western, vivid civil war drama, taking up the issues of racism as well as the hostilities between the north and the south. While it seems an ordinary 20th Century- Fox programmer of the period, it boasts a strong cast with Joseph Cotten m Cornel Wilde, Dale Robertson and Linda Darnell as the wife of the major.

In the same year, Jeff Chandler appeared as Cochise in one of the groundbreaking westerns which highlighted the humanity of the Indians, Broken Arrow.

The film was directed by Robert Wise who had been an editor in the 1940s, began making small-budget films including The Set- Up, gradually moved to bigger-budget films at 20th Century- Fox and then to more colourful spectaculars in the era of Cinemascope including Helen of Troy. He was to win an Oscar as best director for West Side Story in 1961 and The Sound of Music in 1965.

The story is by Frank S. Nugent who supplied story and screenplay for many of John Ford’s westerns including Fort Apache, Three Godfathers, She Wore a Yellow Ribbon, Wagon Master, The Quiet Man, Mister Roberts, The Searchers, The Rising of the Moon and The Last Hurrah.

1. A successful and enjoyable western? The use of conventions of cavalry, the Civil War, Indians? Did the filri transcend Its conventions in any Nay?

2. A western of the fifties, black and white photography, the use of locations, the importance of the stars of the time, appropriate musical score?

3. The title and the Indication of themes, the flags of the Civil War parties, the Civil War theme? The caption at the opening, the presentation of the prison, the clashes of North and South, the songs and the patriotism? Themes of escape? The uniting of the United States of America at the end?

4. The western as an exploration of America and Its history, Its clashes? The Civil War western and American patriotism?

5. How sympathetic was the presentation of the rebels: their plight In prison, Tucket and his leadership, the question of the offer to become members of the Army of the North? Their task, the seeming betrayal? Bradford and his presentation of the issues and their response? Their clashes with the soldiers from the North? The ironies of a disunited America? Their wanting to escape, the irony of the first return to save face the plans for the escape and their almost getting there, the decision to return and save the fort?

6. The character of Bradford, the just man, his attitude towards Kenniston, love for Elena, respect for Tucker, his death in the siege? A conventional western hero?

7. Elena as the leading lady, heroine, her wilfulness, a widow, Renniston and his infatuation and her lack of response? Her lack of response to Bradford? Her desire to gyn back to California, her heritage and background, Tucker's returning her to the fort, her continual fascination with him, the possibility of a future?

8. The contrast of Tucker and Kenniston? Kenniston and his harshness, his resentment about his injury and his appointment in the West? His attitude towards his men, the infatuation with Elena as a driving force? His goading Tucker into escaping? His harsh attitude towards Bradford? The ruthlessness of his decision about the Indian boy’s death? His responsibility for the Indian siege and the slaughter? Audience response to his decision to give himself up to death for the sake of the others? A credible militaristic man?

9. The presentation of Pickens and the other Southerners? The presentation of Southern agents in that part of the West and their goals for the winning of the war?

10. The importance of the Indian theme, the siege and the massacre?

11. The Civil War themes, and the issues of human nature and clashes?

12. How valuable is this kind of visualising of American history? Through the genre of the western?

TWO-FACED WOMAN

US, 1941, 90 minutes, Black and white.
Greta Garbo, Melvyn Douglas, Constance Bennett, Roland Young, Robert Sterling, Ruth Gordon.
Directed by George Cukor.

Greta Garbo's last film. She had made Ninotchka with Melvyn Douglas in the late thirties and it had been a comedy success. It was hoped that the reteaming with comedy flair would again be successful. Critics were very hard on the film and Greta Garbo retired from the screen and never reappeared.

In retrospect the film is quite enjoyable like so many of the frothy comedies of the thirties and early forties. Garbo has quite an enjoyable comic flair, even if the part seems so far-fetched. It is somewhat reminiscent of the later Cactus Flower in which Bergman played a similar kind of role. The film has all the M.G.M. glossy production values, a score by Bronislau Kaper, an interesting performance from the younger Ruth Gordon and it is directed by George Cukor who was the respected director of so many such films and of actresses including Katharine Hepburn. Cukor had directed Garbo as Camille.

1. An enjoyable comedy, a sex comedy with style? The appeal in the thirties and forties? Perennial appeal?

2. The production values, the M.G.M. treatment? The work of director George Cukor?

3. The film as a Greta Garbo vehicle, her presence, her mystique? her particular romantic and comedy style? A serious actress, her comic flair? The end of her career?

4. The film as based on a play: artificial situations, crisp and smart dialogue. the chic world of the wealthy? Its contemporary appeal in the early forties? Now? The risque aspects and their condemnation at the time, now?

5. Greta Garbo's performance as Karin? The ski instructress type, serious and healthy, no vices etc.? her severity with Larry? The humour of their being lost, the quick marriage? The inevitability of clash? Romance and the lack of knowledge of each other? The various fighting sequences? Garbo's transition to the character of Katerine? The excuse for the deception, the risk in carrying it off, the humorous sequences of the woman of the world? her clash with the sophisticated city women, the directress and the ‘bitchiness’? Her boasting of her amoral approach to life. the international courtesan? The humour of her drinking, the improvised dancing? Her fleeing back to the ski lodge, her trying to be both characters with Larry? The two sides of a woman's character and the humour of the title? How strong the characterisation, interesting aspects of woman's temperament, change and image?

6. Larry as a type, his wealth, his wooing of Karin, the marriage and then the realities of their clashes, of business, exercise, personal idiosyncrasies? His absence and the telegrams, his flirting in the city? His suspecting Karin? Playing along with her? His frightening her with a false seduction? (It is said that sequences were added to the film to indicate his knowledge of the deception all along in order to make it less risque. Is this clear?)

7. The portrait of the sophisticated New York woman, her flirtation with Larry, the sequences in the theatre, the restaurant sequences and the bitter clashes and verbal exchanges, receiving her comeuppance from Katherine? The contrast with Miss Ellis as the devoted secretary and helper of Karin? Miller as the associate of Larry, as infatuated with Katherine? The other men and their attentions on Katherine and her response?

8. The comedy routines especially the climax with the skiing down the mountain? The humour of the pretence and such examples as the dance sequence?

9. Themes of romance, love, marriage, deception, fidelity?

TWO ACTRESSES

China, 1964, 100 minutes, Colour.
Xie Fang.
Directed by Xie Jin.

Made in 1964 in The People's Republic of China. It did not receive international attention because of the cultural revolution and the changes of policy and attitudes in China during the seventies. It emerged in the West in the late seventies to some acclaim. While there in an industry in the Republic of China, most of the Chinese films known to western audiences come from Taiwan or Hong Kong and focus especially on presentation of martial arts,

This in a more sophisticated film, a story of the theatre familiar ingredients: two young girls who work together, clash, go separate ways, are confronted and have to mako decisions. The tone in highly moralising ? not only in morals but also in the Inevitable presentation of the communist revolution and loyalty to it. While the film is very strong in its propaganda, the characterization and the treatment of the plot and interactions still cons through very strongly. There are interesting glimpses into life in China during the fifties and sixties, the working of provincial theatre and their being taken over by communist propaganda. The two actresses perform with great charm and sensitivity. An interesting example of the Chinese industry of the sixties.

1. The qualities of the film which are particularly Chinese? Which reflect the experience of the revolution of 1949 and the establishing of the People's Republic of China? Attitudes of the Chinese, in the early sixtion? The comparison with the cultural revolution and later attitudes and the revision of the state of Mao Tse Tung? The film as entertainment? As propaganda? How well do these two strands blend?

2. The quality of the colour location photography? The presentation of the countryside? Shanghai in the forties and fifties? Provincial theatre? Theatres in the cities? The world of the stage? The musical score?

3. The atmosphere in China in 1950, the revolution? The traditional theatre and its being used by the revolutionaries? The war, the development of the People's Republic, reconciliation of hostilities? The moralising and its tone? The coda as integral to the total presentation?

4. The 1930's and forties? life in the Chinese countryside, poverty and wealth, theatre? The child bride and the law? The escape of Chunhua and her joining the troupe? The touring theatrical group and hard times? How persuasive were these details presented? The bonds within the group? The father and his acceptance of Chunhua? The friendship with Yuchong? Competitiveness? Friendship? The death in the troupe and the humane atmosphere of the group? How well did the film establish its atmosphere and characters?

5. The moving to the city? The theatres in the thirties and forties? Tang and his influence? Yuchong and her changing? Madame Chiang and her past, reputation, influence on the girls? The break between the two girls and the reasons? Yuchong's marriage and her unhappiness? The hostility between the two and the breaking of their friendship?

6. The transition to 1946 and the presentation of Yuchong and Tang's marriage? Her singing again? The play and her oppression? The museum sequence? Chunhua and her attitudes? The take-over and the hostilities? The court sequence? The background of corruption in the city? Tang and justice being done The reconciliation? The build-up to the social revolution?

7. 1950 and the revolution, change? The atmosphere of optimism?

8. The players in the countryside? The touring theatre? The meeting of the two women? The developments in their lives,. character? The reconciliation?

9. The success of the film as drama? Use of sentiment,. comedy? Social awareness? The effectiveness of propaganda through characterizations and story?