A TWIST OF SAND

UK, 1968, 90 minutes, Colour.
Richard Johnson, Honor Blackman, Jeremy Kemp, Peter Vaughan, Roy Dotrice, Guy Dolman.
Directed by Don Chaffey.

A Twist of Sand is a routine action adventure with colourful settings on the south-western Atlantic coast of Africa. Richard Johnson is the hero with Honor Blackman as the leading lady – and a group of people trekking across the desert in order to find treasure. Needless to say, there are intrigues and people double-crossing each other. Don Chaffey directed a number of action films including two children’s adventures in Australia, Ride a Wild Pony and Born to Win.

1. Was this a good adventure film? The initial sequences, the Skeleton Coast, the trek through the desert, the personality clashes?

2. Did the war sequences make this a good war film? The war atmosphere, the nature of the mission, the danger on the Skeleton coast? Geoff’s clashes with the crew, the destruction of the submarine and its crew (the significance of the credits sequence)?

3. How effective was the cross-cutting between the war story and the adventure story? What comment was being made on both ?

4. What did the film have to say about the nature of guilt, expiation, the effect of bad actions on subsequent lives?

5. The ending emphasised the expiation theme with Geoff carrying Johann. Too serious? (What did it add in depth to the adventure theme?

5. What did the film show of human greed? The gun running? Riker and his forcing people? Julie and her searching for the jewels? The impersonal nature of greed? Riker murdering David? The irony of greed with the estimated loss of the diamonds?

6. The characters: were they charactered or were they stock characters? the villainous hero, plagued by ghosts and acting tough and rebelliously? The devoted friend? The bully who is greedy and persecuting and ultimately kills? The tough greedy heroine?

8. Johann as surviving from the submarine, his mute state, his madness and violence, his place in the expedition, as a figure needing reparation, being carried by Geoff?

9. The film was an adventure with parable overtones. Was it effective in both aspects?

TWILIGHT FOR THE GODS

US, 1958, 120 minutes, Colour.
Rock Hudson, Cyd Charisse, Arthur Kennedy, Leif Erickson, Charles McGraw?, Ernest Truex, Richard Haydn, Wallace Ford.
Directed by Joseph Pevney.

Twilight for the Gods is based on a popular novel by Ernest K. Gann, author of The High and the Mighty which was made into a very popular film with John Wayne. While High and the Mighty was in the air, Twilight for the Gods is on an old boat. The boat serves as a microcosm for the world with an array of characters. Rock Hudson is the captain, Cyd Charisse is the attractive woman who, according to the advertisement which said: Loved … hated … feared … envied … but only this woman wanted him enough to break the laws of gods and men!

Rock Hudson had emerged a couple of years earlier as a strong leading man in such films as Magnificent Obsession and Giant. For the next ten years he was to have star status. Cyd Charisse was one of MGM’s best dancers – but, as she grew older, she took more roles in dramas and melodramas like this. The rest of the cast are veteran supporting actors.

Direction is by Joseph Pevney who directed a number of small-budget features at Universal Studios and moved to a number of colourful action thrillers. This kind of thing was done better in such films as Ship of Fools.

1. The title, meaning and tone? Indication of themes? Pretentious or not?

2. How contrived was the plot? In situation, characters? An Ernest Gann soap opera? Audience enjoyment of and response to this kind of film?

3. The atmosphere of the fifties, colour locations? The comparison of this disaster film with those of the seventies?

4. How did the film create interest? Its pace, quality?

5. The device of the ship as a microcosm? People put together, a voyage, hostile or friendly elements,
Interactions, authority, relationships?

6. The character of the captain? The type of hero, Rock Hudson? His memory of failure, his vindicating himself? His diary and his speaking aloud? His capacity to command, to save? His being a victim of the past, a victim of his crew? The exercise of strength despite uncertainty? His falling in love? The vindication of his belief in his abilities? Was he a hero who could be identified with?

7. How attractive was the heroine? Meeting her in her initial anxiety, her role on the ship with the passengers, her love for the captain? The flashback explaining her past? The prospect of prison? her loyalty to the captain? Her reaction to Ramsay? Her facing the risk of the future? The realism of her going to prison?

8. How interesting was the portrayal of the crew? Ramsey and his inability to get a job the captain's understanding of him? his influence on the men and being behind the mutiny? His strengths and weaknesses? His attack on the heroine? His attitude not being vindicated?

9. How typical were the passengers? The old couple, the missionary, the cynic, the drinking actress and her manager? How well did the film detail these characters? Their strengths and weaknesses? Their interactions? As regards reputation, love and relationships (especially the actress, as advised by the heroine?), the speculations about religion and true Christianity?

10. The filming of the crises? The portrayal of the ship as it sailed pumping the water, the storm, the danger of capsizing?

11. The ship and the voyage as symbols of life? The ship hanging on? Saving its passengers? The reality of the captain burning the ship at the end? How appropriate?

12. How romantic the ending with the prospect of the captain waiting for two years? Why do audiences enjoy this kind of film?

TWILIGHT OF HONOR

US, 1963, 104 minutes, Black and white.
Richard Chamberlain, Nick Adams, Claude Rains, Joan Blackman, James Gregory, Joey Heatherton, Pat Buttram, Jeanette Nolan.
Directed by Boris Sagal.

Twilight of Honour was an early star vehicle for Richard Chamberlain. He had made quite an impact as Doctor Kildare on television. This role is not entirely dissimilar – this time he is an earnest young lawyer in a New Mexico town where a man has been accused of murder, there is a mob lynch mentality, he has to defend the man in court.

The film serves as a melodrama about racism and bigotry as well as a murder mystery and a court case.

Chamberlain is at home in this kind of role and was at the beginning of a successful career in film and television. Claude Rains, towards the end of his career, appears as his mentor. Nick Adams, as the accused, received an Oscar nomination for best supporting actor for his role.

The film was directed by Boris Sagal who had begun work in television in the early 50s and worked mainly in that medium with the exception of some feature films including Made in Paris and, probably one of his best, The Omega Man.

1. The enjoyment of this film as a crime melodrama, courtroom melodrama? Its quality compared with others of its kind? Differing points, better points?

2. The choice of black and white photography, Cinemascope? The contribution of the strong musical themes, the echo of the American South? A star vehicle for Richard Chamberlain in the sixties?

3. The film as an example of Americana, the presenting of attitudes of Americans in the sixties, small-town life, New Mexico way of life? American atmosphere, themes of justice, the ordinary people confronting this kind of situation?

4. The structure of the film and its effectiveness as regards the murder, the solution of the crime, the melodramatic aspects of the crime and their gradual revelation, the courtroom? The use of flashbacks with characters speaking - aspects of the truth rather than the complete truth? Audience response to these differing visualizing of the event?

5. The impact of the opening and its vitality, mob injustice, the interviews and the presuppositions about guilt, death penalty? The presentation of the pathetic man arrested? The politician eager to capitalize on an easy case? The young lawyer gradually being involved against his wishes? How adequate a preparation of the audience for what was to follow?

6. The presentation of the prosecutor and his character, his political ambitions, his presumption, his abuse of witnesses, his tangling with Mitchell, with his assistant, the irony of his being thwarted by the immorality of his assistant? The judgement on a proud man overreaching himself to achieve his ambitions?

7. The contrast with David Mitchell the up-and-coming lawyer, the background of his being a widower, his devotion to his work the reasons for his being assigned to the case, the seeming hopelessness of it, the clash with a politically ambitious man? His seeking advice of Harper? his abilities in conducting the trial, his interviewing of the witnesses, his friendship with Brown, antagonism towards Laura? The importance of Cole, Clinton's wife pressurizing him emotionally? His hesitations, his decisions? His seeking of the truth?

8. The presentation of Ben Brown as a pathetic victim of mob injustice at the beginning, audience presumption of his guilt, his seeming guilt in the various flashbacks, especially those of Laura? His own flashbacks and presentation of the truth? His being a victim of people shrewder than himself and the cover-up job on Cole Clinton? The gradual emerging of his innocence, of his unbalanced state, his history in the army and the suicide attempts, his absolute devotion to Laura? His wanting to protect her all the time, the quality of his love? A convincing performance by Nick Adams (Oscar-nominated)?

9. Audience response to Laura, her appearance, her mother, the filling in of her background with her mother, her being on the streets, her nymphomania, her marriage to Ben? The effect on her, her using him, her reactions with Clinton, her provocative stances and dancing? Her appearance in the court? The revelation about her trying to get the money, her entanglement with the prosecutor's assistants? A character sketch of this kind of selfish and lurid woman?

10. How well did the flashbacks build up to what actually happened on the road, at the motel, the dancing, Clinton and his relationship with Laura, the shooting? Comment on the legal implications as explained, the applications of morality, of justice?

11. The background of the Clinton family in the town and the date, reputation, the revelation about Cole Clinton and his fear of impotence, advice from the doctor, hustling with younger women? The presentation of his wife and her pleading with Mitchell, her denying this In the court? The hostility of her children towards Mitchell?

12. The reason for the cover-up, the number of people involved, the nature of the lies told and their blatancy? Audience response to this kind of lying and cover-up?

13. The significance of Harper and his arranging of things, the nature of his advice, the melodramatics of his final appearance In the court with his reputation? His hoping for Susan’s marriage to David? Claude Rains and a convincing portrayal of the elder statesman?

14. How important was the romantic subplot? Mitchell as a widower, dedicated to his work and his wife's memory, his growing love for Susan, the prospects of a happy ending? How convincing a character was Susan, as her father's daughter, her helping of David in the trial, her insights into what was happening?

15. How well explored were themes of injustice, political and legal corruption, people's automatic responses to appearances? Themes of truth and the seeking out of the truth? The value of this kind of courtroom melodrama for exploring theme themes?

TWENTIETH CENTURY

US, 1934, 91 minutes, Black and white.
John Barrymore, Carole Lombard, Walter Connolly.
Directed by Howard Hawks.

Twentieth Century is based on a play by Charles MacArthur and Ben Hecht. It was called Napoleon of Broadway. However, it was based on another play by Charles Bruce Milholland and his experience of the famous entrepreneur, David Belasco.

The film was directed by Howard Hawks, usually best known as an action director with a range of films including Only Angels Have Wings, Come and Get It, Red River and a number of John Wayne action films including Rio Bravo and El Dorado. However, he also made a number of comedies of the screwball kind including Bringing Up Baby with Katharine Hepburn and Cary Grant. He also directed the musical, Gentlemen Prefer Blondes, with Marilyn Monroe and Jane Russell.

This film is a variation on the Star is Born theme. John Barrymore, an eccentric screen presence, always intense with the touch of the Svengali, appears as a Broadway entrepreneur who works well with an actress, played by Carole Lombard. When she decides to go to Hollywood, his career goes into decline. He attempts to revive the career when he encounters the actress during a train trip on the Twentieth Century.

With the Star is Born theme, the decline in career as another career ascends, the film has a perennial interest and appeal. However, it is interesting to see it as a fast wisecracking version of 30s screwball comedy which Hawks was to bring to a perfection in his version of Hecht and Mac Arthur’s Front Page Story, His Girl Friday with Rosalind Russell, Cary Grant and Ralph Bellamy.

1. The significance and emphasis of the title? the train and the journey? The original play was Napoleon of Broadway. The emphasis on Oscar Jaffe? Which was a more appropriate title?

2. The film as an example of early talkie comedies, the nature of its style the emphasis of the theatre, the attitude towards Hollywood films, the train journey?

3. Audience involvement in the structure: initial presentation and expectations of Jim, Lily, interaction between the two their ending up in the same situation as at the beginning? The difference in what had happened? Was it evident that the film was based on a play?

4. The appeal. of American screwball comedies: the nature of their style, situations, humorous lines, artificial
characters? Audience involvement in this kind of impossible comedy? The importance of the world of the theatre, theatricality and poses?

5. What did the film say about the world of theatre, drama and its effect on the actors, what is communicated by drama?

6. Theatricality and the theme of appearanoenand reality, in human relationships, the question of genius and artistry? The grandeur of genius, the irony and comedy of genius?

7. The character of Oscar Jaffe: the initial poster with the emphasis on himself, audience expectations of his first arrival, his manipulation and domination. the way that he directed, the way that he used and abused people, the chalk on the stage etc.? John Barrymore's style in portraying Jaffe? The details of self-ridicule as he even laughed at the character that he was portraying? The humour of his disguises e.g. at the station? The theatricality of his performance on the train, the encounter with Lily? The irony that ultimately he was a failure and could only succeed by fraud?

8. A comment on the genius impresarios of the American stage? How telling was the satire? The portrayal of Lily, the ordinary girl and the comedy of her rise to stardom, her inability to act at first, the challenge by Jaffe, his pressurising her, sticking the pin in her, changing her? The transition from rehearsal to her achievement in performance? How was she transformed? For the better, worse? Her self dramatisation, the clashes with Jaffe, his pretending to suicide and her being pressurised by him? The irony of her going to Hollywood and succeeding, Jaffe’s failing? Her being as theatrical as Jaffe?

9. The humour in Jaffe’s two helpers, his manager, the newspaper reporter? Their loyalty to him, their being mocked, their drinking? Their manoeuvres and their being outmanoeuvred especially on the train? The contrast with the character of Max who became a success? The irony of Jaffe’s sneering at Max? Lily's dependence on Max?

10. The importance of the train trip, the 20th century itself, the way that the train was presented? The clashes, the situation, the confined space and character, and the interaction? The manoeuvres on behalf of all for Jaffe’s success? The pressurising of Lily? The arrival of Max?

11. The humorous introduction of the religious fanatic with his stickers, his continued presence, the involvement of the plot especially with his bad cheques? The irony of his encounter with Jaffe at the shooting?

12. The satire in the death scene? The exaggeration of Jaffe, Lily's being taken in by and sudden switch? The fact that all ended up on the same stage as before? What had happened?

13. How funny is this kind of comedy? How much of the 30's? Dated? Satire on human nature?

THE TURNING POINT

US, 1952, 85 minutes, Black and white.
William Holden, Edmond O’ Brien, Alexis Smith, Tom Tully, Ed Begley, Neville Brand.
Directed by William Diertele.

The Turning Point is an interesting and well made crime thriller of the expose type. William Holden is good in the central role as the hard-bitten newspaper reporter - the style of role he was to repeat in Stalag 17 the next year for which he won an Oscar. Edmond O’ Brien has a good role as the crusading lawyer. The film is crisp and tough
in its dialogue, using the conventions of its genre very well. The film was directed by William Dieterle, who was noted for his biographical films of such people as Louis Pasteur And Emile Zola in the 30's.

1. An interesting and exciting thriller? Interest, themes, characters? American?

2. The tradition of the law and order gangster films? The conventions of character, dialogue? How well used here? A film of the early 50's? The stars? The crisp and tough presentation? How credible?

3. The basic situation of corruption in a city, the way that it was presented, audience presuppositions in judging it? The use of corruption and the investigation? The consequences of violence? The need for integrity? The universal and perennial appeal of these themes?

4. The film's focus on John Conroy, his arrival, the Press and his treatment of them, his background and study, his hopes, methods? The validity of Gerry's criticism about his naivety and innocence? The criticisms of Amanda and her society position and her help? John and his reliance on Amanda? His relationship with his father and his father's job with the inquiry? Conroy’s conduct of the inquiry, interrogations, evidence? The television presentation of the inquiry? An American good man and hero?

5. The contrast with Gerry as a type? William Holden's tough style in this performance? An alternate American hero? More ‘realistic’? His criticism of John and yet their background together and Gerry's friendliness with the family? His following his hunches about Matt, trying to protect John and the inquiry, being an indirect cause of Matt's death after his advice? The repercussions on his feelings and judgment? The clash with Amanda and yet the love? His fear of hurting Johnny? His skill at writing, people's appreciation of it? His decision to write the story about Matt and the effect on Johnny? The broadcasts for Carmelina and Gerry's meeting with her? His being the victim of the set-up in the stadium? The building of tension with his being in the eye of the assassin, his moving with the crowd? How expected was his death? The point being made in his dying for the cause? Johnny's quoting of Gerry's own words about the sacrifices needed?

6. Johnny and his ability to cope for example with his father's death, his father's guilt? The head office and the apartments and the people burnt to death? The pain of Gerry's death? His decision to face the truth and love with integrity?

7. Amanda as heroine? Personality, joining Johnny's cause and her explanation of his love for her, her fascination for Gerry, helping him in shadowing the people at the woman's apartment? Drawing out the truth from him about Matt? Her trying to save Gerry at the stadium? John and Amanda walking off together at the end?

8. The character of Matt, his place on the Police Force, the corrupt cop? his explanation of his need for money, the hold of the gangsters over him, their using of him, his reporting to them, the contacts and the way information was passed? His dilemma and his anger with Gerry, agreeing to his proposal, his being betrayed when the document was Photostatted? The ugliness of his death and the death of the assassin?

9. The trucking boss and his personality, Ed Begley's presence and style? As a character, his henchmen, his bravado, cruelty especially in letting people burn. his bluffing at the investigations? The irony of his being caught?

10. How realistic was the film, how credible? Having the audience on side? Themes of honesty and justice in 20th century cities and administration? A particularly American theme?

THE TUNNEL OF LOVE

US, 1958, 98 minutes, Black and white.
Doris Day, Richard Widmark, Gig Young, Gia Scala, Elizabeth Fraser, Elizabeth Wilson.
Directed by Gene Kelly.

The Tunnel of Love had mixed reviews. Some audiences found it a bit too suggestive. Other audiences found it rather silly. However, it did get nominations for Golden Globes and other awards with Gig Young winning a Laurel award as best supporting actor.

Audiences were also surprised (probably and still are) with the teaming of Doris Day and Richard Widmark. Doris Day is all bright and sweetness and light. Richard Widmark was generally at home, especially in this period, as a criminal or in crime dramas. Gig Young could always do the genial, slightly tarnished, neighbour next door.

The film is concerned about adoption especially after the couple cannot have a child after many attempts. Gia Scala appears as an adoption agency authority – and, with various twists of imagination, Richard Widmark imagines that her baby is his.

However, the film does finish up with all things sorted out and a happy ending.

Direction is by Gene Kelly who had moved behind the cameras after his dancing career and made Bright Road. He was to make a mixture of films as director including Hello Dolly, The Cheyenne Social Club and A Guide for the Married Man. Oddball.

1. The film as an example of fifties comedy, human values? Its impact and entertainment value now? Changes?

2. The importance of the glossy style, the prominence of Doris Day and her personality, songs and music, colour and widescreen, suburban locations etc,? How real did the people and the situations seem? The possibility for audience identification?

3. The question of adoption, the background of parents, their way of life and suitability, the necessity of families for influencing children, the testing of suitable parents? How serious was this background? The humorous aspects?

4. The emphasis of the film as a sex farce? The mistaken identity situation? How strongly was this portrayed, the emotional impact for the characters, sense of realism? How much was played for laughs successfully?

5. The film’s centring on Isolde? Her strengths of character as a wife, mother, hopes for children, ambitions for adoption? Trying to please Estelle? The comic aspects of her character? The satire on wives and mothers? How credible was her final jealousy and wanting to walk out? Her final forgiveness?

6. The film’s focus on Augie? His character, temperament, work, as an artist, humorist? As a husband and would-be father? His mistake with Estelle? The involvement at the motel, the money, the fears and his anxieties over the months? The happy ending?

7. The importance of Alice and Dick as support? The film's poking fun at suburban life through them, the staid and suspecting wife, the philandering husband? Dick's mistakes with Estelle? Alice's support of Isolde?

8. How credible was the character of Estelle? The type who tested parents and their suitability. the ambiguity of her behaviour, the happy ending?

9. The comedy and the warmth provided by Miss McCracken? Her joy at family suitability etc.?

10. The pleasant domestic comedy with the final scenes of the baby?

11. The balance of this with Augie fears about its paternity? The film's playing on this ambiguity?

12. How appropriate was the happy ending? What human values were presented and explored? What happened to the audience in its response during this film?

TUNES OF GLORY

UK, 1960, 106 minutes, Colour.
Alec Guinness, John Mills, Dennis Price, Kay Walsh, John Fraser, Susannah York, Gordon Jackson, Duncan Mc Rae, Percy Herbert, Alan Cuthbertson, Peter Mc Enery.
Directed by Ronald Neame.

Tunes of Glory is based on a novel by James Kennaway who adapted his novel for the screen and received an Oscar nomination for it.

The film focuses on a highland regiment and its being located back in Scotland after long experience including World War Two. Major Jock Sinclair, played by Alec Guinness, joined the regiment as a boy piper and has been in it ever since. He is a free soul, freewheeling, a great devotee of whisky.

A challenge comes to his leadership in the appointment of an Englishman, played just as effectively by John Mills. There is a psychological clash between the two. The clash builds up, especially with other members of the regiment including Dennis Price and Gordon Jackson. There are also complications with Sinclair’s daughter, played by Susannah York.

The film has some high moments of drama and comedy. Alec Guinness is in command, with a final soliloquy that cinema historians praise as a key soliloquy on the screen. However, it was John Mills who won the best actor award at the Venice film festival.

A fine English film, with good performances, English themes, the military, post-war, personal interactions.

The film was directed by Ronald Neame who served as a photographer for David Lean, made such interesting films as The Card and The Horse’s Mouth, both with Guinness, as well as The Million- Pound Note and The Man Who Never Was. He then moved to Hollywood with mixed results. His best films include The Chalk Garden, The Prime of Miss Jean Brodie, The Poseidon Adventure, The Odessa File and First Monday in October.

1. The meaning and irony of the title? The emphasis on army glory and achievement? the contrast with human pettiness?

2. How appropriate was the use of colour photography, locations? Scots atmosphere? Would the film have been better in black and white?

3. How pessimistic was the tone of the film? Why? The clash of good and bad? The badness of human nature? How interestingly was this illustrated?

4. What was the main response to the film? Interest? Sympathy? Emotional involvement with the characters, exasperation with the situations? Insight into a human limited situation?

5. How much sympathy did the audiences have with Jock? What kind of a man was he, the army type, the self-made man, his jollity and friendliness with everyone? His inefficiency and his being relieved from his post? His own loyalty and loyalty of the men to him? His relationship with his daughter, protective of her? His need for Mary?

6. Was his clash with Barrow inevitable? How much resentment was there? Covered up by humour and malice? The nature of his exemption from service? The humiliation of his being like the other men, especially the dancing? What right had he to defy Barrow? The drinking and the game? Getting the men loyal to him and against Barrow? Why was he so harsh against his daughter and Frazer? The shock when Barrow killed himself? How much did he blame himself? What kind of man was he at the end? How pathetic?

7. What was the film's basic message about human nature and the potential clashes between characters in Jock?

8. The character of Barrow? The emphasis of the film on his army type, his career, the irony of his arrival? His interactions with the men, the emphasis on discipline and the letter of the law? The importance of his commanding all to learn dancing? The drama of his outburst at the party? The situation of the Court Martial and his decision? Why did he go against the Court Martial? His emphasis on the letter of the law and his failure to live up to it? What brought about his decision to kill himself? The dramatic effect of his killing himself? the effect on others?

9. What basic manage about human nature was communicated by the character of Barrow?

10. The minor characters: Jimmy Cairns and his loyalty, his helping of Jock, of Barrow? What details emphasized this good-naturedness of Jimmy?

11. Scott and his cowardice? The judgment on this type of character?

12. McLean? as the ordinary soldier, the humiliated piper, a representative of the ordinary men?

13. The importance of Morag and Frazer? Was this an important subplot? Did it add to the themes of the film or distract from them? Frazer as hit by Jock and the centre of a potential Court Martial?

14. The character of Mary? What did she add to the film? In term of understanding Jock?

15. The army theme: the British Army and its atmosphere, emphasis on discipline and order? Did the film say the army atmosphere was responsible for this clash and tragedy?

16. How was the army world a microcosm of the clashes, manipulation, fears, using of others in the world at large? Did the film's value lie in this?

THE TRUTH ABOUT SPRING.

UK, 1964, 102 minutes, Colour.
Hayley Mills, John Mills, James MacArthur, Lionel Jeffries, Harry Andrews, Niall Mac Guinnes, David Tomlinson.
Directed by Richard Thorpe.

The Truth About Spring is a pleasant concoction aimed at teaming Hayley Mills with her father John Mills and providing family entertainment. Father and daughter had appeared to great effect in the 1958 thriller Tiger Bay. Hayley Mills had then gone to Hollywood and made an extraordinary impact with Pollyanna and The Parent Trap, being awarded a juvenile Oscar. During the first half of the 60s she made quite a number of films for Disney including Summer Magic, In Search of the Castaways, That Darn Cat. She had a mixed adult career, spending more time in her later years on stage touring with The King and I. John Mills lived into his 90s, a stalwart of British and world cinema from the 30s to 2003 where he appeared in Stephen Fry’s Bright Young Things. He won an Oscar for best supporting actor in 1970 for Ryan’s Daughter.

Helen Hayes’ son James MacArthur appeared in a great number of Disney films including The Swiss Family Robinson. Lionel Jeffries played a number of rogues on screen during the 1960s and enjoys himself here. David Tomlinson appeared as the father in Mary Poppins.

The film was directed by Richard Thorpe, a veteran of MGM dramas and of action films in the 1950s including Knights of the Round Table and Quentin Durward and some dramas including Tip on a Dead Jockey.

1. The appeal of this film? For what audience?

2. The title and its focus on Spring, its ambiguity?

3. The contribution of the Caribbean settings, the unusual characters, colour etc?

4. How attractive was Spring? Why? Hayley Mills’ personality? Her youth, adolescence and adolescent questions, a vigorous heroine, the father and daughter relationship, her strength of character, her learning, her friendship with Bill, the clashes and the growing in love, the discovery of her femininity, the sharing of dangers, the class distinctions at the end? How much did she change and grow during the film? What brought this about?

5. How attractive was Tommy Tyler? The seafaring type, the confidence-man, his capacities as a sailor, father and daughter relationship, the way that he had brought up his daughter, his own capacity for wandering, searching out treasure, a dreamer, wealth fantasies, his skill in playing off his cronies, sharing dangers?

6. Bill as a hero? The difference in background, the challenge of the voyage, his relationship with Tommy falling in love with Spring, helping Tommy with his confidence tricks, encountering the danger, the discovery of his love for Spring and the proposal of marriage? Bill as seen in the background of wealth and society?

7. How real were the villains? Or fiction villains of the modern Caribbean? Cark, Cleary and Sellers? Their rivalry amongst themselves? Ambitions and fantasies in their dream of wealth? Their deals and double crossings? Humour, melodrama?

8. What picture of Shelton and his snobbish friends? The contrast with the ordinariness of the Tylers?

9. How enjoyable was the film as comedy, adventure, romance? The picture of growing up and learning to live?

THE TRUE STORY OF JESSE JAMES

US, 1957, 92 minutes, Colour.
Robert Wagner, Jeffrey Hunter, Hope Lang, Agnes Moorhead, Alan Hale Jnr, Alan Baxter, John Carradine.
Directed by Nicholas Ray.

The True Story of Jesse James is one of many films about the famous outlaw. He was played very effectively by Tyrone Power in Jesse James. In that film, Henry Fonda played Frank James and was to have his own film in The Return of Frank James. They were to appear in a number of films including The Great Northfield Minnesota Raid, the story of the bank robbery failure that led to their downfall. They also appeared in The Long Riders as well as American Outlaws and the Brad Pitt vehicle The Assassination of Jesse James by the Coward Robert Ford.

This film was directed by Nicholas Ray. In his comments after the film’s release, he was highly critical of the producer Buddy Adler who he said ruined the kind of film that he intended, the producer saying that the film was too hard to follow with its time-shifts. However, in its present structure it starts with a bank and goes to eighteen years’ development through flashbacks.

Rising stars at 20th Century- Fox Robert Wagner and Jeffrey Hunter portray Jesse and Frank James. Hope Lang portrayed Zee. John Carradine, who played Bob Ford in The Return of Frank James, appears here as the Reverend Jethro Bailey.

The film then takes its place in the creation of the legends about Jesse James, the nature of the oppression that the James family felt, his experiences with Quantrill’s Raiders and the outlaw gangs and their robberies – as protest against American government officials. There was a humorous variation at the same time with Alias Jesse James and Bob Hope posing as Jesse James or as someone who knew him.

1. The statue of the Jams brothers in American history, legend and myth? Response of the nineteenth century Americans? 20th century? Their place, right or wrong, in the American heritage?

2. The status of the James’ brothers in stories and film from the 20th century? The many versions of their lives and time? The indication of the present title? Is it correct?

3. The use of colour, cinemascope? The use of natural western locations? The musical score? The status of the young stars and the interpretation of the James’ Brothers? The overall effect in terms of entertainment, interest, a Western, American legend and heritage?

4. The significance of a true story? Is it just the facts, how much meaning, how much interpretation? At what level of facts did the film work? How much meaning? interpretation?

5. The significance of the structure in starting with the failure at Northfield? The dramatise of the failure? The long return home, the pursuit? The recurrence of the Northfield failure throughout the film? The effect of such a flashback structure and the beginning with failure? How did it colour interpretation of the Jameses and their exploits? The initial attitudes of the brothers with which we were presented: Jesse and his hardness, sense of failure, being pursued, crisis, crisis with Frank? How did this give a slant on the rest of his behaviour – seeing his early decisions in the light of the end?

6. How important was their mother in the true story? Her place in the American West? Her place in the flashback structure - her illness and her memories? The farm, support of her sons, attacks and injustice? Widow, her remarrying? The importance of Zee as a parallel with their mother? Her place in the West, her brother, the farm? Her marriage with Jesse and trying to support him? The significance of the flashbacks in their mother's mind, in the
preacher's mind? The importance of the preacher's flashback?

7. The significance of the Civil War in the history of the James brothers, their belonging to the South, the reactions of their neighbours, hostility, Quantrill’s raiders?

8. The humiliation of Jesse, the violence, the death of the younger brother? The reaction of Jesse, the reaction of Frank? Their participation in the war, the raiders, revenge?

9. Robert Wagner's interpretation of Jesse? As a young man going to the war? Love for his family? The importance of his return, the work, the courting of Zee and marrying her ? His reaction to the burning?

10. How credible were his motives for the robberies? His participation in the robberies and their effect on him? Questions of justice? The reasons for his establishing a gang? Justice versus ordinary exhilaration of risk? How deeply involved was he? How deeply involved was Frank? The picturing of the rest of the group and our knowing them in the light of the Northfield failure?

11. The James’ family and their trying to survive? Frank's support? The older brother trying to help Jesse? The transition for Jesse and Zee to being the Howard family? Their life In the city? Their lawyer friends? Why could Jesse not stop? The killing of the neighbour in anger and the consequences?

12. The importance of the trial, the attitude of the lawyer who was a friend of the Howards? Public opinion about the James brothers, pro and con? The importance of the Pinkerton detectives and their trying to track down the James brothers? Jesse's and Frank's knowledge of this? the train trip, their going to their mother? The amnesty?

13. The decision to go to Northfield? The reasons for and against? 'The build-up to the bickering of the group with their strengths and their weaknesses? The long ride, the mistakes, the excuses? The deaths? The pursuit, the explosives, the shooting of Tucker? now did the exploit go sour?

14. Frank and Jesse throughout the film and their bonds and mutual support? Frank different from Jesse? Was their clashing inevitable? The rights and the wrongs?

15. Jesse’s disappearance and people’s reaction? Frank's, Zee's, his mother’s? His changing and his return? The hope to build up a new life?

16. The irony of being on the verge of happiness and the Ford brothers killing him? The sequence of his play with the children? irony of the death of Jesse James as played by the children? The reality?

17. The treatment of the themes of the American West in the 19th century, outlaws, the law, justice,
survival? Violence? The American heritage?

TROOPER HOOK

US, 1957, 81 minutes, Black and white.
Joel Mc Crea, Barbara Stanwyck, Earl Holliman, Edward Andrews, John Dehner, Susan Kohner, Royal Dano, Rudolfo Acosta.
Directed by Charles Marquis Warren.

Trooper Hook is one of several brief films made by Charles Marquis Warren in the 1950s. The following year he made Cattle Empire, again with Joel Mc Crea.

Joel Mc Crea made mainly westerns from the middle of the 40s to the 80s. Only one or two films from this period were not westerns. However, he had been a popular star of drama and comedy during the 1930s and 1940s. Here he is matched with Barbara Stanwyck, one of the strong women of the Hollywood screen. There is a strong supporting cast including Earl Holliman and Susan Kohner who were to appear in a number of popular films at this time, Holliman making the transition to television.

The film raises issues that were popular in later decades. Some consider that the film is a bit ahead of its time though it echoes some aspects of John Ford’s The Searchers released the previous year. The film focuses on a confrontation between cavalry and Indians, the capture of the Apache chief, Nanchez (Rudolfo Acosta) who has taken a white woman to the camp and they have a son. The troopers are to accompany mother and son back to meet her husband. In the meantime, the chief escapes and leads a confrontation party against the troopers.

While the popular western themes are here, the film focuses on attitudes towards the native Americans (clearer from such films as The Devil’s Doorway and Broken Arrow at the beginning of the 1950s) as well as issues of race, family, child custody.

1. How good a western was this?

2. What conventions of westerns were used: hero, Indians, town, stagecoach and journey? How well used were these usual ingredients? Was the film more than conventional?

3. The black and white photography, the small scope of the film, its short length, the ballad and song technique?

4. The setting of the fights, the Indian chief, the massacres, the burning of the Indian village? Audience mood affected by this for the rest of the film? How well did the film present the Indians. sympathy for the white man?

5. The attitude of the people of the west, the attitude of the audience to the Chief and his cruelty? To his capture? His pride, hatred. need for revenge?

6. Cora in the context of the west, the captivity? How well explained was her situation? Her accepting the life of a squaw? Her love for her son? Her need for survival? The humiliation? The humiliation by the people and her reaction to it? Her decision to build a new life?

7. How convincing a hero was Hook? How heroic in term of the west? His abiding by the letter of the law? His attitude towards Cora, to the boy? His being likened to Stone and as hard as the Chief? His not making judgements, his protection? His growing love? The humanity of his final heroism? His handling of the situation with the stagecoach?

8. How well did the film explore racial prejudice? Racial arrogance? The picturing of hostility? The importance of the speech of the Commander’s wife that it could happen to anyone?

9. The character of Jeff? The young western gambler? His helping and his life being challenged? His holding the gun to the boy?

10. The conventions of the stagecoach situation? The man who asked all the questions? The driver and the humour? The man with his wealth and the ironic death? The grandmother and her granddaughter? How well were these characters explored? In relationship to Cora, and Hook? The dramatic force of the encounter with Sutcliffe? His being offended by the situation? His inability to love? To accept the boy?

11. The final decision? The confrontation with the Chief? The mutual shooting? The parallel then with the siege of the coach and Hook's ingenuity?

12. What were the main messages of this western? Were they well integrated?