TO HAVE AND HAVE NOT

US, 1944, 100 minutes, Black and white.
Humphrey Bogart, Walter Brennan, Lauren Bacall, Hoagy Carmichael, Sheldon Leonard, Marcel Dalio, Dan Seymour.
Directed by Howard Hawks.

To Have And Have Not is based on a novel by Ernest Hemingway (which was filmed again six years later as Breaking Point with John Garfield and Patricia Neal).

The story was originally set in Cuba but this was considered an unsuitable location during World War Two and it was shifted to the Caribbean island of Martinique. Humphrey Bogart and Walter Brennan play a pair who have a boat, business going slack during World War Two, who are persuaded to take an anti-Nazi sympathiser from one island to another.

The film also shows the lazy life on the island, with Humphrey Bogart spending his life in a club (only the year before he had had his own club, Rick’s, in the award-winning Casablanca). Lauren Bacall, in her debut film, is a singer in the club. She has the famous line about drawing Bogart’s attention, just the need to whistle. They were married soon after in real life.

There are a number of character actors in the supporting cast especially three-time Oscar winner and veteran Walter Brennan as well as singer-composer Hoagy Carmichael.

The film captures the flavour of the Caribbean, of the tough Hemingway world. The film was directed by Howard Hawks who was to direct Bogart as Philip Marlowe the next year in The Big Sleep, also with Bacall. Hawks had skills in a variety of genres, with comedy in Bringing Up Baby as well as Gentlemen Prefer Blondes, westerns like Red River and Rio Bravo as well as thrillers. The screenplay was written by Jules Furthman who was to collaborate with Hawks in many films, Only Angels Have Wings, The Big Sleep, Come And Get It, Rio Bravo. Other interesting films that he wrote include the Oscar-winning Mutiny on the Bounty as well as the notorious The Outlaw.

1. The meaning and tone of the title? Its solemnity? Its coming from a Hemingway novel?

2. How important is this film in giving a picture of the forties style? Forties themes and interests? Humphrey Bogart and his style? The tough hero? in the war atmosphere? Does all this have the same impact now? What impact does it have? Why?

3. How important for the film is the war atmosphere? Its relationship to America and its attitudes? To heroism? To the Hemingway type of rugged individual?

4. How enjoyable was the film? Why? Its most enjoyable features? the actors, the situations, the adventure, the themes of the tough hero etc.?

5. What kind of man was Harry Morgan? Was he sympathetic? Our seeing him with Johnston and the fishing? As living in Martinique and his attitudes towards the French? Was he the ordinary everyman? or was he meant to be a larger than life hero? Harry's relation to others? To their standards? To the law? His confidence in himself? His own life as being the standard for which he worked? How well could an audience identify with him? His attitudes towards good and bad, his treatment of good and bad? His reactions towards Johnston, Eddie, Slim, the Chief of Police? It was considered that Harry was an anti-hero for the forties. In a time of war, his attitude was not patriotism, but himself. How true is this? In the forties? What is the modern attitude towards this kind of hero?

6. How did the film convey the atmosphere of Martinique? The wharves, the Vichy government, the Free French, the fishing, poverty and money, danger, the nightclub etc.? How important is this atmosphere for this kind of thriller?

7. The importance and impact of Johnston for the film's opening? for the story to get under way, for insight into Harry, for questions of money and justice? For the police and the Vichy government? How did the film then build on this? The death of Johnston and the raid, the persecution by the Police Chief?

8. The impact of Slim In the film? Lauren Bacall's personality, her first appearance in her first film? Did she act as a personality and character or as a glamorous type? The talent involved in this performance? The presentation of hardness and softness? Of pride? Of love and resourcefulness? How attractive a character was Slim? In her encounter with Harry? With Crikett? Her singing? Her wisecracks etc.? How important as a heroine to match Harry and his style?

9. What did Eddie add to the film? as regards humour, pathos? Contrasting with Harry and yet the object of Harry's affection and hardness?

10. The importance of the Free French in the film? This aspect of the story in itself? for patriotism and danger? The risk of life? Their impact on Harry? his initial refusals, his change after the shooting, his reactions to fascist government? Harry's self-reliance as parallelled with the Free French? Was Harry a patriot or was he doing it for money? His sense of justice?

11. Did Harry have sufficient choices? His choice in healing the wounded Free French, his helping them, his reaction against the Vichy representatives, his shooting?

12. After this discussion, what heroism emerges in Harry?

13. How well were the incidentals of the film portrayed: the shipping, the picking up of the Free French, the cafe and its atmosphere, the Free French in the cafe, the singing and the music, Crikett as a character and as a focus in the cafe, the war itself?

14. How did the film explore values of good and evil, individuality and society, greed and justice?

15. The film is considered a classic of its time. Why?

THE THRILL OF IT ALL

US, 1963, 108 minutes, Colour.
Doris Day, James Garner, Arlene Francis, Edward Andrews, Zasu Pitts, Reginald Owen.
Directed by Norman Jewison.

The Thrill of it All looks like a typical Doris Day comedy. However, while it has the usual ingredients, it is better than many of them. Doris has a chance to act well as well as give some good comedy performance. The housewife who becomes a TV celebrity in advertising especially with her stammering gives Doris a good chance to act and to send up television commercials. James Garner is quite an effective foil as her husband. There are some humorous sequences, especially in the TV dramas featuring, Carl Reiner. There is also a famous ‘soap suds’ sequence. The story was written by Reiner and Larry Gelbart, who were later to write and direct ‘Oh God’. Direction of this film is by Norman Jewison who was to go on to make such films as In The Heat of the Night, Fiddler on the Roof, Jesus Christ, Superstar and Rollerball.

1. A successful Doris Day comedy, comedy style? The main ingredients of the comedy and romance for appeal?

2. Doris Day's image in the sixties and the style in which it is presented? Straightforwardly, satirically? The film as a glimpse of American suburban life, the world of television and advertising, American values?

3. The atmosphere of colour, glossy affluence, the suburbs, the worlds of advertising and television?

4. Beverley and Jerry as an ordinary couple? Jerry and his work at the hospital and the film's attention to detail in this? Beverley and her work for the family, at home, bottling her own ketchup etc.?

5. The opening with the laughter and the pregnancy, the consequent dinner, the group looking at the advertisement and the change in the pace of the film and in the couple's way of life? The importance of the patriarch of the family and his crotchety manner and eccentricities dictating to the next generation of executives?

6. How telling were the satires and parodies of television commercials? The appearance of Carl Reiner in the commercials and using the same basic plot in so many different circumstances? The satire of the parties for the television people and the presentation of the 'yes' men executives?

7. Beverley as a Doris Day character, verve and charm, love for her husband, children? The attraction of the money for the advertisement? Her coping with the commercial and her spontaneity? The temptation for more money and her succumbing? The blend of artificial genuineness in her commercials? The consequences in terms of time, photographs, appearances, socials?

8. The humour of the television world and its being dictated by wealthy families? The executive meeting and everybody agreeing to the boss's proposals?

9. How well did the film show Jerry's exasperation? Taking his wife to dinner and the women seeking the autographs, crashing into the car looking at the street hoarding, the pool and driving his car into the pool etc.? How effective was his pretending to be taking out another woman, drinking etc.? The repercussions for Bev?

10. Beverley and her coping with the children and the problems especially that of the housekeeper, the German housekeeper and the telephone, the pool and the taking away of the suds?

11. The pregnancy and the developments at the party, getting the woman to the hospital, the comedy in the car and the traffic jams, riding on a police horse to the rescue etc.? A satisfactory climax to the film?

12. The masculine/feminine ending and the 60s views on women's place in the homes and men's careers?

13. What were the most effective comedy qualities of the film and why did they appeal?

TO FORGET VENICE

France/Italy, 1980, 110 minutes, Colour.
Mariangela Melato, Erland Josephson.
Directed by Franco Brusati.

This film won several awards in Italy in 1980 and received an Oscar nomination for best foreign film of that year. It is a pleasing film made by Franco Brusati who made the attractive film about Italian migrants in Switzerland, Bread And Chocolate.

This film takes a cross-section of people, rather eccentric but nevertheless representing common attitudes towards life. The past is explored with the insights of the present and the need for freedom from the past is desperately felt. The memories and the liberation from memories is a major theme and well acted by its leading players: Swedish Erland Josephson, who appeared in Ingmar Bergman's Scenes From A Marriage and Face To Face, and Mariangela Melato, who appeared in so many of Lina Wertmuller's films. The film evokes the North Italian countryside, the heavy traditions and the need to break through into the contemporary world. A film for those exploring themes of middle age.

1. The quality of the film? Its impact in 1980? Awards?

2. The significance of the title? the way that it was used throughout the film, the forgetting of the past? The importance of memory and forgetfulness? inattentiveness as well as deliberate forgetfulness? Liberation? Venice and its symbolism and tones of a dying city magnificent in its past? The symbolism for MM of past, present and future? Nostalgia, innocence, realism? Fear and hope? Values?

3. The colour photography of the Italian countryside, homes, activities in a country town? The variety of the musical score: opera, popular songs?

4. The focus on the present in the screenplay: Anna and her work on the farm, Nicky and his watching the soccer and the involvement of Picchio, Claudia and her class, Marta, and the preparation for Nicky's arrival? The establishing of the group of characters to be explored and seeing them in their ordinary occupations?

5. The focus on Anna and moving from present to past? The adult Anna in the same room as the dramatisation of her memories? The first communion atmosphere, Claudia and her visit to the attic, Anna's hostility, getting Claudia to dance, throwing darts and eggs at Anna's parents? Anna's later going back into her past, the memories of her mother and her being abandoned by her father, her tantrums, her pretended suicide and plans to go to Paris? The indication of Anna's isolation, hatred, loneliness and hard life? Her hard work? Aspects of sexuality and withdrawal?

6. The transition to Nicky and his being present in his past? Rossini in his real life, Nicky's bringing the classic nude pictures? Rossini's poring over them? Nicky's idealising of Rossini? The embarrassment about the Michelangelo picture? The prying on the washerwomen and their nudity? Rossini's brazen exhibitionism and his reserve? His putting on Rossini's soutane? memories of isolation? Withdrawal? Homosexuality? His later sitting on the stairs and remembering Marta's birthday? Marta and her protection of her brother? Their father as the wizard? Offering Marta wealth, beauty, love? Nicky as the frog prince? The crystal ball? His later finding the crystal ball and its smashing? His memory of his praying in the past?

7. Anna and her hard work on the farm, the visitor buying fruit and her sexual taunts? Her femininity? The relationship with Claudia and their sharing the room, nudity? Their taking one another for granted? Their love, friendship. sexual relationship? Anna and her enjoyment of the outing? Her watching Marta and Nicky? Her practicality in taking the car to get the doctor for Marta? Her tiredness after Marta's death? The clash with Claudia and the bitter words expressed? Her withdrawal to the attic and the encounter with Picchio? The sexual relationship and her taunting him, her being afraid of him? her cutting off her hair? The practicalities of leaving the farm? The farewells to Katarina? Claudia and Anna on the bus and her holding Claudia's hand?

8. Nicky and his interest in the football, arranging for Picchio to play, tending his injury? His tender manner? His pride in his car? The greeting for Marta, picking her up, dropping her? Laughter in the household? Getting ready to go out and the shower and suggestions of homosexual themes? The outing and his dancing and singing? The irony of his meeting Rossino through his son? The memories and seeing the change in Rossino and himself? watching the wedding? Rossino sending the token to Picchio? The memories in the household? Memories when Marta was dying? his response to Marta's death? The piercing of her heart? his farewell in the group and not leaving? his drinking, eating, relaxing and letting go of the past? The discovery of the crystal ball and its shattering? His ability to accept the old and face the fact of his middle-age? The importance of the final discussion with Picchio and farewelling him? The lonely bachelor, business interests, relationships, sexuality? Final self-acceptance?

9. Claudia and her taking the school children for an excursion, seeing the couple making love and her watching? Her period, the discussions with Anna before the outing? Her place in Anna's past? Anna's accusations of a sense of unreality? Her enjoying of the party? her concern about Marta's death? Her giving the camomile tea to Anna and Anna's violent reaction? Her being hurt? Leaving the house? The holding hands in the bus?

10. Marta and her getting ready for Nicky's visit? Her not seeing her until she was made up and then only when she was dying? Her being carried by Nicky? Her laughter? Her being a celebrity, the bride and the group feting her during the dinner, her singing, dancing with Nicky, her being tired? Relationship with Katarina and her fussiness about the meal, going to Venice? The arranging of her to wear the Pamela? Her collapse? The death? Her wanting the crystal ball, her heart being pierced? Her achievement in life, enjoyment of life? Her explanation of her past, concert tours, opera success? Her living in her family's memory?

11. Picchio: the young man, attached to Nicky, soccer-playing, partnership in business with the car, his arrival and charm with the family, the wash and shower and the later comment on his liking to be admired? The homosexual relationship and his sensitivity to Katerina's visit to the room later? Preparation for the outing, enjoying it? Teaching Anna to drive, going for the doctor? The encounter in the attic with Anna? her challenge to him, his sexual advances, nudity? Nicky's farewell to him? His going on his own way? A sketch of a young man, relationships?

12. Katterina and her age, absentmindedness, holding on to traditions, the preparation of the dinner, the insistence about the capitol Pamela, her reaction to Marta's illness, the calling of the doctor? The piercing of the heart? her going away? her farewells and not knowing really what was happening?

13. Rossino - the young boy, the friendship, the girls? Seeing him in his middle-age, balding? His memories? The marriage of his daughter? His relationship with his wife and the incident in the washroom? His memories of the past and invitations to Nicky? His sending the gift token with his son?

13. The attention to detail of the film and its capture of moods? The strong units making up the screenplay? The device of the presence of the character within his or her memories? The long sequence of getting ready for the outing? The long sequence of the outing? The intention of going to Venice and the voyage thwarted? Death and memories? Waiting?

14. How typical or untypical the characters presented? The human conflicts that they represented and symbolised? The importance of memories and the past, values, their hold, protecting and isolating, real, the need for healing? Memories stunting growth, perpetual fear? The courage to break through the past?

TO EACH HIS OWN

US, 1946, 122 minutes, Black and white.
Olivia de Havilland, Mary Anderson, Roland Culver, John Lund, Philip Terry, Frank Faylen.
Directed by Mitchell Leisen.

To Each His Own has a familiar story, a story from the melodramatic past. The period of unwed mothers, adoptions, separation of mothers and their love of their children from afar – the basic plot of many films, especially the classic Stella Dallas.

Olivia de Havilland won her first Oscar for her performance as the young girl who is an unwed mother from an itinerant pilot in 1916. She was to win another Oscar for her performance in the adaptation of Henry James’ Washington Square, The Heiress, in 1949.

Olivia de Havilland had a strong screen presence as well as a sweet screen presence. After several action adventures with Errol Flynn, Captain Blood, The Charge of the Light Brigade, she appeared as Melanie, all sweetness and light, in Gone With The Wind. She continued her long career with romantic stories and melodramas during the 1940s moving to character roles in the 1950s. She continued a long career appearing in a number of telemovies. Her leading man is John Lund, generally a solid if not stolid screen presence in many films, who was introduced in this film.

The film could be described as a weepy – the love of a mother for her child, given away young, watching the child develop from afar.

The film was written by Charles Brackett, usually a writer of stronger material, a former theatre critic of the New York Times who collaborated in Hollywood for twelve films with Billy Wilder including Sunset Boulevard. The film was directed by Mitchell Leisen, noted as a director of romances whose significant films include Midnight, Frenchman’s Creek, Lady in the Dark.

1. The impact of the film, in the mid-forties, now? For what audience was the film made and why?

2. The significance of the title? The style of the credits? Black and white photography, music? A vehicle for Olivia de Havilland?

3. The atmosphere of the post-war period? War and peace in theme? The post-war treatment?

4. The initial impact of meeting Miss Norris and the introduction to her? Her vigorous style and audience response to her sharp personality? What kind of character did she seem to be? Her hardness? The explanation of her as the type who worked while others enjoyed themselves?

5. The significance of her meeting with Lord Tesham? What kind of man was he? The encounter at the air raid shelter, his accident and Miss Norris' help? Their dinner? His telling his story and Miss Norris refusing? Audience curiosity aroused?

6. The flashback technique? The variety of character for Olivia de Havilland? The superimposition of her younger face on her older face and vice versa? The dramatic impact of the flashbacks?

7. What kind of person was Jodie? Her relationship to her father, her work in the shop, her life in the town, the first World War atmosphere, her romantic attitudes and dreams? The number of suitors she had? The contrast with Corinne? The detail of her style of life in the town?

8. The importance of the emphasis on planes? Hearing the sound and the impact of the flyer and the war bond effort? Cosgrove as a personality? His attitude towards war? Towards propaganda? Towards people? The townspeople fawning on him? His hurt, talk with Jodie? His falling in love with her and vice versa during the dance? The significance of their flight? The talk about the shortness of time for love? How convincing was the consummation of love, especially on Jodie*s part? The repercussions of the baby? The news of his death? The use of conventional soap opera material and its use here? Was it well used, conventionally, transformed into something
better?

9. Jodie’s father and his response to the baby? His support of her? The visits to the doctor and the confinement? The contriving of the baby's being found?

10. The dramatic impact of the disappointment when the baby was claimed by Corinne? Jodie seeing it as a kind of retribution? Her involvement with the family, her nursing her son? her growing attachment to him?

ll. Was she right to reveal the truth? The fighting that ensued? The break-up of the marriage? Did she have a right to be the mother to her son? What is the nature of motherhood? bearing the child, or bringing it up and being present in its growth?

12. The contrast of style with Jodie's life in New York? With the bootleggers and the police? Taking over the firm and succeeding? her growing wealth, expansion to England? Arranging visits to see her son, outings? Her blackmail in getting her son? The revelation of the truth and its effect on her?

13. How courageous was she in renouncing her son? The bitter effects on her personality?

14. The impact of seeing her son again during World War Two? Audience response to him, in view of the flashbacks? The fact that John Lund played father and son? How did the audience share Jodie's joy in seeing her son and providing for him? Did the audience want him to know the truth?

15. How convincing were the fairytale aspects and Lord Tesham's intervention? The war atmosphere and things happening strangely? Jodie compensating for her past? Lord Tesham showing his love for Jodie?

16. Was the sequence of the revealing of the truth emotionally satisfying?

17. How true were the characters in the film? How important the values explored? The humanity of the film? Its insight into love, marriage, family, wealth, bitterness? The meaning of life?

THE TODD KILLINGS

US, 1971, 93 minutes, Colour.
Robert F. Lyons, Richard Thomas, Belinda Montgomery, James Broderick, Gloria Graham, Fay Spain, Edward Asner, Barbara Bel Geddes.
Directed by Barry Shear.

The Todd Killings is based on real-life characters and events. It is a piece of ugly Americana, a story from the 60s, the perspective of the 70s.

Robert F. Lyons portrays Skipper Todd in a manic fashion, surface charm but violence very quick to erupt. He is the darling of the high school girls – however, he is a predator and a killer.

He befriends a mentally-impaired young man played by Richard Thomas. He gets him to help him, especially with the burial of victims. He exploits the young man.

The film give some background for psychological interpretations of his behaviour, his relationship with his mother, with his family, with the people in the town. Robert F. Lyons is convincing as the manic Todd. Richard Thomas was able to portray ingenuous young men for a long period of his career both in films, telemovies and in The Waltons. There is a strong supporting cast with Barbara Bel Geddes as Lyons’s mother and Gloria Graham in support.

The film was directed by Barry Shear whose career was mainly in television but who made another rather grim film with its perspective on ugly American society and family, Wild in the Streets (1968).

1. How interesting a film, enjoyable? A piece of seventies' Americana? Did it exploit its material, or present valuable material for audience attention?

2. The use of Panavision and colour, Nevada locations, especially the atmosphere and feel of the town, its streets, houses, society? The importance of an authentic atmosphere? (The fact that it was based on a real character and real killings?) Comment on the style of photography, the impact and emotion, the cross-cutting of the editing and its effect?

3. The character of Skipper Todd, as portrayed by Robert Lyons, his ordinariness in the Nevada town, the importance of his following, the nickname of the Pied Piper? Skipper? The nature of his hold over the adolescents of the town? His relationship with his mother, her work, her devotion to him, supplying him with money, spoiling him? how spoilt was he, the darling of the girls? The importance of showing him immediately as violent, as a murderer? His charm and his getting others to help him, even in the killings? How psychotic a character? Why a product of this kind of American society?

4. The contrast with Billy, his reformatory background, his home life in the town, his being found by Skipper, the relationship with Skipper and Skipper's dependence on him, Skipper coaching him, the relationship with Amata, the emphasis on sexuality? Billy and the fact that he was mentally retarded? But an innate sense of justice which would cause Skipper's downfall?

5. The relationship between Skipper and Roberta? Roberta as a spoilt rich girl of the town, the strengths and weaknesses of her character, her double values, her frigidity in public, the effect of the rape on her, her dependence on Skipper? Her death as the cause of jealousy? Skipper's brutality towards her and her sister? The burial?

6. The jealous girls, Skipper's blindness to see that he could cause this kind of havoc?

7. Why did Skipper make Billy help him with the burial? Skipper's not understanding that Billy would betray him? The importance of Billy's fears for Amata and therefore his telling the truth?

8. Audience response to Skipper and his psychosis, his attitude towards his arrest, his denial, then his brazening things out? The response of the adults of the town, of the adolescents?

9. The importance of portraying sequences out on location for the digging up of the corpses, the effect and the reality of sunlight on murders in the night? The effect on people, the effect on the teenagers?

10. The presentation of the adult generation, the parents and their care for their children, their sense of responsibility or lack of it? The details of their way of life, for example Mrs Todd and her work, Mrs Roy and her groups? The various neighbours, the police, Sam and his commentaries?

11. The irony of the last line where the teenagers wonder what they are going to do without Skipper? An ironic comment on this kind of society?

12. Was this an accurate picture of the world of young people, of their behaviour and its possible consequences, morality and immorality? A comment on American society?

TO CATCH A THIEF

US, 1955, 106 minutes, Colour.
Cary Grant, Grace Kelly, Jessie Royce Landis, John Williams, Charles Vanel, Brigitte Auber.
Directed by Alfred Hitchcock.

The popular phrase is ‘Set a thief to catch a thief’. This underlies this rather sophisticated and elegant comedy-thriller set on the French Riviera.

Cary Grant is a gentleman cat burglar (in the Raffles tradition) who finds himself accused of robberies he did not commit. He sets himself then to catch the actual thief.

In the meantime, the film shows the high life of American expatriates on the Riviera. Standing out from these is Jessie Royce Landis with her daughter, played by Grace Kelly. There is also the Scotland Yard inspector, played with panache by John Williams (who had appeared as the inspector in Hitchcock’s Dial M for Murder and was Sabrina’s chauffeur father in Sabrina).

The film won an Oscar for best cinematography and, in fact, the film is very beautiful to look at. It is stylish and elegant in sets, décor and costumes. It is also, of course, very elegant with Cary Grant’s suave screen presence as the gentleman thief and Grace Kelly as the potential princess of Monaco. Her presence in Monaco for the filming of To Catch a Thief led to the changes in the history of that small country.

The film was written by John Michael Hayes who also wrote Rear Window, The Trouble With Harry and The Man Who Knew Too Much for Hitchcock. He also adapted a number of Harold Robbins novels and other novels for big-budget spectacular films of the 1960s.

This is not as intellectually challenging as many others of Hitchcock films. However, it is one that is perennially popular, still exerting its sophisticated charm.

1. The significance of the title and the phrases 'Set a thief to catch a thief'? The enjoyment value of the film? Alfred Hitchcock and expectations from Hitchcock?

2. The deliberate style of elegant enjoyment, use of colour, Riviera locations, affluent background, the impact of the stars? The film as being very popular in its time?

3. The humorous aspects of the film, the humorous atmosphere, the wisecracks, the observation of human nature, elegant irony of the dialogue?

4. The impact of the opening, the jewel robberies and the exaggerated reactions? The mystery, the identification of John Robie as the Cat? Audience interest in the mystery, gradual involvement in it, the elements of puzzle, the satisfactory nature of the clues, the range of suspects? Hitchcock's use of suspense, setting of a mystery?

5. The film's constant focus on John Robie for audience identification and interest, and for the solving of the mystery? Cary Grant and his style, manner, wisecracks? His ability to elude the police at the beginning, the hostility that he experienced from his friends in the Resistance? The predicament of being presumed guilty and his methods being imitated? His reaction to the hostility and his determination
to solve the puzzle? The encounter with the man from Lloyds? The plan for trapping the thief? The attitude of the police? The importance of his encounter with the Stevens family? Attractive, the mother at the casino? The cool and cold daughter and her sudden kissing of him? His eluding her and yet attracted towards her? His attraction towards the French girl? Their working together?

6. The film's presentation of hie methods, his examining the house, Frances going with him, the build-up towards the ball, his skill in catching the thief at the end? The melodrama of this at the ball, and the gradual revelation that he was on the roof all the time, the scuffle on the roof?

7. Frances as a Hitchcock heroine? Grace Kelly and her blonde elegant style? Her coolness and distance, the suddenness of the kiss? The exploration of the theme of sexuality and attraction, her being stimulated by Robie's being a thief, her wanting to participate in the robberies? The symbolism of the romance and the literal fireworks? The swimming sequences? dancing at the ball? A portrayal of the cool American woman who has latent passion? Frances in comparison with her mother, the portrayal of the garrulous American woman on tour, her wealth, her humour, her background? The irony of the final remark about mother liking the villa?

8. The picture of the Resistance people, their past, their working together, suspicions and hostility towards Robie especially in the kitchen, the caterer and his being present at the house? The girl and her lack of involvement, her father being killed in the garden, her reaction at her father's funeral? Was the audience surprised at her being The Cat? The melodramatics of her hanging from the roof and confessing?

9. The humour of the insurance man, his very British tone, giving the documents to Robie, his friendship with the Stevens, his participation at the ball?

10. The effect of the set pieces, the chases, the eluding of the police, the ball?

11. Why is this kind of film so popular, the crime genre, the presentation of Americans abroad and their different reactions from those at home, questions of guilt, responsibility?

THE TOAST OF NEW ORLEANS

US, 1950, 97 minutes, Colour.
Kathryn Grayson, Mario Lanza, David Niven, J. Carroll Naish, James Mitchell, Clinton Sundberg, Rita Moreno.
Directed by Norman Taurog.

The Toast of New Orleans is still famous for starring Mario Lanza. The Philadelphia truck driver emerged on the scene, was feted by Hollywood with That Midnight Kiss (with Kathryn Grayson), The Toast of New Orleans and The Great Caruso, MGM’s tribute to the famous opera star. He appeared in comparatively few films, caused a lot of difficulties (especially with his weight) and his voice only was used for the 1954 The Student Prince. He died at age thirty-eight.

Kathryn Grayson was a big star at MGM at this period, appearing in many musicals, often with Howard Keel, including Showboat, Lovely To Look At and Kiss Me Kate. David Niven had been around for quite some time at this stage, often as the other man. Here he is the other man, the agent of a rather ambitious opera star who encounters a rough fisherman in the Louisiana bayous. By encouraging him to sing, he obviously encourages the fisherman to fall in love with the opera star. It is all just that.

Highlights of the film include duets from Madame Butterfly and Mario Lanza’s ever popular, Be My Love.

The film was directed by Norman Taurog who had won an Oscar for Skippy in 1931. Taurog directed films from 1920 to 1970, a huge number of features. More serious in the 30s, he moved to lighter comedies including some Mickey Rooney- Judy Garland films in the 40s, with Martin and Lewis in the 50s. Towards the end of his career he directed nine Elvis Presley musicals.

1. The quality of this musical? Its plot, light approach, comedy, songs and opera, dance? As a musical of 1950 and its style?

2. The film as a vehicle for Kathryn Grayson and Mario Lanza? How well were they presented? Their relationship with one another?

3. The enjoyment of the plot? How real? How artificial? Played for comedy? Its plausibility? A mixture of realism and fantasy? The 1905 setting?

4. The film as a fairy story? A masculine version of 'Cinderella'? The awareness of growth, change, pride? Fantasy and reality?

5. The importance of the Bayou atmosphere? The fishing, the ordinary way of life, the blessing of the boats, the Bayou songs and music, civic pride? The feast, the singing, the mayor and his speeches, the ships and the fishing?

6. The contrast with the New Orleans world? Suzanne and Jacques belonging to this world? The details of the streets, buildings, shop-sellers, vendors of New Orleans? Cars, carts and wagons?

7. The world of the opera? How attractive? The high society that went to opera, to Dominique’s for their meals? The world of the restaurant, fashion, good manners? How real, artificial?

9. Pepe finding himself in New Orleans? The rough man having to adapt? The basic approaches to life and manners, to music? Pepe and his willingness to learn? His falling in love with Suzanne? His having to learn manners (the comedy?) His decision to go fully into the manners of society? Going into it too much? How well developed was this character?

10. How well developed was the character of Suzanne? The opera prima donna, her ambitions and relying on Jacques? Her dependence on him for decisions? Her behaviour and attitudes at the Bayou? Her tolerance of Pepe? Her growing to appreciate him? Her fearfulness of her love? The happiness of their outing together, for example the boat in the river? Her hostility? The proposal to Jacques? The realization of the truth? The comic presentation of 'Madame Butterfly' and the reality of their story in the opera?

10. Jacques as the typical David Niven character? His ambitions for the opera, finding of Pepe and promoting him and training him, devotion to Suzanne, willingness to step out of their lives?

11. The presentation of the people of the Bayou? Tina, her love for Pepe, the singing, especially her song? The irony of their visit to New Orleans, their new clothes at the restaurant, their visit to the opera? The points being made about the clash of cultures?

12. The comedy with Uncle Nicky? The continual contrast with his behaviour and attitudes with those of New Orleans? Poking fun at the artificial manners of society? How well developed was his character?

13. The glamour of the presentation of the world of music? The hard work involved in learning? The opportunities to sing? The importance of the opera, excerpts for enjoyment?

14. The popular songs, especially 'Be My Love'? The romantic songs between the two principals as part of the plot?

15. The success of the film as a comedy, especially about American society?

TO ALL MY FRIENDS ON SHORE

US, 1972, 70 minutes, Colour.
Bill Cosby, Gloria Foster, Denis Hines.
Directed by Gilbert Cates.

To All My Friends On Shore is based on an idea by Bill Cosby who stars, produced and composes the music for this brief telemovie. It is a transition by Cosby from comedy and variety to some more serious film-making.

The film focuses on a family stuck in the ghetto of the early 1970s, struggling hard at jobs, his wife working hard, their clashes. Their son, in the meantime, gets very sick and challenges them and what they are to do as well as how they are to use the money for his cure.

The film predates, in some ways, the alleged “illness of the week’ movies. However, these movies performed a good function in terms of bringing awareness of illness and consequences for families to home audiences, busy during the day and who just wanted to relax at night but would watch this kind of humane and emotional story.

The film was directed by Gilbert Cates. At the beginning of the 70s he directed several moving films including I Never Sang For My Father and Summer Wishes, Winter Dreams. However, his career was to be in television. From 1990 he produced twelve Oscar awards ceremonies.

1. Was it evident that this was a telemovie? The characteristics, pauses for commercial breaks? Use of close-ups, long shots? presuppositions for TV audience entertainment?

2. How strong was the film on valuer? adapted to the television audiences? Which incidents illustrated this best?

3. The use of the title, its occurrence in the film? Its use at the end, with the overtones of family life and imminent death?

4. How well did the film use the black American backgrounds and the black family? Did it matter whether the family was black or white? Why?

5. Why do films concerning families have such interest for audiences? For family audiences at home watching television? What family values were explored well?

6. How attractive was Randy the boy? In his relationship with his mother and father, at home, the love in the family, his outings and not being allowed to go out, distance from his father, being used by his father, for friendship, his growing hatred for his father, the bonds that could grow between them, the reality of his illness, his facing of the truth, what he learnt from his father, his relationship with his mother, the possibility of happiness and peace before his death? did the film portray a real boy in such situations?

7. What was the effect of Randy's death on his father and mother? The background of Blue's work, his emphasis on gaining money for his dream, distance from his son? Blue's relationship with his wife? Her trying to keep the home going, supporting her husband, loving and cherishing her son, trying to make bonds between them both? the effect of the death on each of them? How did they change? The importance for the change in Blue? His telling his son the truth, seeking wisdom in living day by day?

8. How well did the film use the city background, the background of work, Blue's scavenging his friends, fake life and style, the dream of buying the home, the strike background, the need for work etc? The buying of the boat? How did Blue and his family contrast with the other families presented?

9. What insight Into joy and sorrow did the film give?

10. Was the film sentimental? Did it use human sentiment and feeling well? What was the ultimate and effect of this film?

THE TITFIELD THUNDERBOLT

UK, 1953, 84 minutes, Colour.
Stanley Holloway, George Relph, Naunton Wayne, John Gregson, Godfrey Tearle, Hugh Griffith, Sid James, Reginald Beckwith, Jack MacGowran?.
Directed by Charles Crichton.

The Titfield Thunderbolt is one of the classics from the golden years of Ealing Studios. From the late 40s to the mid-50s, under the directorship of Sir Michael Balcon, Ealing Studios produced a great number of comedies which reflected the social issues of the time, gathered together a strong group of character actors, especially Alec Guinness, who were able to embody for the British audience these characters and their crises. They were so well done that they were popular all over the world.

T.E.B. Clarke, journalist, policeman and writer, was responsible for many of these films including Hue and Cry and The Lavender Hill Mob. Charles Crichton also directed a number of the films including both Hue and Cry and The Lavender Hill Mob. He was to continue directing for many decades, finally collaborating with John Cleese in 1988 for A Fish Called Wanda.

The film was, in many ways, prophetic. Small rail lines continued to be closed from the 1950s on, leading to the nationalisation of transport systems in the UK. Here, a small rail line is threatened, a wealthy personage wants to keep it open (especially for the rather liberal licensing laws). However, buses were coming into their own and the bus company challenges the villagers who want to restore the train line.

While films like this belong to a past that has long since gone, the themes are a reminder of social questions which continue even in far more advanced technological times.

1. How attractive a comedy? The gentle title and the irony?

2. The film as a British comedy of the fifties, Ealing Studios, small scale, pleasant, the focus on people, their eccentricities and British traditions? How well presented?

3. The impact for the fifties? Now? The changes in Britain?

4. Comment on the detail of life in the village, the variety of characters and their characteristics, the way of life in the country, the way of speaking, interests etc.?

5. The hold of British tradition and its influence on British character? How plausibly presented here?

6. The train as a symbol of British tradition? The old train contrasted with the new? With the buses?

7. The bus people presented as villains? How appropriate?

8. The test trial, the inspection, the suspense climax whether the rail line would keep open?

9. The film as a warm and affectionate look at people and institutions?

TIP ON A DEAD JOCKEY

US, 1957, 107 minutes, Colour.
Robert Taylor, Dorothy Malone, Gia Scala, Marcel Dalio, Jack Lord.
Directed by Richard Thorpe.

Tip on a Dead Jockey is a satisfactory crime melodrama with popular stars of the 50's and the glamour and style of the times. It is a bit slow in starting but gains interest.

Robert Taylor is his usual self in a story that makes him take hold of himself on issues like marriage, friendship, fear, smuggling. His scene where he has to start flying again is probably the best.

Made for the average audience.

1. Is there any point behind this film or is it merely a fashionable crime adventure story?

2. What is the attitude of the film towards marriage, love and divorce? Note the contract of the two marriages, the two heroes and the place of a child in the marriage?

3. Why had the hero broken down? Why did he want a divorce? Of whom was he thinking, himself or his wife?

4. What comment did this breakdown make on the worries and responsibilities of war?

5. Discus the reasons why the hero finally decided to take on the smuggling job. Were they adequate?

6. The scene where he cannot bring himself to take off, yet finally does. What happened to him during that sequence? What was necessary for him to overcome his fears?

7. How moral and legal was the solution to the smuggling problem?

8. The smuggler was evil and showed it. He was involved in the fall of the horse during the race and the death of the jockey? Is this all the title of the film was referring to?