THREE CAME HOME

US, 1950, 106 minutes, Black and white.
Claudette Colbert, Patric Knowles, Florence Desmond, Sessue Hayakawa.
Directed by Jean Negulesco.

Three Came Home is based on the book of her experiences in a prisoner-of-war camp by Agnes Keith. She is portrayed in the film by Claudette Colbert, veteran actress who made such an impact in the 1930s and 1940s and won an Oscar for It Happened One Night. Patric Knowles portrays her husband. They were captured along with their son by the Japanese in Borneo at the beginning of World War Two. Agnes Keith was in prison with her son and had to care for him for several years. She is admired by the colonel of the camp who appreciates her books. However, on his departure, the camp turns into a true concentration camp.

This kind of story was portrayed some years later in the film version of Neville Shute’s A Town Like Alice. It was also the subject of a memoir in Bruce Beresford’s Paradise Road.

Sessue Hayakawa portrayed the commandant of the camp in The Bridge Over the River Kwai. The film is directed by Romanian-born Jean Negulesco. He had a strong career in Hollywood during the 1940s with thrillers at Warner Brothers including The Mask of Dimitrios, The Conspirators, Three Strangers. He directed Jane Wyman in her Oscar-winning role in Johnny Belinda. However, with the coming of Cinemascope he joined many directors in making big-budget, rather colourful entertainments including the first Cinemascope comedy, How To Marry A Millionaire, Three Coins in the Fountain, Woman’s World, Daddy Longlegs and many others.

1. The tone of the title, the answer implied in the title? The optimistic aspect for the ending? The title and it's suspense, sadness?

2. How did the film reflect the styles of film making in the forties and fifties? Black and white photography, music? The fact that the film was made five years after the wars ending?

3. What would have been the impact of the film in its time? Why? Its impact on women audiences? What were the major qualities of the film, as a war story, as a human document?

4. What did the film show about war and evil, suffering and cruelty, survival and pride? The disruption of ordinary life? Families and work? The sadness but yet the courage and resourcefulness to go on? What goodness and resources does war elicit from people?

5. The impact in the film of the Japanese war: in Borneo, the unexpected invasion, the invasion itself, relationships between white people and Japanese? Japanese pride versus English pride? The clash of attitudes? The implications of cruelty in prison life? (Did the film imply that it would be vice versa for Japanese prisoners?) Did the film give a fair cinematic treatment of the Japanese as people? In war?

6. How important for the impact of the film was its being based on fact? The type of woman that Mrs Keith was? Her book, background, experience in Borneo, her commentary during the film? Sympathies with facts of the war? The possibility of audiences identifying with the characters?

7. How important were the initial pictures of family life, pregnancy? The preparations for the invasion and the lack of preparation? How real did this seem? The impact of war in these circumstances?

8. How interesting a character was the Japanese captain? How much admiration could audiences have for him? Were audiences suspicious of him as being cruel? How well founded were these? The importance in his American backgrounded? His getting Mrs Keith to sign the book?

9. How did the film show the impact of family separations in war? The separate camps, yet so close? The chances to see relatives? Notes dropped by husbands? The need to survive for family's sake? The exchanges of notes, Agnes's going out to see her husband? The note exchange when they went to different camps? The impact of the uniting at the end?

10. What visual impact did life in the prison camps make? continually on the move, the tropical rains, the accommodation, the continual work, the washing etc? The inter-relation of the people: the women amongst themselves, friendships growing, hard characters clashing? The nature of the clashes? The taunting of the Japanese guards? The women being victimised? Suffering?

11. In this context, how important was Mrs Keith's trial sequence? Her standing by her word? The forcing of the confession? The torture and the silence?

13. How important were such sequences as Mrs Keith's rondavel with her husband, the torture sequences, the doctor coming for the baby and Mrs Keith's getting into bed wet? The importance of the sequence with the Australian soldiers, the joviality as at the deaths?

14. The dramatic importance of the Colonel and his seeking the autograph, his role in the camp, his explanation of his family, their deaths because of the Atomic bomb, his sadness, Mrs Keith's support of him, the party for the children? What was audience response to this? The underlying humanity of all peoples despite war?

15. What do films like this show of human achievement in suffering?

THREE CABALLEROS

US, 1944, 72 minutes, Colour.
Sterling Holloway, narrator.
Directed by Norman Ferguson.

One of the earliest Disney features, made during the war and released only towards the end of it. It had the backing of relationships between North and South America which were being fostered et the time. The film is an unusual blend of story, cartooned comedy, music put into visuals with skilful animation as in Fantasia. The film was popular at the time, considered too much part of the times for re-release but was popular in an abridged form in release in the 70's and 80's.

The Donald Duck character was popular from short cartoons and he carries the film here with three presents that he receives from Latin America. He enters into the spirit of the thing, especially in the Brazilian and Mexican scenes where he dances with live dancers. The character of Joe Carioca is also an enjoyable one, a guide to Latin America. There are pleasant little South American stories interspersed, some popular musical styles of the Carmen Miranda type of the 40's and some very dynamic and skilful and clever animation illustrating the music that is played. The title gave rise to the theme song which was also popular (and satirised very humorously in the 70's in Richard Lester's The Ritz). Interesting to compare with the visualised classical music of Fantasia to see what can be done with Latin American rhythms and visuals.

1. An enjoyable Disney film? The Disney basics of animation, humour, sentimental stories, patriotism? Its impact in the 40's, now?

2. The qualities of the animation? the standard presentation of Donald Duck, the humour of the story of the penguin, of the gaucho? The imaginative presentation of Brazil and Mexico? The visualising of the musical rhythm and the variety of colours, shapes, sounds? The interspersing of animation with live action? The variety and pace of the film?

3. Donald Duck as popular cartoon character? His characteristics? His particularly American style, especially as the ladies' man - or the ladies' duck! Joe Carioca and the rooster singing The Three Caballeros? The birds' stories?

4. North American and South American relationships? The popular attitudes towards Latin America and its vitality? How well were these presented here - with famous American singer dancers of the time incorporated into the animation?

5. The device of Donald receiving the three gifts and opening them and entering into them?

6. The story of the penguin and the humour of penguin society at the South Pole, his sailing up the map of South America, the little moral of his longing for home?

7. The gauchito and his trying to be a gaucho, the flying donkey, the humour of the race and the way that it was visualised? and the humorous narrative poem? the happy ending?

8. The vitality of Baia Baia and Brazilian dance, landscapes, rhythms?

9. The comparison with Mexico and the various dances? The stories about the children and Christmas? Donald and Joe on the magic carpet flying through Mexico etc.?

10. The Latin American dancers, both men and women, bands and the music? The glamour? Donald acting like an American wolf? The special effects, for example the dance with the cactus plants?

11. The avant garde type art illustrating the music and its growing acceptance over the decades? The skill of this type of animated art judged in retrospect? An entertaining and imaginative Disney film?

THREE BITES OF THE APPLE

US, 1967, 105 minutes, Colour.
David Mc Callum, Sylva Koscina, Domenico Modugno, Tammy Grimes, Harvey Korman, Aldo Fabrizi.
Directed by Alvin Ganzer.

A piece of fluff. It is frivolous and only slightly entertaining. It was a star vehicle for David Mc Callum who was a success in The Man From UNCLE series at the time. He is not a substantial actor. The eccentrically voiced Tammy Grimes is in support. However. it is Sylva Koscina as the adventuress and Italian singing idol of the sixties Dominico Modugno who are more successful. However, the scenery of Italy and Switzerland is much better presented than usual and compensates for the slightness of the plot It had possibilities but succumbs to a very ordinary presentation.

1. The significance of the title - man and woman, temptation and fall?

2. Romantic conventions? Gambling, the Englishman on the Continent? The European adventuress, the Italian husband, the elaborate swindle? Chases? Confrontations and the expected happy ending?

3. The contribution of colour photography, the European locations and their use? The score and the pleasant theme tune?

4. How credible was the plot? Stanley Thrumm as tourist guide, his naivety, English background? The accident of his winning the money? His being tricked by Carla, confiding in her, enjoying her company? The encounter with her in Rome, the plot with Aaron, the various devices use for smuggling, the money - especially with Miss Sparrow? The realisation of the truth, the confrontation with Ramon, with Carla? His learning by his mistake and his getting off the train at the end?

5. David Mc Callum and his naivety as Stanley? His work as a tourist guide, his relationship with his group? Miss Sparrow and her advances and her revenge? The farcical aspects of his going to Carla's room and to Miss Sparrow's? The swindle and his reaction to it? His fight with Ramon? How much did he love Carla? Was it credible that he would get out of the train at the end?

6. Carla as the Continental adventuress, the background of her marriage, using her ex-husband for the swindle, her manner of leading Stanley on, how much did she love him? Taking his money, the return? Would she have any future with Stanley?

7. The humour and satire in the presentation of the guests, their following the tourist routes, their mannerisms? Miss Sparrow and her advances to Stanley, her jealousy, the dog, getting the money across the border and her encounter with the Customs man, her writing the letter after his rejection of her, her reaction when Stanley announced his leaving at the dinner table?

8. Ramon as the pleasant Italian villain? his companion and her stupidity, drinking? His being hit on the nose, the chase and the fight?

9. The contrivances of the affluent romantic comedy? A success within its conventions, not?

36 HOURS

US, 1965, 115 minutes, Black and white.
James Garner, Eva Marie Saint, Rod Taylor, Werner Peters.
Directed by George Seaton.

36 Hours is based on a story by Roald Dahl, better known for his children’s stories, especially Willy Wonka, Matilda and the Witches. It was directed by George Seaton who had a strong career with a range of films which he also wrote including The Miracle on 34th Street, the film about the Berlin siege, The Big Lift, Grace Kelly’s Oscar-winning film The Country Girl, The Proud and the Profane. In 1962 he made another film about World War Two and betrayal, The Counterfeit Traitor. One of his final films was Airport.

The film is interesting in its basic premise. The Nazis capture an American officer, try to brainwash him into thinking that World War Two is over so that he will reveal the information about the allied invasion of Europe. James Garner is the officer and Eva Marie Saint plays the nurse who is coerced into being part of the elaborate confidence trick. The film also starred Rod Taylor.

The film has suspense intention – and is one of those very interesting stories based on hypotheses about what might have happened (the kind of thing that Jack Higgins does in his novels, especially The Eagle Has Landed).

1. Was this a good thriller? Why? What were the main features that engaged audience involvement?

2. Emotional response during this film? Especially to the basic methods of brainwashing and deception, and to the central hero? Why? On what responses and feelings did the film play? On what human fears?

3. Was the story plausible? Did such things happen during World War II? Was the idea a good one for war purposes?

4. With whom did you identify? How much with Geoff Pike? Why? How much with Anna? Did you identify at all with Walter?

5. The theme of torture? Reaction to the basic idea of torturing a man by eliminating his past? By deceiving him about his future? The torture of Anna in the concentration camps? Enforcing her to this job? The physical torture of Pike and Anna? The SS torture of Walter as regards his work and morale? Did you identify at all with Walter?

6. Pike a convincing hero? What kind of man was he? His aloofness when he discovered the truth? The need for escape and his response to these situations? Did he do the right thing at all times?

7. Anna: Did you like her when she was working against Pike? Were you relieved when you found that she had been forced into the work? Why? Why did she feel that she had to prove something to herself? How important was self respect to her? Why could she not weep? Was the end convincing as she vent off and wept?

8. Walter and his plan: Sympathy for him as a man? As a psychologist? In his relationship with Pike? response to the opposition from Shact? Why was it important for him to succeed? His self respect? What Nazi beliefs did he really have? Was his helping Pike to escape convincing? The fact that he would be killed? Why was it important to know when Pike had discovered the truth?

9. The role of Shact? Audience response to him as an SS man, as a Nazi? What aspects of Nazism did he embody? Why was he repellent? What was your reaction to his being killed?

10. The morality of the plan? Was this possible for use for good purposes? What effect would it have on a man's psychology and his personality when he discovered the truth? Could its use thus be justified?

11. Why was the film suspenseful?

12. The picture of collaborators during the war? Their heroism, their helping of others, what else could they do?

13. Was the escape well filmed? Why?

13 WEST STREET

US, 1962, 80 minutes, Black and white.
Alan Ladd, Rod Steiger, Michael Callan, Dolores Dorn, Margaret Hayes.
Directed by Philip Leacock.

13 West Street is a film about delinquency on the streets – indications of the violence that was to develop during the latter part of the 20th century.

The film is a star vehicle for Alan Ladd who had celebrated the heyday of his career in the mid-40s to the mid-50s. He is supported by Rod Steiger who had emerged in On the Waterfront and was building up a strong career which would culminate in an Oscar for his performance in In the Heat of the Night in 1967.

The film is directed by Philip Leacock, the British director who made The Kidnappers and moved to the United States. This was one of his earliest feature films but he achieved most in making a broad range of films for television in the United States.

Alan Ladd portrays a victim of violence in the streets. Steiger is the patient policeman who keeps steadily at his work. Michael Callan leads a young cast as a high school wealthy potential thug.

1. An interesting thriller? Its relevance in its time, now? Social themes?

2. Production quality, small budget, black and white location photography, the stars?

3. The tone and impact of the introduction: the background of space exploration, rockets? Audiences identifying with the professional world? The highlighting of Walt Sherill as a professional man and the implications for his subsequent behaviour?

4. Alan Ladd's style an Walt Sherill? His work, professionalism, intelligence? An everyman figure? His becoming a victim and the impact of this brutalisation on his life and attitudes? His becoming vengeful, rationalising his anger? The tooting of his patience to its limits? His changing and the growing obsession? His being unable to be persuaded by his wife or by Koleski?

5. The physical impact of the bashing? Its effect on his outlook, his reaction to later throats? His going to the same kind of violence in his own way?

6. How credible was the picture of Chuck? High school wealthy? His hold over his friends, his understanding the various personalities in his group? Seeing him at school, his wealthy home? His relationship to his mother? His callous feelings, lies? The importance of the investigator and the impact of his death? Billy? His threatening of Tracey? The various fears that he inculcated in people? His own fear of drowning? A credible thug? Considering what he did and why he did it?

7. The portrait of the other members of the group, their reaction to the various interviews with the police, their fears and the influence of Chuck, Billy and the interview in the shop. hanging himself?

8. The presentation of the police in Koleski? As a person, his skill and patience at his work, his expertise in his job? His reactions against Walt Sherill? The presentation of police work and the harassment of the criminals as well as of the victims? His working better with Tracey?

9. The portrait of police work with juveniles and their various methods?

10. The portrait of Tracey as the loving wife, her reaction towards violence, her reliance on Kolski's advice? The link with the high school? Being the recipient of threats? Her reaction to the gun? Deceiving Walt for the better?

11. The growing suspense and drama with the increased violence and deaths? Who was responsible? The important impact of Walt chasing the girl who was terrified of him? The role of the gun in American society?

12. The film an a moralizing fable about society, behaviour, the potential for violence?

2046

China, 2004, 128 minutes, Colour.
Tony Leung, Gong Li, Fae Wong, Zhang Ziyi.
Directed by Wong Kar- Wai.

Wong Kar Wei has made some bold films and directed the highly effective portrait of two lonely people and a restrained quest for intimacy in In the Mood for Love. Would 2046 continue in this direction? In the direction, yes, but…

In one sense, the film is inflated. It looks and sounds too big for what it is offering in terms of plot and characterization. Cinematographer, Chris Doyle, ensures that it looks good. There is a wide-ranging score - but here is a problem. Mixed with opera are a number of popular American songs ranging from Perfidia to Sway with Me and pop Christmas songs. They begin and then cut out in mid-sequence making us wonder whether this is a deliberate dramatic effect or whether they just finished and, too bad, the scene continues on.

Tony Leung, as in In the Mood for Love, can play handsome and suave, but his character here is a self-centred womanizer who claims that he has loved but gives very little sign of it in his exploitative behaviour. The women, though strong, are still his victims, even when they are played by (an older) Gong Li and Zhang Ziyi.

Contrary to publicity, 2046 bears almost no relationship to the year, the 50th anniversary of the unification of Hong Kong with China. Rather, it is a mythical place (as illustrated at beginning and end with some arresting computergraphs) where memories disappear (except for our hero's) and where the women are malfunctioning androids.

For those who like it, it will be a beautiful, even poetic, portrait of a lost man seeking meaning and intimacy. For those who don't, it is all a bit like the emperor's clothes.

1. The aesthetic and visual impact of the film? Aural? The difference between style and content?

2. Wong Kar- Wai and his career, his interest in relationships, direct presentation of drama, oblique presentation?

3. The title, 2046 as a place, memories, the room, the loss of memories, the hero going, the only one to return?

4. The opening and the computer graphics, the voice-over, the travel and the vehicle to 2046, the future? The men as human, the women as androids, broken down androids who need fixing? The issues of men and machines, women going wrong? This recurring theme throughout the film? The end?

5. The structure of the screenplay: the opening and 2046, the voice-over, the continued voice-over, Singapore in the 1960s, going back into the past? The transition to Hong Kong, Christmas 1966, 67, 68, 69? The references to Thailand and Cambodia? The insertion of news footage and the riots in Honk Kong in the mid-60s?

6. The overall action being confined within, a claustrophobic sense, the hotels, the hotel rooms?

7. The choice of Christmas for the recurring events, the popular American songs, on the soundtrack, suddenly stopping? The contrast with the opera excerpts? What did the musical selection indicate about East and West, popular and higher culture?

8. Mr Chow, Tony Leung's screen presence, in himself? Good looks? Journalist? His comment about 2046, memories, identity? Relationships, one-night stands? The reference to his novels? The quality of his life, his relationship with the women, his past loves? The relationship with Su, the cards, the ace of spades, her black glove? The stabbing to death of the woman in the room next door? His memories, the younger woman, the interaction with her, the affair? His later lifestyle, gambling and its effect?

9. The owner of the hotel, the death by stabbing, his wanting to stay in the hotel, room 2047 and getting used to it? His long stay in the hotel?

10. The young woman, in herself, age and beauty, the range of her clients, the noise against the wall? Her liaison with Mr Chow? The sexual relationship? Eating with him, the question of money? The effect on each of them? Her going, his grief, her return?

11. The man and his daughters, the marrying of the Japanese, the writing of the letters from Japan, Mr Chow helping by posting them? The other daughter? On the roof? Suicide?

12. The fate of women compared with that of the men? Mr Chow and his self-centredness, ego? Did he grow in maturity as a person? Or was continually seeking? And expressing regrets?

THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES OR HOW I FLEW FROM LONDON TO PARIS IN 25 HOURS 11 MINUTES.

UK, 1965, 138 minutes, Colour.
Stuart Whitman, Sarah Miles, James Fox, Alberto Sordi, Robert Morley, Gert Frobe, Jean- Pierre Cassel, Irina Demick, Eric Sykes, Red Skelton, Terry- Thomas, Benny Hill, Flora Robson.
Directed by Ken Annakin.

Those Magnificent Men In Their Flying Machines (kept ever-popular by the song which is played many decades later) was one of the most popular films of 1966. It began well with credit cartoon sketches by Ronald Searle (1066 And All That) and continued with wonderful sets, costumes and décor, and the flying machines themselves. Set at the beginning of the 20th century, it celebrated the invention of planes and the competitiveness that gripped people in the races across the Channel, which were to lead in the 20s and 30s to all kinds of flights and attempts to break records for London to Australia, London to the United States, around the world etc.

Stuart Whitman is the American hero along with Sarah Miles as the very British heroine. There is a mixture of nationalities for the various competitors and their backers – with Eric Sykes and Terry- Thomas adding the comic strip type of villainy.

There are many guest stars and the film is full of cheerfulness as well as adventure.

The film was written by Jack Davies who wrote a number of popular British comedies including The Fast Lady, Father Came Too, Doctor in Clover, Gambit. It was directed by Ken Annakin who had begun work in small-budget British films, moved to work for Walt Disney in Britain with The Sword and the Rose and Rob Roy. He was to move to Hollywood to work for Disney with such films as The Swiss Family Robinson. During the 1960s he also made bigger-budget films like The Battle of the Bulge.

1. The popularity of this film over the years? The production values? The trip down memory lane? The fascination with planes? The basic plot of the race? Competitiveness and rivalry? Romance? The gallery of the cast? The comedy? How well did these elements combine to produce classic comedy entertainment?

2. The contribution of the colour photography? The recreation of the turn of the century in sets and decor? The special effects with the planes themselves and their variety, flight, accidents, stunt work? The contrast between England and France? The international touches? Italy, France, Japan, the United States? The visual compositions? Visual humour? The contribution of Ronald Searle's cartoons for the credits? The contribution of Red Skelton's humorous prologue? The musical score by Ron Goodwin and the theme song?

3. The basic plot conventions: stolid hero, American rival, vivacious leading lady with eccentric Robert Morley-like father? The establishing of the race? The nationality jibes? The poking fun at the British? The race itself - heroes and villains as well as incompetents? The atmosphere of competition? The momentum for the finale? The romantic ending? How well did the film use audience expectations to carry them along with the entertainment?

4. The echoes of pioneering and competitiveness of early aviation days? Orville and his American stunt work? Richard and the British reputation? Aviators from around the world? The pre-World War I world with glossy and happy international peace? Echoes of rivalry and war? Empire and the decline of Empire?

5. How well sketched were the characters - the reliance on stereotypes and enhancing them with charm and humour? Orville as the American hero ? drawly, poor, romantic in the eyes of the English heroine, his assistant? Establishing him in the American sequence? His behaviour during the flight? His gallantry in helping others? Winning Patricia? The comparison with Richard and the opening of the film, his suggestion of the race, courting of Patricia, formality? The English relying on him? Brisk British success?

6. Sarah Miles as lively and attractive heroine? Beautiful in her turn-of-the-century costumes? vigorous in her anticipation of women's liberation? Her involvement in the race? Attraction towards Richard? Love for Orville?

7. Robert Morley's typical poking fun at the English as Lord Rawnsleigh? The background of the British in establishing the race? the range of officials of various nationalities throughout the film with humour?

8. Terry Thomas as villain - snarling, devious? Sir Percy Ware Armitage? Eric Sykes as his evil assistant? The comic book evil? Their taking the plane across the Channel, their comeuppance with the tunnel?

9. The heroes of various nationalities: Count Emilio Ponticelli his injuries, success, wife and children? Pierre Dubois - dashing, introducing him with his crash on the island with the girl being painted and finding her throughout the film with various names? The Japanese Yamamoto and Japanese courtesy? The Germans and their heavy formality, the captain being poisoned? Gert Frobe as Colonel von Holstein and his using the book of instructions? Harry Popperwell and his inventions - flying backwards?

10. The gallery of supporting characters who gave life and humour to the film, for example the nuns in the convent? the elderly couple, the various officials?

11. The excitement of the race, the conventions of rivalry and dangers? The comic set pieces? The atmosphere of the finale?

12. The film's comment on human progress, vision as well as failures in Red Skelton's prologue?

13. A satisfying comedy? A film indicating the capacities of cinema for spectacular comedy?

THOROUGHLY MODERN MILLIE

US, 1967, 138 minutes, Colour.
Julie Andrews, James Fox, Mary Tyler Moore, Carol Channing, John Gavin, Jack Soo, Pat Morita, Philip Ahn, Anthony Dexter, Beatrice Lillie.
Directed by George Roy Hill.

Thoroughly Modern Millie was very popular in its day, in the middle of the 1960s. It looked back with some kind of affection to the Roaring 20s and the flapper era (getting all kinds of award nominations for its set design, costumes as well as musical score). It tells a rather plain but frivolous story of a Kansas girl who comes to New York to see the wild ways of the Roaring 20s in the big city, plans to become a secretary and marry her boss. She meets an aspiring actress, Miss Dorothy, but also sees the seamier side of the era with an abduction and an expose of the white slave trade (especially in the formidable and sinister form of Beatrice Lillie).

James Fox and John Gavin are the leading men and Mary Tyler Moore is Miss Dorothy.

The film is a star vehicle for Julie Andrews. Having made an extraordinary impact on Broadway with her creating the role of Eliza Doolittle in My Fair Lady, she lost out for the film version to Audrey Hepburn. But, by chance and fate, she won the Oscar for best actress the year that My Fair Lady won for best film with her performance as Mary Poppins. She capped that, of course, in the following year with Maria von Trapp in The Sound of Music. Julie Andrews had a big film career at this period including Torn Curtain directed by Hitchcock with Paul Newman, Hawaii with Max von Sydow and Richard Harris, Darling Lili with Rock Hudson and the film version of Gertrude Lawrence’s life, Star. This is a reminder of the bright screen presence and vivacity of Julie Andrews on screen.

The film was directed by George Roy Hill who had directed Julie Andrews in Hawaii. Hill was soon to direct Butch Cassidy and the Sundance Kid and was to win an Oscar for best director for the Newman-Redford? comedy, The Sting, in 1973. Carol Channing is an odd screen presence (was nominated for an Oscar for best supporting actress in this role and won a Golden Globe for it). She was more of a stage personality – perhaps her screen presence was too strong and eccentric.

1. The success of the film as a musical? The appeal of a musical? conventions of music, song and dance, choreography? The realism of a musical plot? The nature of the characters and their portrayal?

2. The main impact of this musical? The stars, music, parody of the twenties?

3. The film's use of colour, widescreen? The detail of New York in the twenties? The music styles of the times? The contribution of the dances and their humour? The detail of the New York world, shops and offices, cars and planes, fashions, houses, work? The atmosphere of the White Slavers?

4. How important was this build-up of atmosphere for the plot? In terms of realism, humour?

5. The significance and emphasis of the title? The mocking in Thoroughly Modern Millie as trying to be modern, hard and callous? Ambitious and finding a husband? The title song and its lyrics? The fashions and thoroughly modernness? The humour of the silent captions? Millie and love and romance and her modernism?

6. How attractive was Millie as a person? The presentation during the credits and the background of the song? Her style, ambitions? Julie Andrews as heroine? Her appeal? Her determination to fall in love, the emotional mix-ups? Her relationship with Miss Dorothy? Her love for Jim, admiration for Trevor? What did she learn from Muzz? The conflict with Mrs Meers? The true heroine in the climax at the party,
the chase?

7. The contrast with Miss Dorothy? Her used to being waited on? Yet living in poverty? The satire on the rich girl trying to be poor? Her attractiveness? Dependence on Millie? Falling in love with Trevor? Her being captured by the White Slavers? The final rescue and the revelation?

8. Jim as a character? How attractive? The truth behind his identity? His meeting Millie and the Tapioca Dance? His naivety? The sequence where they all fell out the window of the skyscraper? The final revelation of the truth?

9. The presentation of Trevor? The heroic young man? The object of Millie's adoration? The picturing of him in pose? His being paralysed by the darts and posing? The perfect match for Miss Dorothy? The satire in the characterization?

10. How enjoyable was the discovery of the true identities? The truth? The nature of the build-up and the deceit? Audiences identifying with Millie's suspicions? Her relief and the happy ending?

11. The importance of Muzz? Carol Channing's contribution to the musical? Her relationship to Millie and Dorothy? Her philosophy of love and marriage and its influence on Millie?

12. The suspense and the humour of the White Slavers? Mrs Meers as sinister? Her Chinese assistants? Their reappearance? Mrs Meers' attempts to kidnap the girls and their backfiring?

13. The comedy sequences? The contribution of the music? The White Slavers, car chase, the theatre incident?

14. The importance of detail in the film and its quality?

15. The themes of men and women, thoroughly modernness, love and romance, wealth and poverty, ambitions? How well explored with a light touch?

THIS ISLAND EARTH

US, 1955, 87 minutes, Colour.
Jeff Morrow, Faith Domergue, Rex Reason, Lance Fuller.
Directed by Joseph M. Newman.

This Island Earth was one of many B-budget science fiction features of the mid-1950s. It was the era of films like When Worlds Collide, It Came From Outer Space as well as creature movies like Creature from the Black Lagoon.

These films were considered B-pictures, generally support features rather than main features. However, they had a directness of storytelling, acceptance of the conventions of the genre which means that they are not stuck always in the time of their production but are plain and straightforward storytelling for all periods.

This film is a variation on The War of the Worlds. Aliens from the planet Metaluna come to Earth really to take it over but on the pretence of getting scientists to help it during its energy crisis. Needless to say, there is a sinister power who wants to trap the doctors and also to destroy Earth. Also needless to say, there is a happy ending with the destruction of Metaluna, the help of a friendly humanoid from the planet who helps the doctors back to Earth.

Jeff Morrow is the humanoid, Rex Reason is the rather stolid doctor and Faith Domergue his glamorous partner.

The film was directed by Joseph M. Newman who had directed numerous features from the 1930s. His heyday was perhaps at 20th Century-Fox? around 1950 where he did a number of bigger-budget films for them including The Outcasts of Poker Flat, Red Skies of Montana, Pony Soldier.

1. The quality of the science fiction, the appeal of science fiction: past interpretation of the present by the future? Insights into society and its crisis via science fiction?

2. How plausible is the plot? the choice of California, the experiences as in the 50's, now? Future? Audience identification?

3. The quality of the colour, the gadgets, the effects? the future? Audience response to the special effects?

4. The title, the emphasis on earth as an island, the other planets, and its effect? The interaction of the planets?

5. The energy crisis and its detail, the attack, a projection to space and the future? how well drawn out?

6. The choice of colour? Earth and the identification with earth and its crises? The melodramatics?

7. The presentation of aims, crises, deaths?

8. The details of the war and its affects, crises?

9. The building of the escape and all in its involvement in it?

10. The enjoyment of the film, the significance of its message?

THIS HAPPY BREED

UK, 1944, 105 minutes, Colour.
Robert Newton, Celia Johnson, Amy Vaness, Alison Leggatt, Stanley Holloway, John Mills, Kay Walsh.
Directed by David Lean.

This Happy Breed is a quotation from Shakespeare from Richard II. It is a glorification of England, “This sceptred isle, this happy breed.”

The film was based on a play by Noel Coward, Coward’s attempt to present ordinary English people, their pluck and stubbornness during the period between the wars. Robert Newton, in a rather toned-down performance, is the head of the Gibbons family. His wife is played by Celia Johnson (who was to feature in the celebrated film version of Coward’s Brief Encounter, also directed by Lean). The other family featured is the Mitchell family, with the brothers played by Stanley Holloway and John Mills. Mills was to work for Lean in such films as Great Expectations, Hobson’s Choice and was to win an Oscar for best supporting actor for Ryan’s Daughter. Kay Walsh appears as Queenie Gibbons. She was to appear to great effect as Nancy in Lean’s Oliver Twist.

While Noel Coward is best remembered for his glittering and smart plays such as Hay Fever and Private Lives, he was also very patriotic, contributing to the screenplay and performance of In Which We Serve, collaborating with Lean.

David Lean was at the beginning of his directing career. He was to make Blithe Spirit, which meant that his first four films were collaborations with Coward. He then moved to his classic adaptations of Dickens with Great Expectations and Oliver Twist. From 1955 he made only eight films over thirty years. They were long, epic in their style: Summertime with Katharine Hepburn, The Bridge on the River Kwai for which he won an Oscar for best director, Lawrence of Arabia for which he won another best director Oscar, Doctor Zhivago, Ryan’s Daughter and A Passage to India.

This film is the archetypal portrait of the image of British people, especially up to the period of World War Two.
1. The meaning and tone of the title? The Shakespearian background of Henry II? The patriotism and the glory of England? Was this tone evident throughout the whole film?

2. The film is considered a classic. Why does it deserve its reputation? What is its main impact? What are its main qualities?

3. The film was produced after World War Two. Its impact in England then? The contrast of its impact now? Has it lessened or continued?

4. Comment on the quality of humanity throughout the film, the presentation of human beings and human situations. Comment on the quality of realism: London, the house, the people and the ordinariness of their interactions, the details of ordinary life. Comment on the British quality of the film, the actors and their styles, the English values commented on, criticised, praised.

5. How successful was the presentation of London? the structure of the film and London of England? The focus on the years of living in the house? The theme of 'between wars'? The presentation of the dates and the choosing of various years for emphasis? The structure of a family growing up? How did the audience respond to this structure and how did it involve them?

6. Comment on the use of colour for this film. How was it to the film's advantage? If the film had been made in black and white? Comment on the musical commentary of the film.

7. How typical a British family of the time was the Gibbons family? How did the film present them as typical? The middle working class, their background, their life in London, work, recreation, values, ways, the detail of weddings and funerals The ordinary audience identifying with the family? How was interest in the family kept? How much sympathy for the various characters? How much warmth? The presentation of their good and bad and audience response to this?

8. What were the main characteristics of this family? As a family, as British? What values did they hold and stand for? Twentieth century values, British values? Family life, work and recreation, love and bickering etc.? Patriotism and war?

9. How well did the film keep Ethel and Frank as central? Their settling into the house, Frank gaining work after the war, the family, the responsibility for the family, love, the reserve between Ethel and Frank, the happiness of next door neighbours? The fairground sequences and the relationship between the two? The Christmas sequence, weddings, shared sorrows? How good a man was Frank as a husband and father, as an army man, as a friend, as a suburban man with his garden, his offering advice to his children, advice for Reg, warmth for Queenie? How good a wife and mother was Ethel? Her relationship to Frank? The quality of her love, her fussing and complaining and tiredness? Her relationship to her sister-in-law?

10. How interesting a couple were Vi and Sam? Sam as a rabble rouser, Vi telling him off yet loving him? The details of the wedding? The presentation of them in the years after their marriage? How did they change? A typical young couple of the time?

11. The presentation of Reg? Being led astray by Sam? Phyllis' rebuke of him and worry? The scene with his father when he was wounded? His preparation for his marriage? The advice of his father to be faithful?, The suddenness of his death and its impact on the family?

12. How well did the film show the contrast between Queenie and the others? Her bickering with Sam at the Christmas dinner? Her wilful attitudes? Her love for Bill and yet her presentation of herself in truth? Why was she dissatisfied with the Gibbons, life? Her behaviour in the preparations for the wedding? The fact that she drove herself away from home? That nobody could tell her that she was making a mistake? The regrets of the family? Was Ethel's reaction too severe? Was it understandable, do we agree with it? Was Frank's attitude more realistic? How happy did the film become when she returned? The possibilities of her salvaging her mistakes? The support of Bill?

13. How interesting a family were the Mitchells? The fact that the mother was never seen although talked about? Bob as an army man, a friend of Frank, a good neighbour? The visits that he made, the drinking sessions together, the sentiment when they moved away from London? The realistic presentation of neighbours in Bob Mitchell? As a sailor, his friendship with the family, with Reg, his love for Queenie and wanting to be faithful to her, his disappointment and his coping with this, his helping Queenie when she needed it, future happiness and its possibilities, the irony of their going to Singapore before the war?

14. How humorous and realistic was the presentation of Mrs Flint and Sylvia, the realism of their bickering, the hurt in the family, the dramatization of neglect, of illness? The grief of Mrs Flint at Reg and Phyllis' death? The last time we saw her? Sylvia's change and the humour of her going spiritualistic?

15. How much did this film rely on detail for its impact? How well done was this?

16. Comment on the filming techniques. the use of close-ups of family groups, of tracking shots, especially at the announcement of Reg and Phyllis' death, the camera remaining in the room and Ethel and Frank coming into the house etc.

17. How important were the themes of this film: family life, men and women, ordinariness, war, patriotism?

18. How important was the background of Baldwin and the war, people's reactions and patriotism, Bob's and Frank's attitudes and their contrast? What impact would this have had in the aftermath of World War Two? The film's message for its time?