A TIME FOR LOVING

UK, 1971, 104 minutes, Colour.
Joanna Shimkus, Mel Ferrer, Britt Ekland, Philippe Noiret, Susan Hampshire, Mark Burns, Lila Kedrova.
Directed by Christopher Miles.

A Time for loving is based on a screenplay by celebrated French playwright Jean Anouilh. Anouilh was involved in French cinema from the 1930s, contributed to the screenplay of the classic Monsieur Vincent and to Duvivier’s version of Anna Karenina in 1948. he was celebrated for his plays on Joan of Arc, The Lark, and on Thomas a’Becket, Becket. Peter Sellers starred in a film version of his play Waltz of the Toreadors.

The film was directed by Christopher Miles, brother of Sarah Miles, who directed such films as The Virgin and the Gypsy from a D.H. Lawrence story.

The star of the film is Canadian actress Joanna Shimkus who starred in The Virgin and the Gypsy as well as Marriage of a Young Stockbroker. She had appeared with Sidney Poitier in The Lost Man in 1969. She retired from acting and married Sidney Poitier.

The film was also known as Paris Was Made For Lovers. The film is set in a hotel and has three separate stories of relationships, love, fidelity and infidelity.

1. The significance of the title, indications for meaning and theme?
2. The importance of the structure of the film? the hotel as a central place, the rooms? The portrayal of the men and the women and their parallels? The fact that the film was written by Anouilh, with his background of the stage? How theatrical was the film in its structure? The importance of the use of flashbacks? Bringing them together at the
end? How were audiences involved in each story, with comparisons?
3. The film's use of Paris for atmosphere and meaning? The city locations, the Parisian style of people, manners, housing, the streets, the shops, transport? The Parisian musical style? How would the film have been different if another city had been the location?
4. Here the stories merely love stories? Something more? Moralising?
5. The importance of the house, the studio, the details of the studio, for example the hat-peg, the rooms? The importance of the young couple trying to make love, detected, their explanation, Jeff and Patricia letting them be? The significance of the beauty and lightness of love?
6. Story One: The cynical meeting again of. two lovers, their memories of their first night, the parallel with the young couple? The elaborate detail of the preparations of Jeff, what he bought for the meeting? The romantic anticipation? The bittersweet encounter? Patricia and her presence? The transition from romance to cynicism? The fact that they were cheating on their spouses, the way that they had lived for fifteen
years, the hardness, their memories? What did the film say was the truth
about each of them? The insight into men, women, their loving relationships,
time and change?
7. Story Two: How attractive was Joan in herself? Her work at the hospital and her training? Her efficiency at her work? Her love with Dr. Harrison? The doctor himself, his background of marriage, promotion to the Academy? The quality of their relationship? How much love, how much dependence? Joan building up experience and the doctor understanding this? The
breaking and the effect on each? The realisation on the part of each of what the love affair meant? The doctor's lonely evening? Their final side-by-side presence? Then the doctor at the Academy? Joan with a new boyfriend? The insight into men, women, loving relationships, time and change?
8. Story Three: The contrast with the farcical style, the character of the henpecked man? Marcel as an engaging character? A bumbling man? His work at the office, what type was he? His mother and her hold over him, her tantrums? His wife and her haughtiness? Her elegant style? The presence of the friend at these meals etc.? The contrast then with Josette? Her superficiality and lightness? The way she had the house done up? Her relationship with the music teacher? The music teacher encouraging her? The role of the musician who came for lessons? The importance of the background of the war, Marcel’s involvement in espionage?
The build-up to the party? The humour of Marcel's having to eat the oysters with the three women? The importance of understanding men, women, loving relationships, depth and superficiality, time and change?
9. The film's moralising about the nature of love, its permanence and temporary aspects, bitterness and break-off, affairs and memory? The effect on the memories of men?
10. What comment did the film make on the main men in the film? Their weakness and their ability to be imposed on? The strength, even hardness of the women? Their resilience?
11. The return to the room at the end, the significance and atmosphere of the room and the hotel, its being bombed, the three men together? What had been achieved?

TALES OF MANHATTAN

US, 1942, 127 minutes, Black and white.
Charles Boyer, Rita Hayworth, Ginger Rogers, Henry Fonda, Charles Laughton, Edward G. Robinson, Paul Robeson, Ethel Waters, Eddie (Rochester) Anderson, Thomas Mitchell, Eugene Palette, Cesar Romero, Gail Patrick, Roland Young, Elsa Lanchester, George Sanders, James Gleeson, Harry Davenport, J. Carroll Naish.
Directed by Julien Duvivier.

Tales of Manhattan is one of the earliest omnibus films that achieved great popularity. It comprised five different episodes (one with Betty Fields was eliminated from the final print, it is said, because the film was already long enough).

The film was directed by veteran French director Julien Duvivier who had made such films in France in the 30s as Pepe le Moko. He was to remain in Hollywood during the duration of the war and then to return home. While in Hollywood he made another omnibus film, Flesh and Fantasy.

The quality of the film varies. It takes a device, later used very frequently, for example in The Yellow Rolls-Royce?, of something going from one group to another and this story revolves around this central object. In this case, it is a coat.

There are interesting performances by several stars, especially Charles Boyer who has a chance to do a variation on his romantic lover with Rita Hayworth looking very glamorous (but not articulating so well). There is a good comedy routine between Ginger Rogers and Henry Fonda. Edward G. Robinson is quite striking in his episode as is Charles Laughton in his.

There is an African American story at the end which looks rather dated in its style and looks somewhat patronising. However, overall, the film is quite entertaining. It started a fashion in English and American films which Italy followed in the 1960s.

1. The appeal of the omnibus film? The coat as the central aspect of the various stories, the linking of the various stories by the adventures of the coat? The variety of the stories in entertainment style? The comment of one story on another with the portrayal of different characters, different situations, classes, sense of right and wrong – each in linking with the coat?

2. An entertaining film during the war period? The cinema styles of the 40s? The influence of this film on other similar films?

3. Black and white photography, sets and locations, the musical score? The use of so many actors in the varies stories? The film by a French director? Is this evident? His sympathy for the American style of cinema as well as American stories? Dramatic style, tracking, close-ups etc?

4. The fable atmosphere of the various stories? The different backgrounds of the individual characters, wealth and poverty, class, luck? The irony of the coat on the scarecrow at the end, after the big build-up about the quality of the coat at the beginning?

5. Audience interest in the suit, what happened to it? The ambiguity of the title of tales as stories and the tail of the coat?

6. The romantic and melodramatic impact of the first story? The initial focus on Paul as an important actor, getting the coat for his performance, acting style, the story of the coat and its bad luck? The performance and the audience thinking for a moment that he was to be shot – and the irony of this melodramatic plot being used with Ethel and her husband? Ethel and the jinx on the husband’s performance, his hurrying away to see her? The confrontation with Ethel? How was she acting, how genuine? Did she know the truth when she spoke it? Confrontation with her husband, melodrama and shooting? The irony of Paul’s acting and the reaction of husband and wife to his dying, his not dying? The irony of his really being wounded? Portrait of matinee idol type? Ethel and her glamour, fickleness? The jealous husband and the lengths she was driven to? Décor, especially the room with so many horns, and the irony of the symbol of cuckolding? The guns, the symbolism of the gun? The discussion about the alibi, the hole in the suit and its presence throughout the other story? Luther and his taking Paul to hospital? The moral of this episode?

7. The linking with Luther and Edgar and the borrowing of money and the selling of the suit?

8. The humour of the Diane-Harry-George? story? Fashionable New York setting? Harry as a romantic type, lies, the letter from Squirrel, his relying on Edgar and George to get him out of a difficult situation? Diane and her marrying, Ginger Rogers and her style, love for Harry? Ellen and her snooping, Diane defying her, the irony of their finding the letter, reading it? The humour of the symbolism of the letter and the way that it was used throughout the episode? Harry and his devices for getting George to take over and own the suit? Edgar and his very British trying to cope with the situation? The personality of George, Henry Fonda acting his naïve comedy role? His stories and trying to cope with Squirrel’s letters? The scenes between the two, the inevitability of George and Diane falling in love? The humorous arrival of Squirrel and the showdown? The romantic screwball comedy traditions of the 30s and the way that they were used? The moral of the story?

9. The linking with the Smith story? Mrs Smith and her seeing the coat? Smith and his playing the piano and audiences thinking he was in a better situation than he was? Charles Laughton’s style in this role? His hurry to the interview, the portrayal of the orchestra and the temperament of the conductor? The interview of Smith with the conductor, the fulfilment of the dream of instant success? The humour of having to get the suit and the coat being too small? Audience response to Smith’s conducting, the tearing of the coat, the growing laughter throughout the theatre? The reaction on the audience, on Smith, on the maestro? Smith and his weeping? The maestro taking off his coat and leading the audience to do the same? Their response and the success? The character of Mrs Smith and her response to her husband’s success? A genial success family? The comment on rude audiences, hypocrisy? The device of having the latecomer arrive and find people with their coats off? A blend of sentiment and humour?

10. The transition of the coat to the mission? The manager of the mission and his relationship with the alcoholics? His family helping? The letter coming for Barry and the minister taking it to him? The visual portrayal of Larry as an alcoholic, with the garbage? Persuading him to go to the party, the preparations with the coat? Their hopes? The types at the party, American upper-crust society and the reunion? Larry and his stories about China? The personalities of the various men and their success in their careers? His genial talk with the professor? With Hank? Williams and his hostility? The irony of the loss of the wallet, Williams and his nasty devising of the court case? Larry’s immediate reactions? The humour of the speeches and yet the threat and pressure on Larry? His taking over the speech, the revelation of his past and lack of success? The failure of his marriage, the revelation about his shirt? The humiliation? The pleasantness of the visit and, while Larry arrived home drunk, the possibility of success? Good humour, good nature and sentiment?

MAYFLOWER MADAM

US, 1987, 92 minutes, Colour.
Candice Bergen, Chris Sarandon, Chita Rivera.
Directed by Lou Antonio.

Mayflower Madam was the name the media gave to Sidney Biddle Barrows, American society woman who ran an escort agency in New York. After the police invaded her premises, she was the subject of media scrutiny as well as the possibility of court proceedings. However, according to the film, charges were dropped because of the threat to expose the public figure clients of the escort service.

This film was co produced by Sidney Barrows herself and presents a benign view of her and her ambitions. Wealthy, descended from a Mayflower Fleet family, she wanted to work and to own a business. Temporarily working as a telephonist in a grubby escort service, she decided she could do better and give the girls freedom to stay with the men hiring them or not. She ran a chic service for about six years until it was broken by the police.

The film presents her sympathetically in the person of Candice Bergen. Some of the dialogue raises the questions about prostitution, financial dealings, the exploitation of women by men. The finale is somewhat open-ended (except for the fact that Sidney Barrows was working to make this film.)

1. Interesting telemovie? Focus on a personality? Contemporary issues? Moral and legal issues of prostitution and escort services? The dramatisation of the situations?

2. New York locations, the affluent world of New York, escort services, clientele? Wealth and society? The musical score?

3. The title and the press's name for Sidney Biddle Barrows? The irony of her being a descendant from the Mayflower? The religious stances of the pilgrims? American values, morals, double standards, hypocrisies?

4. The structure of the film: the timing of the raid on the apartment, the police waiting, Sidney arriving? The flashback to six years? 1Makinz credible Sidney's character, her employment difficulties, her decision about the escort agency, the risks she ran, her beliefs, treatment of the girls, court proceedings? The moral perspective on Sidney Barrows? The film's perspective? Pro and con?

5. Candice Bergen as Sidney Barrows: her background, the rich family in New Jersey, the ceremony with the Mayflower descendents being applauded? Her friends? Her decision to work, the criticism of her attitude in not taking orders, being fired? Her interviews for jobs? Her friend, telephonist work at the agency, her manner, decision to stay? The boss and his hard line? Her concern for the girls? The decision to start her own business? Interviewing the girls, making up their names, buying their clothes? Cachet? Chic, the phone voice, the clients, the style, the money exchanged? Rules for girls and clients? Her success, the increasing business of the agency? The changes in the girls over the years? Her meeting with friends, Pam discovering the truth? Her friendship and relationship with Matt, the initial meeting of him, talking to him, her ambitions, the relationship, his house, his career, unable to contact tier? Her decision to tell him the truth? His dislike of the truth? With her, the break with her? Meeting him at the market? Her inability to be a partner? The raid, her being put in prison with the prostitutes, in court, the case by the District Attorney? The support of her lawyer? The dropping of charges? Her talking with Pam at the Mayflower ceremony? Going off by herself? Credible personality, character? Decisions and behaviour?

6. Matt and his place as a lawyer, relationship with Sidney, the outings, listening, his own career, living with Sidney, the passing of the years, his wanting something more permanent, suspicions of her, his inability to understand her motives, face the truth? With another woman and later encountering her?

7. The background of Sidney's family, the visit with Matt to the New Jersey mansion and her talk about being there on invitation with a ticket? Her ambition to be successful herself? Pam, the aristocracy of New York society? Her place in this, moving, away from it? Disowning her?

8. The focus on the girls, those working for the escort manager and the brutalisation, his taking the money? Mona and the other girls, the friendship with Sidney, their training, background studies, training for the theatre? hating poverty more than sin? Their style, their clients? The encounter at the opera with the French businessman who admired Sheila's voice, Matt as knowing the truth about Sidney? The arrest of Mona by the police? Their being put in court, the intern and her being sacked, the girl arrested after the first night? Pros and cons of callgirls, escort agencies, their pandering to their male clientele?

9. The police, the complaints by the manager and his son, eviction notice, contact with the police, the preparation for the raid, the carrying out of the raid? The District Attorney and the prosecution? The deal with Sidney's lawyer?

10. Prostitution in contemporary society? The focus on men? The focus on the women? Management? Morals and the law?

MALACHI'S COVE

UK, 1973, 75 minutes, Colour.
Donald Pleasence, Dai Bradley, Veronica Quilligan, Peter Vaughan.
Directed by Henry Herbert.

Malachi's Cove is a small film but beautiful and warmly recommended. Based on a short story by Anthony Trollope, set in Cornwall 1880, the striking photography of coast and village invites us into the atmosphere of the times and the lives of the village people, happiness, squabbles, religion, but especially into the lives of old Malachi and his granddaughter who make their living gathering and selling seaweed from the rocks. Donald Pleasence gives a fine performance that is matched by the young Veronica Quilligan. Their obscure lives, struggles, joys and sorrows become very important as we watch them and explore their simplicity and values. A beautifully human experience.

1. The title, the focus on Malachi, on the Cove itself? The 19th century atmosphere, the world of a short story of the time, Anthony Trollope and his outlook? A satisfying visualisation of a short story?

2. The importance of the 19th century setting, 1880, Cornwall, the beaches, the house on the cliff? The presentation of the village, shops, church? The atmosphere of the village to help us understand Malachi and Mally? How well drawn was the village and its way of life, the attention to detail?

3. The importance of the Cornish environment for understanding the characters: old Cornish legends, old Cornish language and sayings, the poverty of Malachi's house, the parents killed in the water, the seaweed as a way of life, selling it? Barty and his experience on the cliffs and rocks?

4. The film's communication of the atmosphere of Cornwall: the sound of the language, the songs, the isolation, the simple way of life, the loneliness, the spirit of that part of England?

5. The focus on Mally: an attractive young girl, her isolation, dirtiness and poverty, charm and humour? A growing girl alone with her grandfather? The revelation about her parents and the flashbacks and the times that they appeared: in her encounter with the Gunliffes, her sitting watching the coastal scenery, her visit to the graves? The effect of her parents on her, their absence? Her grandfather and his looking after her? Her complete dedication to her grandfather? Jezebel the donkey as some companionship?

6. How important was the minute detail in which Mally's life was presented: with Jezebel, at work on the cliffs and on the shore for the seaweed, the bags, the sails? The detailed presentation of her home and its dinginess, her grandfather and his gin and tobacco and medicine? Her visit to the shops and the lack of money? Her visit to the doctor and the colour of the medicine? Her encounter of the fisherman on the cliff? Her visit to Mr. Carew and her discussion about the rights of private property? Her chats with the minister and his visit to the home? His kindly conversation and understanding, wanting to reconcile the families? Her visit to the church, her sleeping, her memories, Barty and his reaction, her wandering amongst the graves, the minister trying to help her with the families?

7. The portrayal of the Gunliffe family? The father and his work and his hesitation to help Mally for her parents? Mrs. Gunliffe and her bitterness and her rudeness to Mally? The confrontation at the end? Barty and his poking fun at Mally so often, raiding the cliffs for the seaweed, their rivalry? Mally and the revelation of the reason for her hatred of them? Her spite? The encounter at work, at the church? The confrontation at the end. daring Barty and his fall? The momentary hesitation about leaving him? Her rescuing him and being confronted with accusations of murder? The bitterness of Mrs. Gunliffe and her attack on Mally? The discovery of love and friendship in Mally? The happiness of the final scene after the reconciliation?

8. The weed merchant and his sons, the humour of the characterization, the wisdom of his advice to Grandfather?

9. The portrayal of Grandfather: his work on the Cove, building the house, his daughter and her death? What kind of man was he in himself, his grumpiness, his legs and their pain? The way of life in the house, sitting, smoking and drinking, the medicine, Mally putting him to bed, preparing his meals? His advice? His wanting her to be free? His warnings to Barty? The importance of his going down the cliff to help Barty? The vehemence of his final outburst but his realization that Mally had to be free? A sympathetic portrait of a crusty old man? The humanity in the character?

10. The character of Barty, his mother spoiling him, his father slinging off at him? His work, with the girls from the town, the church episode, his being slapped? The impact of the accident, his gratitude to Mally, his decision about being free from his mother? The bonds with Mally as they worked together at the end?

11. How pleasing a portrait of a way of life, people, details of another world?

12. The qualities of warmth, humanity in the film? Toughness, the capacity to survive, basic love and hate, forgiveness, wisdom and experience?

MAKING LOVE

US, 1982, 113 minutes, Colour.
Michael Ontkean, Kate Jackson, Harry Hamlin, Wendy Hiller, Arthur Hill, Nancy Olson.
Directed by Arthur Hiller.

Making Love is, on the surface, a popular American romantic drama. However, while it received mediocre reviews in its time, it is considered something of a breakthrough film in its presentation of homosexual characters. Up till the early 80s, there was some reticence in presenting such characters or else presenting them as aberrant or victims. Here they are presented in the context of very ordinary life.

The film focuses on a marriage between Michael Ontkean and Kate Jackson. As the film progresses, Ontkean comes to realise his sexual orientation and is attracted towards a writer played by Harry Hamlin. He breaks with his wife, moves in with the author. The film shows the repercussions for each of the characters, not in a judgmental fashion, but as people trying to cope with difficulties in life. One of the consequences, felt very much by the Kate Jackson character, is that she can never have children with the man she loved and married. There is a strong supporting cast with Wendy Hiller and Arthur Hill.

The screenplay was written by Barry Sandler who had written a wide range of films including W.C. Fields and Me, The Mirror Crack’d, The Other Side of Midnight. It was directed by veteran Arthur Hiller who began working in television in the 1950s, moved to films in the mid-60s with The Miracle of the White Stallion and Wheeler Dealers. He achieved some fame and Oscar nominations with Love Story in 1970. He continued to make a great range of films during the 70s and 80s.

1. Interesting, enjoyable? Issues of relationships, love, sexuality? The popular treatment? Entertainment and insight? Too glossy a treatment?

2. The interests of the '80s? The discussion of homosexuality? The need for understanding? Compassion? Decisions? The popular love story treatment? Colour photography, locations, affluent background of the central characters? The media world? Medicine? Authors? The background of the 'gay' scene?

3. The film's treatment of its issues by parallel with heterosexual relationships? Drawing of characters, incidents, mood? The validity of the comparisons between heterosexual relationships and homosexual? The song?

4. Homosexuality as a reality? The tradition of taboo? Discussion about causes? Condemnation, puzzle? Judgments of a deviant way of life? Gay Liberation and the justification of the homosexual way of life? Audience response to these stances? The issue as a reality to be understood? How is this best communicated to the wide audience? Sentiment and sympathy? The presentation of ideals?

5. The impact of the introduction with the talking heads? The continued use of this device? As illustrating character? As giving a strong point of view? The dramatic introduction of the talking heads throughout the film? A means of quick communication? The psychiatric and therapeutic backgrounds? The irony of the man and woman talking about another man? The two views of the same man? Honesty, forthrightness of viewpoint? The revelation of selves, needs? Relationship with Zack?

6. Zack and Claire: a happy couple, his medical career, her media career? The discussion about the house. the plans for their new homes? The detail of them both at work? Their buying of the house? Their comfortableness together e.g. talking, watching An Affair To Remember on television, the night out and their enjoyment as well as saving the reputation of the girl with the worst item. their comic touch? Their friendship with Wilma and enjoyment of meals with her. listening to her memories? Gilbert and distance from her father, the visit to Zack's father and the very efficient family? The picture of the ideal American couple? The American dream to shatter?

7. The picture of Claire: strong personality, her love for Zack, the worth of her career, her views on television, seriousness? opportunities for advancement? Sharing so much with Zack? The beginning of the clash, her suspicions, tantrums? Her decision to take a year off to help the marriage?

8. The comparison with Zack: a pleasant American, work as a doctor, charming manner, going out in the middle of the night, trying to console patients? Playing basketball? The bonds with Claire? The indications of his curiosity with his watching the homosexuals on the motor bike? His cruising? His backing out? The encounter with Bart? Discussions, meal, his ringing him up, expressing his curiosity?

9. The introduction to Bart via the talking head: background, his decision about homosexuality, his work as an author? His life at home, apartment, physical exercises? His cruising the gay bars? Picking up men and the night together? Writing? Hypochondria about his pimple? Watching Raintree County and Cat On A Hot Tin Roof on video ? and the homosexual background of these films? His going out with Zack, talking?

10. The bond between Zack and Bart? Shared interests, talk, Zack and his curiosity, Bart and his forcing Zack to be honest? The beginning of the affair and the devices of heterosexual relationship to indicate the homosexual relationship? Mutual interests, the strength of friendship, sexual encounter? Their weekend together, swimming? The overtones of innocence?

11. Bart and his relationship with Zack, his forcing Zack truth, not wanting to commit himself? The discussion of the outline of the novel and Zack's reaction? The break? Bart with his more accepting attitude towards himself? His being a catalyst for Zack's awareness?

12. Zack and his indecision about telling Claire? The decision? Having it out with Claire and her inability to cope? His wanting to tell the truth? Going to the motel? Claire's pleading? The break and his sadness?

13. Claire and her wanting to cope, her wanting the truth but unable to hear it? The discussions with Wilma? Her phone call to her father? Her finding the address and visiting the homosexual, seeing something of the gay scene for herself, not understanding? The pain of the separation?

14. The time passing and Zack established with companion in New York? The glossy picture of happiness? Discussion about going to the funeral? His presence and devotion to Wilma? Claire and her son Rupert? His meeting Claire's husband? His return to New York? His future and self-acceptance?

15. Claire and her husband, the funeral, calling her son Rupert, her grief at Zack's departure, her love for him for eight years and the effect on her? The helplessness of loving Zack?

16. Wilma and her style, wisdom, memories, advice? The atmosphere of the intellectual world?

17. Zack's parents, busy, no explanations? An explanation of Zack's orientation or not? Claire's phone call to her father about the Roman Holiday series?

18. The title and its implications? Raising questions for wide audiences? Making the questions palatable for reflection? A pioneering popular film of the 80s?

A MAJORITY OF ONE

US, 1961, 156 minutes, Colour.
Rosalind Russell, Alec Guinness, Ray Danton, Madlyn Rhue.
Directed by Mervyn Le Roy.

A Majority of One is a star vehicle for Rosalind Russell. Based on a play, it was transferred to the screen and given rather mammoth treatment: wide screen, two and a half hours running time etc. This seems to put the more modest story out of proportion.

However, fans of Rosalind Russell will enjoy her as the Jewish mother, fussing about children, going to Japan with suspicions because of the death of her son in World War Two. It gently focuses on her changing reactions, getting to understand the Japanese and her change of heart. It also is a good vehicle for Alec Guinness who impersonates a Japanese businessman. He too has suffered during World War Two and must break down prejudices. As an exercise of the '60s in fostering Japanese-American? relationships, it is quite effective in its way.

The film was directed by Mervyn Le Roy who had started at Warner Bros. with quick action gangster films, moved to MGM for lush romantic productions (many with Greer Garson and Walter Pidgeon) and then moved to Warner Bros. for some lengthy and stately productions like the present one. He directed Rosalind Russell at this time in Gypsy.

1. Entertaining? Comedy fable about racial prejudice? A star vehicle for Rosalind Russell? The opening up of a play?

2. The big production values, wide screen, American and Japanese locations, the stars, the score?

3. The title and its reference to racism, prejudice, harmony, peace and love?

4. Rosalind Russell's presence and style as Bertha? The archetypal Jewish mother? Her story, her love for her husband, World War Two and the death of her son, her memories of the news, her grief after several decades? Her home? Her friends and their coming in and out? Jewish-style living, kosher meals, a simple life? Her love for Alice and Jerry?

5. The situation with her children: Alice and Jerry and their careers, their attitudes, baby, position, overseas postings? The attempts to tell Bertha about the overseas posting, her eagerness, her reaction to Japan? Her being hurt and her reaction? Apologies? The sketch of her neighbour's bigotry?

6. Her decision to go to Japan? The comedy about the flying and her fears (and at the end reassuring a fellow passenger)? The sea voyage and her enjoying it? The encounter with Mr Osano, rudeness, apologies, on deck, the drill? His invitation to start again? Their beginning to talk, sharing, sharing the games, the dances? Her change of heart? The change of attitude by Alice and her warning her mother against him? His leaving his card?

7. Bertha's arrival in Tokyo, learning about Japanese customs, maintaining face? The home, television, radio? Ironing? Eddie as the houseboy and her not realising she was humiliating him by doing his jobs? Jerry's anger? Her decision to go to Mr Osano to rectify the situations and Jerry's anger at her not helping with the business deal? Her becoming lost, the rain? Invited into his house, the Japanese customs, courtesy, entertainment, gifts? The beauty of the house? Her meal, the drinking of the sake, her talking prolifically, her theories about diversifying? The police and the search for her, her return and Alice and Jerry's anger? Mr Osano’s arrival, the return visit, the children's reactions? His proposal? her decision against marriage? Her mourning her husband? Her explanation to him that he was mourning his wife? Her decision to return to America?

8. The new visit of Mr Osano? Bertha's neighbour and the continued prejudice? The contrast with the American style home, Mr Osano’s adapting to Jewish ceremony and enjoying it? A future with him? The portrait of a woman, mother?

9. Alec Guinness as Mr Osano, wealthy businessman, his story, deaths in the war, the ship? The attraction towards Bertha, his courtesy, her reactions, his wanting to start again? The plea and reconciliation? Enjoying Bertha's company? The business meeting and his anger at Jerry's visit? His delight in Bertha's arriving at his home, offering courtesy, daughter, talk? His fable and the Japanese story about the proposal? The visit and his feeling hurt? Her rejection? His decision to come to America and visit her for dinner? A future with her?

10. The ways of East and West? Customs and courtesy, customs and business dealing, forms and traditions?

11. Eddie as the houseboy, his keeping face by doing his work, angry at Bertha's doing the housework?

12. Jerry and Alice - typical American style, hopes, career, push, diplomacy and bargaining, errors?

13. U.S. business officials, government, the police?

14. Bertha's neighbour and her friendship, her bigoted attitudes?

15. Themes: war, peace, racism, colour and creed?

MAJOR DUNDEE.

US, 1964, 120 minutes, Colour.
Charlton Heston, Richard Harris, Jim Hutton, James Coburn, Michael Anderson Jnr, Senta Berger, Warren Oates, Ben Johnson, Michael Pate.
Directed by Sam Peckinpah.

Major Dundee is the third film made by Sam Peckinpah, after Deadly Companions and Ride the High Country. At that time he was making many television episodes. His fame as a filmmaker really began with the Wild Bunch 1969. He then went on to make such notable films as Straw Dogs, The Getaway, Pat Garrett and Billy the Kid, Cross of Iron. Peckinpah is noted for his portrayal of film violence. This was especially the case in The Wild Bunch and was very influential in many other films afterwards. In Major Dundee this is not so pronounced. However Peckinpah has made very many westerns, set in the 19th century and also some in the 20th century.

It is interesting to look at Major Dundee for the elements of things that were explored in so many later films; authority, clashes of loyalties, friendships and these clashes, the cowboy in the West, the oppression of the Indian. Various details of Peckinpah's style for e.g. the use of children is evident in Major Dundee. It should be noted that the producers tampered with the film and reduced its footage considerably. This was to happen later with Pat Garrett and Billy the Kid.

1. How interesting and enjoyable a western? The area of its main impact: a western adventure, character study, the American West, the violent West? An integration of all these elements?

2. The film as seen in the light of Sam Peckinpah's reputation and subsequent films? The origins of the cinematic exploration of violence, especially in America, and the myths of the West?

3. The film was severely mutilated in production and editing. How evident is this in the finished product? Any effect for the audience?

4. The use of colour, Panavision, western locations, military songs, musical background?

5. How well did the film use the ordinary conventions of the western: the Indian war atmosphere, the soldiers and cavalry, life in a fort, the chase structure, the presentation of the Indians, the hostile French, the contrast of the Mexican way of life and the American, the dangers of the West, village life, romance, western types? Did the film transcend these conventions?

6. The quality of adventure in the film? The pursuit, the encounters with the Indians, the finale with the French? How excitingly visualised were these adventure ingredients?

7. The title and the emphasis on Major Dundee? How adequate the film as a character study? An American Western man? What motivated Dundee? How strong a character, his weaknesses? Examples of his pigheadedness, the letter of the law, his fulfilling of traditions? As a man of the north, the clash with the south and with Tyreen? The dominance of his own will, forcing others to live to his expectations? The encounter with Theresa? The shooting of Hadley, his strategy with the French? The weakening of his stubbornness by insight into himself? How much audience insight into a complex person of the West?

8. The character of Tyreen and the film's exploration? The contrast with Dundee and the commentary on him? The similarities and differences of background, similarities of stubbornness? Tyreen's hatred? The initial encounter of prisoners and guard? Tyreen's choices motivated by hate? The humane and weaker elements in Tyreen? His humiliation by Dundee? The revenge? His taunting of Dundee into self-insight? How characteristic was the heroism of Tyreen's death? How credible?

9. Theresa's role in the film? Feminine interest only? The softening of Tyreen? The softening of Dundee? A sign of contradiction? Dundee's standards and behaviour and his weakness with Theresa?

10. The dramatic function of Ryan? The diary technique, seeing the events through his eyes, a young man's vision of older men and older traditions of the West? How did this enable the audience to assess the characters and the situation?

11. The dramatic importance of Grahame? As a younger Dundee? As a man still growing, a pleasant man, still learning? The future of the American West?

12. The eccentricity of Potts? His role in the West? Way of life? His wisdom in guiding the men? As a western figure?

13. The complications of themes in introducing the negro? Aesop and his stands for the black nun in the West?

14. The Hadleys and the second-rate white men, their clashes?

15. The gallery of other men in the group? The southern prisoners? The northern men? Doing their jobs, their deaths, their role in pioneering the West?

16. The importance of the sequences in the Mexican village? The change of pace? The attention to detail?

17. The role of the Indians? How realistically presented? Audience sympathy and antipathy? The kidnapping of the children, the massacres, the stalking of the troops. the final clashes? The chief as a personality of the West?

18. The staging of the conflict with the French? A climax for the film? The death of Tyreen?

19. What did the film have to say about western traditions and mythology, legends and the status of legends? Their influence on modern Americans and the world?

20. What values of the West did the film stand for? What values did it offer criticism for?

THE MAIN EVENT

US, 1979, 112 minutes, Colour.
Barbra Streisand, Ryan O'Neal, Paul Sand, Whitman Mayo, Patti D'Arbanville, Chu Chu Malave, Richard Lawson, James Gregory.
Directed by Howard Zieff.

Barbra Streisand and Ryan O'Neal work well together, from the hilarious What's Up Doc to this farce/sports/money/sex-comedy. Streisand (in reds to rusts) exhibits all her comic talent (always a must for fans) in fast patter, one liners and assorted routines. But O'Neal is much more lively than usual and shows comic flair complementing Streisand's. Director Howard Zieff (Slither, Hollywood Cowboy, House Calls) has a deft touch with droll characters and situations (like O'Neal's smoker's-coughing girlfriend). Capitalising on the current popularity of boxing films, women's liberation and assertion and the perennial romance and comic antagonism of the battle of the sexes, the film is entertaining.

1. An enjoyable and entertaining comedy? American style? The boxing trend of Rocky and other films of the 70s?

2. The appeal of Barbra Streisand as a screen personality, comedienne? Ryan O'Neal as a comedian and her foil? The What's Up Doc tradition? Barbra Streisand's contribution to the title song and its lyrics?

3. The popularity of boxing films? Sport, skills, training, bouts, championships? The universal appeal of the boxing film? The comic touch? The title and the anticipation?

4. How well did the opening sequences establish the comic world of the film? The exercises and the music, the world of fashion and scents? The husband and the divorce, the financial situation? Her accepting her losses with dignity? The humour of having an asset in a boxer? The establishing of the situations, the battle of the sexes, characters and types?

5. How realistic the plot? How humorous in fantasy? The heroine and her clowning, wealth, their loss? The encounter with Kid? Searching him out, his failure, working him at the gym? The humour of the Glove Driving School? His promotion, deals, training, the build-up to the main event? A pleasant blend of realism and comic fantasy?

6. The establishing of Kid as a professional boxer? His work at the gym, his not training and getting his support from the money? His trainer? The pressures to start working again? Training, the party and selling shares? The television publicity? The interview with his opponent? The training camp? The heroine in the world of the boxers, in a man's world?

7. Barbra Streisand's skill in establishing a character, poking fun at herself e.g. the opening profile, her raucous manner, her sparring with Ryan O'Neal, the knockabout comedy? Her speed of delivery, the one-liners? Her work as a comic clown even to making fun of herself?

8. Ryan O'Neal and his quieter comic style, as a foil for Streisand? The character of Kid, his presence at the gym, his being a finance asset? The Glove Driving School? His girlfriend and her smoker's cough? The party and his presence there, his attacking Hillary on the beach? The training, the humour of life at the training camp? The interview with the champion? The fight and its good humour?

9. The portrait of the girlfriend and the humorous characteristics highlighted?

10. The husband and his concern about his ex-wife, dating the girl and going to the boxing matches, their romance?

11. Kid's manager and a more serious tone to the film, their bond together, ambitions, the training and the various tryout bouts, the ending?

12. The world of gymnasiums? The sporting world? Set-ups and big business? The fights and Barbra Streisand's interference and comedy routines during the fights? The more serious presentation of championship boxing? How well filmed were the boxing sequences?

13. The build-up to the finale especially after the camp, decisions to be made, love prevailing over all!

14. The appeal of this kind of American style knockabout comedy?

MAID OF SALEM

US, 1937, 86 minutes, Black and White.
Claudette Colbert, Fred Mac Murray, Harvey Stephens, Gale Sondergaard, Louise Dresser, Edward Ellis, Beulah Bondi, Bonita Granville.
Directed by Frank Lloyd.

Maid of Salem is an interesting and well made period melodrama. It was directed by Frank Lloyd who made several films of this kind ? he had won an Oscar in 1933 for his version of Noel Coward's Cavalcade. Fred Mac Murray and Claudette Colbert were a popular leading couple at the time, especially in romantic comedy. Here Claudette Colbert is very good in the period drama. Fred Mac Murray does not seem so suitable. There is an excellent supporting cast.

The film traces the events in Salem, Massachusetts in 1692 and the famous witch hunts. The drama is presented fairly persuasively and the critique of mass hysteria is strong. The film ends with hope that such things would never happen again in the United States. However, Arthur Miller with his experience of the McCarthy? witch hunts likened the 150s experience to that of Salem and produced his very striking and famous play, The Crucible. It is interesting to note that The Crucible could not be filmed in America during the '50s but there was a French version starring Simone Signoret.

1. Satisfying and enjoyable historical dram? The styles of the '30s? The serious presentation of historical events, romance and danger, an optimistic ending? The final words of hope? The ironies of Arthur Miller taking these themes as a symbol for America in the '50s?

2. The '30s and black, and white spectacle? The domestic history of America, the historic understanding of America and New England? Black and white photography, decor, pageantry? The score? The collage effects for conveying an atmosphere of hysteria and of developing action? The captions and the tradition of the silent film?

3. Audience fascination with witchcraft, its origins, its European traditions, the transferring to the United States, the repercussions a pioneer society? The use of witchcraft? Mass hysteria and suggestion? Cruelty, executions? The background of the Puritan ethos - narrow, serious, the focus on God as avenging, self-righteousness before God and material prosperity, the Devil and the fear of evil? The tendencies to superstition and curiosity? False motivation covered by religious veneer? Worldliness in the guise of religion? Such worldliness and repression, madness? Sense of guilt, the gullibility of people? The horror of cruelty in God's name?

4. The establishing of the town of Salem? pleasant, Barbara and her aunt, people and their ordinary way of life, the American pioneers? A genial setting for what was to follow? Salem made credible?

5. The ominous notes, the gift of the bonnet, Tim and his story about learning manners and what they consisted of, the elders and the themes of justice? The group in the town and their dominance, the puritan ethic, harshness and not laughing? The explanation of them as religious pioneers?

6. Tituba and her place, talk about voodoo? Abigail and the other women curious? How well was this illustrated? Tituba telling stories for Abigail's curiosity and the repercussions later? Books about witchcraft and vengeance? Anne and her stealing the book, her punishment, antagonism towards Tituba and her pretence? The arrest of Tituba and her torture and confessions? The naming of names? The dilemma about proving one's innocence? The growth of madness, accusations, the vindictiveness of the trials, the interpretation of ordinary events? Personal vengeance, greed?

7. The picture of home life? Barbara and her character, heroine, strength of character? Her aunt and her concern? The importance of this later in the revelation of the truth about Barbara’s mother? Tim and his place in the home, his love for Barbara, his later repetition of her words and endangering her? The encounter with Roger and the impact, the meal? Learning to dance, imitating the dance and Tim seeing Barbara? Her making the puppet for Mercy? The way this was later used especially in the court case and the child being brought in? The background of her mother being a witch? Her being arrested, protesting, languishing in the prison, her strength of character in the court and standing up for what was right, the false interpretations of situations? The condemnation and the build up to her hanging? Her being saved in time? Barbara and the implications of the film's title?

8. Roger and his character, his story, the background of English rule in America? His hiding, his joviality, singing and dancing? His comment on the puritan ethic? Jeremiah and his shielding Roger? Friendship with Barbara? Roger's escape, the ship, his imprisonment? The irony of his escape, the pardon? The happy ending and the vindication of Barbara?

9. The portrait of the people in the town - Barbara's aunt and her concern, Tim and the way that he was used? John and his care for Barbara, his attitude towards the hysteria? Martha and hr jealousy of her husband? Her knowing the truth about Barbara and denouncing her? Abigail and the older women? Their listening to Tituba? Their love of superstition? Their hysteria? Ann and the children and the revelation of the truth at the end? The victims like Rebecca Nurse and her innocence, Goody Hodges, Bilge and his being drunk? Mr. Paris and his attempts to cope? Miles Corvin and his claiming people's land, his arrogance, as seen as his courting of Barbara and yet reacting to her insults?

10. The administration of justice, the court sequences, the growth of accusations, the unwillingness to hear evidence? The ending with the truth being known? The final pardons?

11. Themes of religion and fanaticism, susceptibility to hysteria? Cruelty in the name of religion? The violence of the hangings?

12. A picture of American history, the comment on the American heritage, a warning?

THE MAIDEN AND THE BEAST (PANNA A NETVOR)

Czechoslovakia, 1978, 83 minutes, Colour.
Zdena Studenkova, Vlastimil Harapes.
Directed by Juraj Herz.

The Maiden and the Beast is a Czech version of the well-known fairy tale. It had been filmed in classic style by Jean Cocteau in the 1940s, had various versions for American television including that with George C. Scott and was made world famous with the Disney animation film, Beauty and the Beast with its popular score.

This version is brief, begins with the conventions of the horror film, a very dark beginning. However, there is a transition to an interlude where the monster is shown in his ordinary human form, dancing with Julie, the beauty, in the fullness of light. However, the film keeps a balance between the darkness and the light. The monster is given a horrendous animal form – but, of course, transcends this when his humanity is appealed to. The heroine is full of charm, convincing in her taming of the beast.

As with all versions of the story, the film reflects on inner and outer ugliness, inner and outer beauty.

1. The popularity of the Beauty and the Beast fairy tale? The range of versions in word, images, drama, film? The perennial use of the Beauty and the Beast motif in the confrontations between beauty and evil? The particular characteristics of this Czech version? A version for adults?

2. The beauty of the colour photography? The romantic score and its use? The importance of atmosphere: city, the countryside, light and darkness, wealth and poverty, domestic atmosphere and the wild terrain? The setting of the atmosphere and the transition to the isolation of Julie and the beast? Decor, costumes, the re-creation of the mediaeval world? A strange contrast of starkness and beauty?

3. The social setting: the initial disasters, death, wanderers and tragedy? The intimations of the presence of the beast, terror, blood and gore? A sense of social upheaval? The need for order in chaos?

4. The establishing of the domestic world, especially the focus on the father and his daughters, the different daughters and their hopes, the father's plans?

5. The focus on the father, the harshness of his journey, the beast and his helping him, his seeing the beast and his terror? The beast demanding the father's pledge? The symbolism of the rose?

6. The ugliness, evil and horror of the beast? His causing terror and havoc? The curse and its repercussions? The father and the gentleness of the beast? The plucking of the rose and his giving of his daughter? The beast's hopes, the picture of the daughter? The suspense for the audience in not seeing the beast exactly as the father had?

7. How well did the film portray the beast, the suggestions of his presence, the results of his terror, the beast and his passion, the picture, the torment? The device of the voice and the inner voice? The anguish of his arguing with himself? The passion and need for blood? Killing? The atmosphere of Julie's arrival, her communicating with the beast, responding to his voice and not seeing him, the games, getting to know him? The tones of the meetings with their lyrical touches of romance? Talking and communing? Julie falling in love with the beast? The vision of her father and her sisters? The touch of the hands and their being cured? The build-up to the confrontation with the beast's ugliness? The dilemma of love?

8. The father and his plight? His return home? The selfishness of the sisters? Their being presented callously, their later greed for Julie's dress, etc.? Julie and her love for her father? Her decision to leave home for his sake? His delight in Julie's returning how? His wanting to keep her? Her anguish for the dying beast and his letting her go?

9. Julie and her seeing of the beast? The film's reflecting on inner and outer ugliness and beauty, repulsion? The contrast of the beastliness of her beautiful sisters? The final return? The symbolism of the horse?

10. The significance of her dream? the hands and their beauty, the romantic mod and music, the kiss and transformation? The fulfilment of the dream?

11. The film as a social fairy tale? Symbols of upheaval in society? The individuals of society as victims of evil? Curse? The need for self-sacrifice on behalf of society?

12. How well did the film use the elements of fairy tale, fairytale characters, the visual impact of the fairy tale? The audience able to accept this fairytale world as reality?

13. Themes of beauty and evil? The relationship of this fairy tale to traditional symbolism, psychological archetypes?

14. The male/female relationships? Complementarity? The woman in love with a shadow figure and transforming it? The shadow man longing for beauty and being cured by it? The healing and saving power of love? The complementarity of male and female fulfilling hopes and moving towards wholeness? The film as entertainment, parable, fairytale symbol?