THE MAN WHO WOULD BE KING

US, 1975, 129 minutes, Colour.
Sean Connery, Michael Caine, Christopher Plummer, Saeed Jaffrey.
Directed by John Huston.

The large scale action film was a feature of the 30s and 40s, with Errol Flynn as Captain Blood or leading the Charge of the Light Brigade. This film version of Rudyard Kipling's adventure story has some of the outlines of these past epics. It is large scale, tells a good story, portrays heroism in a way that is larger than life. Director John Huston has made a number of unusual and memorable films over the years ? The Treasure of the Sierra Madre, The African Queen, Moby Dick, Fat City. (He also made The Bible, not so memorable). He has said that he wanted to make this film for years. As it is, he is served by excellent location photography and some best ever performances by Michael Caine and Sean Connery. Christopher Plummer is also very good in an uncharacteristic performance as Kipling himself.

While the plot and the adventure are most important, the film also has a lot to say (indirectly) about human nature, ambitions and fantasies. In fact, the film can bee seen as a gigantic masculine fantasy about wealth, power and achievement. It is a visualizing of wish-fulfilment on a large scale. Two very ordinary British soldiers in Empire India, bonded together by fraternity and the code of the Masonic Lodge, go on a wild adventure and become kings. But the dream turns into nightmare and wish fulfilment is seen as ultimately destructive. There are parable overtones to Kipling's adventure story.

1. How enjoyable was this film? As an action film, spectacle, romance?

2. The emphasis of the title? The indications of the themes? The fantasy overtones? The sense of achievement? The irony of the plot?

3. The value of widescreen, colour, atmosphere, Indian locations, detail of place and people? How important for themes and character?

4. The impact of Sean Connery and Michael Caine in such a film?

5. The value of the Kipling structure and audience involvement? The beginning and end, the flashback structure?

6. The portrayal of Kipling as a character? How interesting and authentic? Kipling as author, person, journalist, a man of India? The audience identifying with him and listening to Carnahan and the story with him?

7. The impact of the story itself? The fact that it was farfetched, real, possible? The romance ingredients of such a story? The quest and adventure? The fairy tale nature? Audience response to such stories? Their firing the imagination?

8. The initial impact of the character of Peachy? His stealing the watch, the encounter with Kipling, pushing the Indian out of the train, using of Kipling for a meeting with Danny?

9. The introduction of the theme of chance, luck? As interpreted by Peachy? By Danny? The development of this theme throughout the film? The acceptance of luck and chance? The using of it? Being dominated and destroyed by it? How profound the exploration of it?

10. The introduction to Danny? As found by Kipling, friend of Peachy, the comic touches, his enterprise?

11. The significance of the pact? Its meaning, the values in its codes, Masonic lodges, their decision to follow this out? The setting of the encounter with Kipling at his office?

12. The merging of Peachy and Danny into India? Their disguise, their feel for India. their feel for the people, the dangers?

13. Travel? Danny as the mute priest, Peachy and his help with the language? The joke at the Khyber Pass? The friendly relationships with the travellers?

14. The fact of passing through the desert to another world? Their insistence on going forward?

15. The different terrain of the snow and the mountains? Pursuing their goal, the chasm and chance? Danny's blindness? The luck of the avalanche and the irony of the laughter causing it?

16. How well did they enter into their new life? How real, romantic? The training of the men? The nature of the battles? The British code? Its success? The natives' appreciation of it?

17. The contrast of the motivations of the people? Clashes and conflicts? Dominance? The picturing of the individuals?

18. The sympathetic portrayal of the people? The luck of finding Billy and his interpreting? The English style as "Icing" on the reality of India? The comic mode of this? The leaders, the priests, Roxanne?

19. The importance of the story of Alexander? Raising the adventure to the level of myth? The irony of Roxanne?

20. Wealth and jewels? The fulfilment of dreams within their grasp? The reality of choosing between jewels and human response? The jewels finally going down the mountain?

21. The effect of ruling on Danny? His coronation? Pomp and splendour? Making Peachy one of his subjects? His decisions and proclamations? The good that he was achieving? The impact on him and his not wanting to go?

22. Marriage? The possibility of a future dynasty? The irony of marriage being Danny's downfall? The priests and their belief in images and symbols? Their disbelief in blood?

23. How well filmed was the climax? The reaction of the priests, Roxanne's horror. Peachy realising that the game was up? Their attempt to escape, the deaths? Billy's death and its tragedy?

24. The nobility of Danny's death, dying as a king? The significance of his singing and the minstrel boy's song as theme of the whole film? The visualising of his death? A grand thing?

25. Peachy coming home to tell the story? The effect on him?

26. Even though the film was mainly an enjoyable adventure, how well did it probe the reality of man, ambitions, dreams and their fulfilment?

THE MAN WHO SHOT LIBERTY VALENCE

US, 1962, 121 minutes, Black and White.
James Stewart, John Wayne, Vera Miles, Lee Marvin, Edmond O'Brien, Andy Devine.
Directed by John Ford.

The Man Who Shot Liberty Valence is a classic John Ford Western. Ford had a very long career in Hollywood from the 20s until the 60s. He won several Academy Awards, for The Informer, How Green was My Valley, The Quiet Man. However, he was best noted for his Westerns, especially many with John Wayne eg. Stagecoach, Fort Apache, and this particular film. The Searchers is also considered a classic.

Wayne is teamed in this film very effectively with James Stewart. Stewart appeared in Ford's Two Rode Together, and Cheyenne Autumn. Vera Miles who had appeared in The Searchers is the heroine. Lee Marvin is a snarling Liberty Valence. He also worked with Ford and Wayne in Donovan's Reef in 1963. The film takes classic themes of the West, especially the balance between truth and legend. "When there is a doubt," says the Edmond O'Brien editor character "print the legend".

1. A good Western, classic Western? From the work of John Ford? The picturing of the West, the legends of the West? Print the legend.

2. The John Ford style: black and white photography, the recreation of the West, the town, the landscapes, the characters within them, the crises? Ford's use of John Wayne and James Stewart to embody particular aspects of the West? How well? What did they represent? Their interaction? The strong man of the West, the civilized nun of the West? How interesting was this portrait of the West, as history, as legend? The building up of a State and the emerging of a State? The winners, the losers? The villainy of the West?

3. The importance of the structure for audience involvement: the flashback, the title and its irony? Truth and appearances?

4. The audience response to the opening: the train, the arrival of Ransom Stoddard and his wife? His being a celebrity, his being interviewed? The contrast with Halley and her sense of nostalgia and her visit to the old farm? What did this prepare the audience for?

5. The interview and the relationship of memory: true or not? The times, the heroes of the times, the challenge of the West?

6. James Stewart's style as Ransom Stoddard: his arrival in the West, his naivety, his knowledge of law, his hopes, his gallantry and yet his being hurt and robbed? His work at the Bar? His growth in understanding of the West and its people, of the oppression? The background of his willingness to fight?

7. The portrayal of law and order in the West, the administration of justice, the need for elections and Statehood? The build-up to the elections, the humour of the way in which Ransom Stoddard and Tom were elected? Halley and her response? The editor of the paper and his support of them both? Trying to build on those elections?

8. The contrast with John Wayne and his portrayal of Tom? What did he stand for, his tough attitudes, support for Ransom? His home, his disappointing Halley, his role in the elections?

9. The significance of the newspaper editor and what he stood for, his place in the West, influence, support of Tom and Ranse? The violence that he suffered?

10. The symbolism and realism of Liberty Valence as a villain? The irony of his name? The portraying of his evil, whipping, robbing, flaunting himself, rigging elections? His whipping of the editor and the challenge to Ranse and Tom? The build up to the shoot-out, his challenge to Ranse, drawing, his death?

11. The build-up to the gun fight as the symbol of law and order and lack of justice in the West? The irony of Ranse in his apron and yet his belief in himself and the effect of the shooting of Liberty Valence on him? His going forward and becoming a hero, his achievement for Statehood?

12. The irony of Tom and the truth, the challenge at the elections?

13. The bond between the tow, the building of the future, memories?

14. The final train ride, Halley and her memories and regrets, the career, their achievement both in America and overseas, the need to settle down? A nostalgic Western?

THE MAN WHO LOVED WOMEN (L'HOMME QUI AIMAIT LES FEMMES)

France, 1977, 119 minutes, Colour.
Charles Denner, Brigitte Fossey, Leslie Caron, Nelly Borgeaud, Genevieve Fontanel.
Directed by Francois Truffaut.

The Man Who Loved Women is an entertaining film by Francois Truffaut. Truffaut made his mark in the late '50s with The Four Hundred Blows and the subsequent films about Antoine Doinel. He made a number of dramas on interpersonal relationships e.g. Jules And Jim, The Soft Skin. He also made the version of Ray Bradbury's Fahrenheit 451. In the '70s he made a number of interesting and delightful films especially the Oscar winning Day For Night. At the time of The Man Who Loved Women, Truffaut made the last in the series of Antoine Doinel's stories, Love On The Run, and it resembles this film. At the same time, by contrast, Truffaut wrote, directed and acted in the film about death, The Green Room.

1. An entertaining film? Humour, romance? A portrait of human nature? The relationships between men and women? The focus on a man and his need for women? The comedy touches, the serious tone, blending?

2. Francois Truffaut's light touch? His themes and focus especially on the man who needs women? This film's relationship to his other films. especially the Antoine Doinel films?

3. The Gallic style of the film? French society, manners, morals? The particularly French aspects? The response of non-French audiences?

4. The structure of the film: the funeral and the flashbacks? The narration by Genevieve? The story from the point of view of Bertrand? The transition to the writing of the book and the publication of the book? The title of the book and the title of the film? The film's perspective on women, on women as the objects of men's love and desire? As symbolised by the pair of legs, especially during the final credits?

5. The choice of Charles Denner as the symbolic Frenchman? Audience response to Bertrand and identifying with him? His ordinariness, small stature, appearance, manner, mannerisms? His serious appearance? as if his life depended on his relationships? The style of his encounters with women? The glimpse of the legs, his search for information. the car journey to search for the woman glimpsed? His interview with her and the woman leading him on? The discovery of Delphine and the relationship with her, prison? Liliane and the restaurant? The meetings and outings with the 41 year old woman? The girl from the car rental agency? The encounter with the woman in the store, his watching her walk, her work as babysitter? The reaction in him to the sight of attractive women? How realistic ? how contrived, comic?

6. His comments on himself, taking for granted his relationship with women? Chasing them, driving, his typist? The type of women to whom he was attracted? His attitude towards his own sexuality, affairs, emotional relationships? His amoral attitudes towards life? How did the film visually comment on this e.g. all the legs at the airport?

7. His decision to write the book? his life story and insight into himself and relationships? (The film slowing down as he began to recount his own story?)

8. The media people? their response to him? Especially as regards his book and its publication? The contrast with seeing him at work ? and people's relationships with him there? The contrast with the people at the hospital?

9. The gallery of women? their beauty, personalities? The nature of their encounters with Bertrand, their love for him, attraction towards him, mothering him? The girl from the car rental, the phone call and the drive seeking out the woman and making a rendezvous with her, the babysitter, the middle-aged woman and her fashions, Delphine and her erratic behaviour, Liliane, the silent secret? Genevieve?

10. Vera and her serious approach? The contrast with the women to whom he was attracted? The memories of his marriage? Why had he married Vera? The chance encounter? Leslie Caron's presence in comparison with the other younger and glamorous women? The seriousness of the sequence of their meting and discussion?

11. Sexuality and the sensual approach, the erotic, the relational? The seriousness with Vera in comparison with the others? The ironic comments of the publishing firm's staff on Bertrand's morals?

12. The significance of Bertrand's life? the relationships, the search for permanence, the irony of the accident? The book publication and his response to it? consultations, the discussions with Genevieve and the relationship with her, seeing the book through production? (And the response of the typist?)

13. The final overview of the women ? his chasing a woman and having the accident, the irony of the manner of his death? His behaviour in the hospital ?seeking the nurse? The mood of the film and the audience's response to Bertrand's death?

14. All the women present at the funeral ? the visual humour of this, the ironies in comparison with first impressions at the film's opening, the finale and the summary of Bertrand's life? The comment as each woman was photographed at the funeral?

15. The overall impact of this story of a man and his attempt to live his fantasies?

THE MAN WHO KNEW TOO MUCH

US, 1956, 120 minutes, Colour.
James Stewart, Doris Day, Bernard Miles, Brenda de Banzie, Daniel Gelin, Ralph Truman, Alan Mowbray, Hillary Brooke.
Directed by Alfred Hitchcock.

The Man Who Knew Too Much was originally made by Alfred Hitchcock in 1934 with Peter Lorre. He took the opportunity just over twenty years later to remake it in Hollywood. The story is an interesting blend of espionage and domestic comedy and drama.

The cast is particularly strong with James Stewart in one of his best roles as the bewildered man entrusted with a message in North Africa about a spy ring in London. Doris Day, unexpectedly, is his wife. (This gives the opportunity for Doris Day to sing Que Sera, Sera, which was to win an Oscar for best song of 1956.)

Brenda de Banzie and Bernard Miles are particularly effective and sinister as the criminals.

The film used African locations to great effect and had its culmination in London. The famous scene where Doris Day screams during a pause in the orchestra’s playing is set in the Royal Albert Hall.

James Stewart appeared for Hitchcock in Rope, Rear Window as well as Vertigo. The Man Who Knew Too Much was made at the same time as To Catch a Thief and The Wrong Man.

1. Entertaining Hitchcock thriller? Its impact in the '50s? Its re-release amongst the 'lost Hitchcocks' in the '80s?

2. Hitchcock's interest in the story? His treatment of the original in the '30s? The decision to do a remake in the '50s? The contrast between British studio production and American-backed African and British location work? The contrast between the brevity and length of the two versions? The popular stars of each version?

3. The atmosphere of the film: the Marrakesh locations? London: streets, apartments, Ambrose Chapel, the Albert Hall? An authentic atmosphere? The contrast between the unfamiliar Morocco and the familiar London?

4. Colour photography, smooth style? The screenplay with its blend of suspense and humour? Ironies ? e.g. the Parnells, their visit and the screwball comedy ending?

5. The musical score: the songs and Doris Day's contribution? The Oscar win for 'Que Sera Sera'? The musical score of Bernard Hermann, Arthur Benjamin? The orchestrations, the choral work ?and their being worked into the plot?

6. The Hitchcock cast: James Stewart as the Hitchcock hero, the ordinary man, the solid American, sense of conscience and right? Doris Day as the cool blonde heroine? Daniel Gelin and the French touch? Bernard Miles and Brenda de Banzie as the commonsensed British villains? The quality cast?

7. The international flavour of the story - for international espionage? The American background, Africa, France, Britain? Impact for American audiences? International audiences?

8. The ordinary opening: situation comedy style, the affluence American family on holiday, the background and the jokes about the patients financing the trip? ordinary family? difficulties in the bus with Hank snatching the Muslim woman's veil? Louis Bernard and his help, questions? Growing suspicions? Jo in contrast with Ben? The assassin and his coming to the wrong door, Bernard and his visit, breaking his appointment? The contrast with the pleasant Draytons? The visit to the market and watching the violent incident, Bernard in Arab's disguise, his whispering into Ben's ear? The transition from the ordinary to the suspicious to the dangerous and the significance of the title?

9. The situation in the marketplace: the death, the information, the police interrogation, the phone call threatening them about Hank, the Draytons taking Hank, Ben's not telling Jo, prescribing the sedative for her, her grief? Ben having to cope and decide? Jo's reaction? Leaving and going to England? The immediate questioning by the British police? The decision not to give the information to the police?

10. The main focus of the film on one day: pace,' urgency, suspense? The credibility of Ben and Jo's detection and the prevention of the assassination?

11. The counterpoint of moods? Jo's grief, the flowers from the Parnells, their arrival and chatter? Humour and tension? Their giving information to Jo and Ben for their various excursions? The humorous ending?

12. The real Ambrose Chappell? Ben and his phone call, suspicion.

13. The contrast with Jo's visit to the Ambrose Chapel? The street, its being shut and the transition to what was going on inside? The truth about the Drayton’s, the girl at the airport and her playing checkers with Hank? Her sullen attitude? Mrs. Drayton asking her to be kind? The opening of the church, Mr. Drayton putting on his clerical collar and playing the music for the assassin? The irony in villainy? The people gathering for the ceremony? Ben arriving, Ben and Jo hiding at the back? Mrs. Drayton taking up the collection, indicating to her husband that Ben and Jo were present? J0,5 leaving to phone the police? Mr. Drayton's hurried ending of the sermon and dismissing the congregation and locking the church?

14. The arrival of the police, the irony of the Chapel being shut? Ben and his climbing the bell-rope and alerting the neighbourhood?

15. The build up to the concert in the Albert Hall, the arrival of the Prime Minister, the police with him? The audience knowing the cues about the assassination? Jo's arrival, the encounter with the assassin and his warning about Hank? Her helplessness? The beginning of the concert. the poster with Bernard Hermann's credit, Hermann conducting the music? The set up in the assassin's box with the woman as cover? Ben's arrival, being spoken to by Jo, the search?

16. The build up to the climax, the editing and pace for audience attention to Jo, Ben, the musicians, the conductor, the audience, the cymbal player? Her scream and the climax?

17. The aftermath with the congratulations by the Ambassador? The Draytons taking Hank to the embassy? The discussion with the diplomat and his disgust with the assassination failure? Hank taken through the kitchen and the reaction of the kitchen staff? Ben's decision to go to the party. having Jo sing? The use of 'Che Sera Sera' to alert Hank? Mrs. Drayton getting him to whistle?

18. The suspense, the climax with Drayton, his fall down the stairs?

19. The characterisation of the Draytons ? their political beliefs, cover?

20. An enjoyable story of espionage and conspiracies? Personal decision-making and responsibility?

THE MAN WHO KNEW TOO MUCH

UK, 1934, 84 minutes, Black and white.
Leslie Banks, Edna Best, Peter Lorre. Nova Pilbeam, Frank Vosper, Hugh Wakefield, Pierre Fresnay.
Directed by Alfred Hitchcock.

The Man Who Knew Too Much marked a new beginning of Alfred Hitchcock's career. After working in silent films for American and German producers in the '20s, he entered the sound era with such thrillers as Blackmail and Murder. With some failures in the early '30s, he emerged with this thriller and, really, never looked back. The film shows Hitchcock's interest in international espionage, a feature of so many of his films. It also focuses on the family and the threat to the break-up of the family.

Hitchcock uses a number of suspense techniques which he was to use over the coming decades. Particularly effective is the shooting of the French skier at the opening of the film. The scene in the Albert Hall is also well done. However, Hitchcock was to remake this film in the mid-50s with James Stewart and Doris Day. He had opportunity to improve. He himself said to Truffaut that the first film was the work of a talented amateur and the second the work of a professional. Leslie Banks was to appear in Hitchcock's Jamaica Inn. Peter Lorre, having moved from Nazi Germany, was at the beginning of his career in English and American films. He appeared in Hitchcock's Secret Agent. The film is brief, quite suspenseful and has a climactic siege ending based on true events of the siege of Sydney Street in 1910 with police besieging Russian anarchists. Interesting to see Hitchcock at the beginning of his career.

1. Alfred Hitchcock's career, origins in the silent film industry, the early '30s and his successes. The indication of themes and interests? The comparison of this original with its '50s remake? The British film industry of the early '30s?

2. The impact of the film: brevity, studio scenes and decor, black and white photography? The establishing of the family and the suspense situation, Hitchcock's ability to create tension. the build-up to the climax in the Albert Hall, to the siege?

3. The focus of the title on Bob, the knowledge that he had and its repercussions, the message from Louis Bernard, the background of espionage, of the thriller, danger and violence, heroism?

4. How well did the film establish its atmosphere ? the ski resort, Switzerland, international competition, Betty's intervention and carelessness, the shooting competition and Jill's expertise? The establishing of the family relationship, slightly obtrusively? Louis and his skiing, failure? Abbott and the nurse being present? Ramon and his shooting? The dance sequence and its atmosphere and the silent and sudden shooting of Louis? How dramatically effective? Hitchcock's cinematic skill? The message to Bob, Betty's kidnapping? The searching of the room, the police, Ramon's involvement? The kidnapping and the note? The effect on Bob and Jill and their concealing the truth from the police? The brevity of introducing so much material?

5. The collage transition from Switzerland to England? The wider implications of the assassination attempt? Scotland Yard, international politics? The people involved? Bob and Jill's friend and the playing with the trains? The information about the assassination, the threatening phone calls? Bob and Jill faced with the decision of saving Betty or stopping the assassination? How persuasive were the reasons for their decision?

6. Bob and his skill in following up the note, the encounter with the dentist, the ironies of the friend and his extraction, Bob and the attack on the dentist, disguising himself as the dentist, Abbott and following him? The dramatics of the switchover in the dentist's chair? Comic touches?

7. The transition to the church - the odd sect and the worship of the sun? The crowd in the church, singing? The nurse and her role? The hypnotism? Bob's intervention and the smashing of the church, the friend and the phone call to the police?

8. Bob and Betty and their being held? The nurse and the phone call to Jill? Her being delayed and Jill going to the Albert Hall? The elaboration of the plan, Ramon and his skill in shooting, Abbott as mastermind? Listening to the record and the audience knowing how the assassination was to take place? Preparation for suspense?

9. The build-up of the concert, Jill's presence, the assassin and the gun behind the curtain, the continual panning around the Albert Hall, the music, the group listening on the radio? Jill's scream and its repercussions? Ramon and his escape, not realising he was being pursued?

10. The group hearing the news, panic? The set-up of the siege, the decision to shoot, violence and death? How well drawn was the anarchist group? Abbott and his manner, control? The nurse and her strong leadership, control? The other members of the group? Ramon?

11. The police and their decisions, getting the rifles from the shop, the sieging of the house, the police deaths, Jill's presence? The establishing of the tactics to flush out the anarchists?

12. The sequences inside the house - the shooting, deaths, the nurse getting the ammunition and the drama of her death? Bob and Betty and the escape, Ramon pursuing Betty on the roof? Jill's marksmanship in killing Ramon? Abbott and his being shot behind the door? Hitchcock touches in these deaths?

13. The happy ending - the background of espionage and the involvement of ordinary citizens. the repercussions on a family of international events? The parallels with the beginning of World War one? Decisions, heroism, people responding to violent situations? Hitchcock's skill in creating suspense? was he right in considering this the work of a talented amateur?

M

US, 1950, 82 minutes, Black and white.
David Wayne, Howard da Silva, Luther Adler, Martin Gabel, Glenn Anders, Karen Morley, Norman Lloyd. Directed by Joseph Losey.

M is a remake of Fritz Lang's classic set in Berlin and starring Peter Lorre in 1931. The story of the child-murderer was used as so many German films of the time were for a symbol of Germany and its sickness. However, the murderer turns into a victim of the lynch mentality crowd - even of the blend of ordinary citizens and gangsters who, to protect themselves, search out the murderer.

This film is relocated in Los Angeles with basically the same themes. They seemed highly melodramatic in the times and the film was not entirely well received. In retrospect it is much more persuasive. Audiences can adapt to the black and white photography, the stylisation and the stark impact of performances and themes. The film also has reference to the McCarthyist? attitudes of the times and the possibility of mass hysteria. The dialogue is particularly pointed when heard in retrospect.

This was one of the earliest films by Joseph Losey who made his debut with The Boy With Green Hair. Soon after, he had to leave America and did not return. He made films in the '50s under pseudonyms and emerged in Britain in the '60s with such striking films as The Servant, King and Country, Accident. Moving to France, he has had a mixed career with interesting films ranging from his Mr. Cline with Alain Delon to his cinema version of Mozart's Don Giovanni.

This was an early film by David Wayne who gives a striking performance in the. central role. It could be noted that Robert Aldridge assisted Losey in direction and production.

1. The reputation of the original film? the work of Fritz Lang in Germany and his later work in the United States. Peter Lorre in Germany and in America? The symbolism of the film for Germany? Madness, murder, society? The original's classic status?

2. The value of a remake in 1950? The transition from Germany to the United States and its appropriateness? The basic themes and their universal in sight? The application to the atmosphere of America in 1950? unAmerican investigations, the emergence of McCarthyism? The role of government, justice? The film as a critique?

3. The film as an early work of Joseph Losey, seen in the retrospect of his own life, career, film making over three decades?

4. The contributions of the cast? David Wayne at the beginning of his career? Actors involved in unAmerican activities e.g. Howard da Silva?


5. The Los Angeles locations, streets and buildings? The visual impact of the environment and its authenticity? A setting for this multiple murder story? Black and white photography, the use of light and shadow? Real surreal? Characters and compositions? The sounds? Contrasts? The score and the plaintive melody of the flute?

6. The impact of the murders: as fact, victims, the horror of the deaths, sorrow? The call for justice? Vengeance? Madness and the police investigating the doings of a madman? Institutions? Victim?

7. The feelings of society against the murderer, projecting fears and angers, the need for a scapegoat, the atmosphere of the lynching party? Society as a murderer? A bestial murderer?

8. The portrait of the children, the little girls, their emotions? Innocence? Birds, toys, delight?

9. The focus on Harrow: the opening, the information about him, moods, the collage? Attractive, attracting the children, playing with them, the killing? The symbolic suggestions? The children and the mother? Time?

10. Marshall and the gangsters, his character, the gang and his relationships, leadership, henchmen? His operations and the police investigation and roundup influencing them? The contact with the blind man? The information? The chase and the taking of Harrow? The decision for the police, Langley to defend him? The trial and its atmosphere? Harrow and his plea? To die? The upheaval, arrest?

11. Langley and the law, alcoholic, his relationship with Marshall, his defence? The commotion and his death?

12. The portrait of the police, their investigations, techniques, the roundup? Contacts? Carney? Becker?

13. The portrait of the gang, the various types, their regime upset, the trial and justice? Vengeance?

14. The background of the killer, inmate of the asylum, the toy flute and the plaintive note, the pathos of his illness, the violence, his being taken, the victim of the court, his plea for death? His being taken by the police?

15. How well did the film work as thriller? Its atmosphere of realism? Symbol of evil and madness in society?

MAHLER

UK, 1974, 115 minutes, Colour.
Robert Powell, Georgina Hale, Richard Morant, Lee Montague, Rosalie Crutchley, Miriam Karlin, Ronald Pickup.
Directed by Ken Russell.

Ken Russell has staked his claim to visualise his subjective response to an artist's work and relate his own appreciation and the artist's work to the aspects of his life (and his torments). This is the method of Mahler, a film to be liked or loathed. The incidents, the character, the music are Mahler's (and interestingly factual enough). The decor, the locations, the extravagant memories, the fantastic fantasies (ballet of a chrysalis, S.S. funeral horrors) and the tour de force silent film pastiche of Mahler's external conversion to Catholicism are Russell's. This is carefully worked Russell material, serious, satirical; reverence for an artist, criticism for a man. Subjective, indulgent, fascinating.

1. The films of Ken Russell ? his imagination, flamboyant style, pace? Realism, fantasy? Extravagance? Critics' response? Mahler as a typically Ken Russell film?

2. Audience interest in Mahler as composer, as a person? His place in the history of music, its development? A man of the 19th. century - Austrian and Bavarian backgrounds? The styles of his music? The themes of his music? The film helping appreciation and interpretation? Russell's use of the music to illustrate Mahler's life, his intensity, his struggles, conflicts? The value of subjective interpretations of the music and the visualising of subjective interpretations?

3. The criteria for choice of Mahler's work for the film, its arrangement, editing? Its being used for the chronology of Mahler's life and his' development of attitudes? The themes of his music and the themes of his life? The orchestra music? The songs?

4. The framework for this interpretation of Mahler: the giving of images first ?the house exploding, the chrysalis, Alma and her emerging from the cocoon, Mahler's head in rock? The lake, the children? The style of these images, the introduction of characters and thews? The importance of dreams, memory, fantasy? The reality of the train journey? The sparking off of memories? The predominance of Mahler's own memories? Some of Alma's? Insight via dream and fantasy in memory? How well did the film give the basic facts of Mahler's life, the stages of his career, indications of his genius? The effect of such an interpretation along with Mahler's history?

5. Ken Russell's cinematic style? visual flamboyance, sound? The continued use of symbols? Mime? Farce, slapstick? The anticipation of the future within the past? The shock tactics? Audience response to the flamboyance and shock? Greater understanding of Mahler?

6. The contribution of decor, settings, the beauty of nature, artificiality? The symbolism of clothes e.g. Alma's dresses, veils etc.?

7. The basic outline of the train journey in 1911: presenting the facts about Mahler and his genius, illustrating his temperament? The introduction to him at this stage of his life and career, illness? Alma and her continued presence, support, being used by Mahler? The confrontation and the challenge for her to express her love for him? The presence of Max and his rivalry? The elaborate changing of seats, the African woman and her comments on Mahler? The fuss, the crowds? Mahler and his despising of the crowds, of military music and bands? The people at the station and the windows? The doctor and his diagnosis? The ending with the reconciliation, the irony of the results of Mahler's tests and his imminent death?

8. The contrast with his childhood - the family house, the number of relations in the house and their different attitudes, interactions? The Jewish family and its traditions? Mahler's relationship with his parents? His prying on his father with the maid in the barn? His attitude towards his father? The sequences at the table? Problems of money? The arrangement of the music lessons? His mother and her fussing about 'a boy genius'? His father's demands? The fights with the boys at school? The swimming, the encounter with Old Nick in the forest, his being rescued from drowning, the lessons of nature, the image of Pan? Learning how to float and observe? Wandering through the beauties of the forest? The contrast with the piano lessons, the theory? Mahler's development as a pianist? The clashes in the household, his hiding in the closet, his father's threats and fears? An atmosphere of violence? The influence on Mahler's adult life?

9. The picture of the family? Otto and his musical composition, attitude towards Mahler's conversion, his death? Justine and her managing the household, the visit to Hugo Wolfe in the asylum? The importance of the visit to Hugo and Mahler's memories of his study with him, Hugo's capacity for composition, his madness in thinking he was the Emperor Ludwig? The Mahler family with its reputation and pride?

10. The portrait of Alma? as a young girl, infatuated with Mahler, her composition and Mahler's refusing to listen to it, his finally playing it and the rival singing it, the solemn ceremony of Alma's burying the song? Her copying the music, her continued help for Mahler in his composition? Love? the lyrical sequences of the lake. the swimming? The children and her care for them? The build-up of the affairs? Max and romance? Mahler and the liaison with opera stars? The growing old and her dissatisfaction with her life? Caring for the children? the search through the forest and the death of the daughter? Her place in Mahler's fantasies? As emerging from the cocoon, as being Mahler's shadow in the stockinged face and top hat, the bizarre presence in the cremating sequence, her dancing on his grave, the liaison with Max? The reconciliation during the journey and Alma's later history? How well delineated a character. a type? The blend of fantasy and reality for interpreting her?

11. The portrait of Mahler's children? his love for them, the domestic sequences, the importance of the explanation about God and His being invisible but existing, angels and devils? The sequences in the boat, in the house with the microscope? The search for the children in the woods? The daughter's death and the visual presentation and shock?

12. Hugo Wolfe in the asylum ? a shadow figure for Mahler, his madness, his being the Emperor and holding court, his comment on Mahler and his brother. the sequence of his being taken off in the straitjacket, the cell and his use of the music for lavatory use? The potential madness in the composer genius?

13. The contrast with Max and his military background, his love for Alma, his demands of choice? His presence in the crematorium sequence? the Austrian officer becoming the S.S, the military style of the funeral?

14. The build up to the conversion sequence and the ten minute fantasy: its aims, the success of the insertion of this change of style? The details of the fantasy? The role of Cosima Wagner? Her being associated with the Wagnerian and Nordic myths? Mahler and his being her servant? The details of her dress and her becoming a Nazi, goose-stepping, on the cross, kissing Mahler, sending him towards the dragon? The singing of the song of the Valkyries? The various emblems e.g. the star of David. hammering it into the sword, the cross and the sword, the pig's head, the milk? The dragon and its farcical aspects? Mahler's fight with the dragon? The overtones of Al Jolson and the various silent comedies? The Sacred Heart, the knives, the Jewish clothes pinned to the cross? Mahler as a mock-Christ figure to show the hypocrisy of his conversion? His being put through the hoops? The captions and the overtones of the silent film? How effective? Valhalla and the Catholic Church? The transition to the baptism sequence with the kitsch holy cards and the nun? The death of his brother?

15. The importance of the cremation sequence? the use of the symphony, the being buried alive and the overtones of Edgar Ellen Poe horror film? The cremation with its comic artificiality? The lewd aspects and the sexual overtones? The more serious visualising of the music e.g. the symphony on nature and the young Mahler wandering through the forest, alert to all the beauty and sensitivity? The importance of Old Nick and his saving presence at various sequences especially in the cemetery? The search for the lost children? The pages of sketches of God and angels for the exploration of religious themes?

16. Mahler's role as composer, conductor? The interrelationship of the two? The importance of his career, Hugo Wolfe, the interview in the asylum, the conversion? The international tours and his comments?

17. The joky aspects of the film and the references to other films e.g. the parody sequence of death in Venice, reference to The Music Lovers, echoes of Al Jolson, the Marx Brothers and other silent comedians?

18. The major themes of Mahler's music: faith, resurrection, death ? the death of love, nature, death of innocence?

19. Mahler's particular genius, his torment? 19th century atmosphere, Europe, Austria and Bavaria, the Norse mythologies and the later development of Nazism? A valid and valuable interpretation of a composer?

MAGIC TOWN

US, 1947, 103 minutes, Black and white.
James Stewart, Jane Wyman, Kent Smith, Regis Toomey, Donald Meek.
Directed by William A. Wellman.

Magic Town was written by Robert Riskin, who had written several significant screenplays for Frank Capra films in the '30s and early '40s: It Happened One Night, Mr. Deeds Goes To Town, You Can't Take it With You, Mr. Smith Goes To Washington, Meet John Doe. The combination of Riskin and Capra made for good entertainment, the light comic touch as well as serious critique of America and Americans. However, their touch was always optimistic. The same ingredients are here but the film is a bit heavy-handed at times and the points misfire. Direction this time is by William Wellman, more noted for his action adventures from Wings to such westerns as Buffalo Bill and Yellow Sky and The High and the Mighty.

James Stewart is quite at home in this kind of role and Jane Wyman was at the peak of her career, winning an Oscar for Johnny Belinda at this time. The film is interesting in its optimistic presentation of the United States as well as its critique of the so-called typical town. However, the film is rather dated in its impact now.

1. An entertaining film? A didactic film? An American social fable? An image of the United States and its people in the '40s? The average American?

2. The value of didactic cinema? The goal of such cinema, the explicit message? The necessity of it being bound into the plot and characterisation? How well were they integrated here? The danger of such material dating?

3. Audience interest in Americana? The picture of America and its image of itself in the '40s? The post-war period and the experience of the war and fellowship of soldiers? People settling down and trying to build up a post-war United States? Grandview as the average American town ? mathematically perfect for statistics? The humour of this conception of the average town and the way that this was illustrated? The importance of opinion polls, the gaining of opinions? Their backing? The effect of the town on its self-consciousness about its being the average American town ? wisdom, foolishness? The contribution of the stars and their styles?

4. The necessity of a contrived screenplay: serious tones, whimsy, observation of human nature and social behaviour, critique?

5. Audience response to opinion polls, the people behind them, their purpose, the way opinions are sought? The value of such polls? Statistics, mathematics, science, the abstract average American?

6. James Stewart as star? His presence, style? Our introduction to him, sleeping, absent-minded, yet his intense personal drive, ambitions.. hope to make money? The ruthlessness in his motivation and behaviour? The personalities of his team and their work for him? The decision to go to Grandview, the arrival and Rip's ingratiating himself into people's goodwill? The importance of his visit to the Mayor, the interruption to the meting and his advocating of no change? His using the town and its people? The gaining of the poll and the success of his work? The repercussions on the town itself, his own life? The moral of the story in the effect of all this on Rip himself?

7. The portrait of the Mayor, the councillors? Their conservatism, their meetings, the importance of the city square and their reactions? Their help towards Rip? The overreaction of enthusiasm to publicity? Their foolishness in their schemes? Their depression when everything went wrong? Their being galvanised into action at the end? Nickleby as the focus of dissent. selfishness, opportunism?

8. Jane Wyman as Mary? Her plans for the town square, the heritage from her father, the paper, her mother and her guiding presence? The listening to Rip's voice and the reminder of Mary's father? The attack of the article and the reaction from Rip? Their going about together, the scene in the milk bar, on the hill, the basketball? The growing bonds and love?

9. Rip's skill as basketball player. impact on the boys, coaching them, their win? Friendship with Hoopendecker ? and meeting him on the school playground? Hoopendecker's warnings about people's reaction? Rip and six weeks of becoming popular in Grandview? The build-up to the dance and Mary's mother's speech?

10. The aftermath and the dramatics of Mary's discovery of the truth, Rip on the phone? The split between them and Mary's reaction in publishing the article?

11. The strange repercussions with the boom, the crowds, the exploitative media usage? The money pouring in? The satirical touches of showing this great change? The selling of opinions, the motives for people moving etc.?

12. The irony of the collapse and the townspeople becoming so self conscious that they became untypical? The humour at their expense? The decline of the town, the media condemning the town, Rip and his drinking and dejection, Mary and the rest of the townspeople unable to do anything?

13. The new plan for the pride of the town, the rebuilding of the square? The challenge to Nickleby? The newspaper article and the nationwide media coverage and praise of Grandview? The dynamics of the meeting ? the boys persuading their parents, the rising to the occasion, American optimism about building a future?

14. Themes of American foolishness, American wisdom, American pride? An example of self-critique and positive satire?

MAGIC MOMENTS

UK, 1989, 105 minutes, Colour.
Jenny Seagrove, John Shea, Paul Freeman.
Directed by Lawrence Gordon Clark.

Magic Moments is a British telemovie made for Yorkshire Television under the general title, Harlequin Romances. In the old days this would have been called a woman's film. However, while it. It is geared to feminine audience and sensibility, it is also geared to a wide television audience.

The film has charm, deals with romantic characters and creates a romantic, if unreal world. It is the world of television, and the magic show. John Shea exerts a grinning charm as the magician, Jenny Seagrove is suitably serious and British as the heroine. Paul Freeman (the villain in Raiders of the Lost Ark as well as Professor Moriarty in Without A Clue) glowers in a hostile role.

There are attractive London and country settings as well as much of the action taking place in Madrid. There is a romantic score. The film is based on a Harlequin novel, 'This Magic Moment,' by Nola Roberts.

1. Attractive romance? Harlequin romance story? For what audience was the film geared?

2. The glamorous and glossy style? London, the English countryside, Madrid and Spain? Musical score, theme song?

3. The title, the emphasis on magic and conjuring, hypnosis, magic moments of love?

4. The plausibility of the plot: Melanie and her career, relationship with her father, falling in love with Troy, hypnosis, Troy and his career, love and commitment?

5. The credits, the opening performance, Melanie in the audience and attracted, Troy and his skill, his sly glances to Melanie, falling in love?

6. Melanie as self-possessed, her relationship with Brian, the plan for the TV show, going to visit Troy, attracted, storm, her return, staying the night, the contract, his clause for her to produce? Brian and his hostile reaction? The phone calls, his jealousy? Melanie going to Madrid, the rash judgment about Troy and the accusations of molestation? in love, talking, sharing, walking? Preparing the programme? Brian and the file? her drinking, upset, the talk wit Beth? The clashes with Lee? The truth about Troy, the apology, making Brian apologise? In love, the relationship? Brian as her stepfather? The television special, the dare for the special escape? Her worry? The success that she marry Troy? Their future?

7. Troy and his skills, Lee and Beth and entourage, the attraction towards Melanie, her arrival at his house, the conjuring with the pigeons and the rose, trying to enchant her? The meal, providing the storm, her staying the night, gentlemanly behaviour, the contract and the flames? Taking her to the restaurant, the heart charm in the champagne bottle? Going to Madrid, sharing, talking, in love? The clash over the file? His drinking, Lee training him to be sober, the lighting of the pyre and his slow escape? The build up to the television show? The dare of the three safes, his motivation, the performance, the ending and his being disguised as the doctor? In love? A future?

8. Brian and his possessiveness with Melanie, their work, watching her, suspicions, surveillance in Spain, bringing the file, her making him make the apology, the television show, wishing Troy were dead, his disappointment at the end?

9. Lee and his help, telling his story to Melanie, drugs and alcohol, Troy helping him together, his music and song, in love with Beth, Melanie's help, the flowers? Helping Troy to be sober? Beth and her help, love for Lee, the flowers? her fears with the final escape?

10. The world of television and producers, audiences, sensations ? keep on filming?

11. The magic, hypnosis, the attraction of the magic show, seeing what we want to see?

12. A pleasing Harlequin romance, the touch of the soap opera, the strength of the actors and their characters bringing soap opera to life? Values and relationships?

THE MAGIC FLUTE

Sweden, 1974, 135 minutes, Colour.
Josef Kostlinger, Irma Urrila, Hakan Haggegard, Elisabeth Eriksson, Ulrik Saeden.
Directed by Ingmar Bergman.

Opera is generally an acquired taste. Ingmar Bergman loves opera and music as is evident from the careful attention given to filming Mozart's classic. A light touch appears in the filmed details of the theatre, its stage layout, the actors offstage, as well as a collage of audience faces eager with anticipation during the overture. The opera's first act is light (fairy, journey, hero, heroine), but the second act is heavy with endurance tests of character, the rites of the Masonic Brotherhood. Colour, costumes, singing and music are beautiful. The English subtitles are an advantage to those not familiar with the opera, keeping us aware of the meaning simultaneously with the music.

1. The impact of this cinema opera? The operatic values, music, singing, the cinema styles and techniques for communicating opera? A work by Ingmar Bergman?

2. The importance of the device of the stage production: the presentation of the theatre, the stage itself and its lighting. sets. the performers and the details of their relaxation before performing the workings behind the scenes, the audience and the collage of audience during the overture. the singling out of the little girl and identifying her throughout the film? Audience interest in this, invitation to participate in the opera, identification in response?

3. The value of the subtitles during the singing. for intelligibility without distraction, the texts descending onto the screen? The comprehensibility of the plot?

4. The quality of the music by Mozart. the quality of the singing, the acting? The use of long shots, close-ups, editing?

5. Audience interest in and response to the plot: the elements of fantasy, fairytale and pantomime. an atmosphere of lightness, transition to puzzle. transition to the serious discussions of issues of loyalty and power, finally to the testing and the Masonic rituals?

6. The basic impact of Act One: the lightness of the start, the animals, the humour, the atmosphere of fairies and heroes etc.? How did the plot become more solemn and sinister? Transitions of mood, imagination and thought?

7. Tarnino as hero, the nature of his quest, his being tricked. his capacity for love, his entry into the Fraternity, his achievement in the tests, his final achievement? What kind of conventional opera hero?

8. The character of Papageno: the comedy contribution. his assistance of the hero, his counterpart in Papagena, her love for him? His participation in the quest and the tests?

9. The contrast of the princess? A heroine for opera? Her relationship to Tarnino, the tests?

10. The presentation of the Queen of the Night, sinister, vengeance, her relationship with Sarastro. the princess?

11. What did Sarastro represent? His relationship to the Queen of the Night, to Tamino, his role in the Brotherhood?

12. How did the presentation of the Brotherhood change the atmosphere of the film? Mozart and the Masonic background? The rituals of the 18th century? Their significance now? Comprehensibility? The visual presentation of the Brotherhood, their meetings, what they stood for?

13. The tests and the nature of the quests?

14. The use of symbols throughout the whole film, especially those used in the three tests? The visual presentation of the tests in light and darkness. colour, sinister atmosphere. fear. fire, ballets etc.? The transition then to spring? And the transition in mood for a happy ending?

15. Can opera be successfully transferred to the screen? The nature of the impact of screen opera? Why was Ingmar Bergman interested in this opera to present it on the screen? The nature of his achievement?