BAMBOLE (THE DOLLS)

Italy, 1965, 107 minutes, Black and white.
Gina Lollobrigida, Nino Manfredi, Akim Tamiroff, Monica Vitti, Elke Sommer, Jean Sorel.
Directed by Mauro Bolognini, Luigi Comencini, Franco Rossi, Dino Risi.

One of many portmanteau Italian films of the mid-sixties. Though very popular, with such examples as Boccaccio 70,. Yesterday, Today and Tomorrow, The Witches, Rogopag, they gave many prominent directors a chance to make short features on particular themes.

There was a preoccupation with sex - it was the time of Vatican II (featured in this collection) and a reappraisal of morality within the context of Italian society and traditions. Italy has a long satirical tradition as regards society, morals, hypocrisy. Boccaeo is the leading example - and his story forms the basis of Monsieur Cupid, the last story in this film. The directors are serious directors: Mauro Bolognini and Dino Risi. The other directors, Luigi Comencini and Franco Rossi generally made lighter films. This kind of film, besides being a showcase for the directors, is also a showcase for the actresses. In this film four prominent continental actresses have a chance to display some flair, especially Monica Vitti and Virna Lisi. There is a good supporting performance by Akim Tamiroff as a bishop going to Vatican II.

The films are particularly Italian, echo the attitudes and questions of the sixties - they are a bit too particular for a universal audience but are of interest for the work of the directors and the cast.


1. The atmosphere of the sixties, the popularity of films with short stories, showcases for directors and stars? the quality of this collection?

2. The title and the focus on women, sexuality? women as dolls? The credit sequence? The place of' women in society? Italian women, before marriage, after marriage? The dominance of men? Religious tradition? The interaction of men and women? how realistic, how satirical?

3. Black and white photography, atmosphere of realism? The styles of photography for each director? editing and pace? The musical score and the light touch?

4. The seriocomic approach to the stories? How much insight through the serious presentation of themes, how much insight from satire and parody? How exploitive were the stories and their treatment?

5. a) The Phone Call: The tradition of the short play with one of the protagonists on the phone? The skills required for acting with a phone only? Virna Lisi’s tour-de-force by speaking for the whole film on the phone? The subordinate role of her husband? The ironic picture of marriage, sexual relationships? The husband and his attitude towards his wife, wanting some sexual activity, looking at the provocative woman across the balcony? the way his wife was dressed, provocatively? The irony of her reading a book, keeping him waiting, answering the phone? Her incessant prattle? The range of subjects talked about? fine irony that the woman spent so much time talking and arguing with her mother? The discussion about the sexual relationship, her marriage? Her assessment of her husband and her mistaking him? Talk about food, visits, etc.? The range of contents of the call? The husband going to the woman across the way? The wife being oblivious? The points made about Italian men, women, mothers, marriage?

(b) A Treatise on Eugenics: the satire on science and reality? The heroine as a scientific type, seeking a guide, her sizing up of all the potential fathers? The range of ordinary and extraordinary men? The observations on marriage, husbands, fatherhood? The perfect child? The irony of the marriage and the range of children? the anchoring of theory with realism? How obvious the point made? and how well?

c) The Soup: the ironic and ugly picture of marriage, the husband and his age, manner at the table, soup, and' beans? His young wife, her needs, antagonism towards her husband? her watching him? her plan to murder him? The irony of his straightforwardness, of her approaching the old man to run over him, her approach to the gang? The irony or his survival and finding her each time? her friend? The irony of the song and its lyrics commenting on her behaviour? The point of this comment on Italian marriages? The blend of the serious and the comic?

d) Monsieur Cupid: the religious background of the story, the Vatican Council and what it stood for? Its atmosphere, the arrival of the bishops? The character of the bishop and his highhandedness, Vincenzo as his assistant and secretary, his care about his nephew, the uproar about the rooms, etc.? The contrasts with Vincenzo as so naive, quiet, oblivious? Beatrice and her husband? Gino Lollobrigida and her reputation? Her eyes for Vincenzo? her failure to seduce him? The irony of her going to the bishop, his listening attentively, his failing into the trap? Vincenzo following her to the room and the irony of her husband being there? The further complications and Vincenzo becoming aware, following the message, the liaison with Beatrice? With the bishop's blessing? A Boccaccio-type story? Hypocrisy? Manners, morals? Italian sex comedy and the point about morality?

THE BANDIT OF ZHOBE

UK, 1959, 80 minutes, Colour.
Victor Mature, Anne Aubrey, Norman Wooland, Anthony Newley, Dermot Walsh.
Directed by John Gilling.

UK, 1959, 80 minutes, Colour.
Victor Mature, Anne Aubrey, Anthony Newley, Norman Wooland, Dermot Walsh.
Directed by John Gilling.

The Bandit of Zhobe is a routine action adventure. It is set in the subcontinent, with Victor Mature (after his long Hollywood career) as a rather wooden lead. An effective British cast is led by Anthony Newley – with some comic touches.

The film is routine action adventure and was based on a story by Richard Maibaum who was to soon write the screenplay for Dr No and for almost all the James Bond films up till the late 1980s.

The film was directed by John Gilling who had a long career directing small-budget films including Fury at Smugglers’ Bay, Pirates of Blood River, The Scarlet Blade and The Brigand of Kandahar.

1. An enjoyable action adventure?

2. The quality of the nineteenth century adventure? Locations and action, the atmosphere of India?

3. How well presented were the adventure ingredients? Their appeal to audiences?

4. The presentation of the British and their style? The heroic British? The Commander? The life at the garrison? the orderly? The Commander? The atmosphere, of Empire and the response of loyalty?

5. The picture of India: the terrain, the tribes and their reaction to Empire treaties and the breaking of treaties, villains and massacres? raids?

6. The portrayal of action, the battles, the massacres, the executions? how real? The presentation of the major? Issues of Empire, colonization?

7. The personal and human side of the film? Zena and her relationship to Kasim? Capture, redemption? Themes, love, vindication?

8. The atmosphere of deaths?

9. The values appealed to for audience response to this kind of film?

BANDIDO

US, 1956, 92 minutes, Colour.
Robert Mitchum, Ursula Thiess, Gilbert Roland, Zachary Scott, Rodolfo Acosta.
Directed by Richard Fleischer.

Bandido is a western set in Mexico, during the revolution of 1916. It shows different factions in the civil war and American support.

Robert Mitchum appears as an arms dealer who favours the rebels. Zachary Scott portrays a mercenary who is interested in capturing the arms owned by Wilson (Mitchum’s character?) and selling them off. Ursula Thiess is his wife and Gilbert Roland portrays a colonel.

The film is full of action, the war in Mexico, the deals with the arms dealer, the attacks by the mercenary.

While the material is generally standard, it is directed with verve by Richard Fleischer who began with small-budget films including The Narrow Margin, moved to more ambitious films with 20,000 Leagues Under the Sea and over a long period directed a number of different genre pictures very effectively ranging from The Vikings, to Compulsion, to Barabbas, to Fantastic Voyage, to Conan the Destroyer.

1. The quality of this Western? Entertainment? Message ? on the human level, the West, Mexico and war?

2. Audience expectations from the Mexican 1916 setting? The introductory caption? The politics of Mexico and revolution? International intervention especially with arms? American profiteers and adventurers? being involved? Usual material, different?

3. Cinemascope and colour photography, Mexican locations, rousing music etc? Battle sequences and special effects?

4. The historical situation? Was sufficient given about the background of war in Mexico? The government and the soldiers and their attitudes? Escobar and his warring against the government? The involvement of the Americans for example Wilson and his attitude, Kennedy and his attitude, his wife? The attitude of the American government towards this involvement? Their behaviour, the clashes, the violence, Wilson and his attitudes being changed by Liza? His consequent helping of her and action against Kennedy?

5. Robert Mitchum and his style as the hero of this film? His involvement, plans, deals? Showing him as so cool within the battle sequences? Encounter with Escobar? The change with Lisa and his behaviour? Antagonism towards Kennedy? How did his approach to life and war and greed change? His strengths and weaknesses?

6. The comparison with Kennedy? As wealthy, going to Mexico, plans? His imprisonment, confrontation and death? Lisa in association with him? The villain of the piece?

7. Lisa as heroine? Bonds with Kennedy, with Wilson? Conventional heroine?

8. Escobar and his character. attitude towards the Americans, government, his men?

9. The set pieces of confrontations. violence, battles?

10. Themes of government, revolution, justice? Arms. greed, manipulation and exploitation? Violence?

11. How satisfactory an ending and resolution of action and themes?

THE BAKER'S WIFE (LA FEMME DU BOULANGER)

France, 1938, 133 minutes, Black and white.
Raimu, Ginette Leclerc.
Directed by Marcel Pagnol.

The Baker's Wife is one of those French comedies that are done so well especially in their portrait of the daily life in French villages. It is reminiscent of the classic 'Clochemerle’.

The film is a vehicle for the French music hall comedian and screen star Raimu. The film has a caption with a tribute from Orson Welles saying that he is the world's greatest actor. The film was written and directed by Marcel Pagnol who in the early thirties had written a famous trilogy of Marius, Fanny, Cesar. Raimu featured in these films. There is quite a lot of excellent observation of life in a French town in the thirties.

1. How entertaining a film? Plot, characterizations, dialogue? The film as a vehicle for Raimu?

2. The quality of the black and white photography, the capturing of the daily life of the village in all its detail?

3. The quality of the dialogue and its authenticity in representing these people and their lives? The setting of particular scenes and the observation of character? The various people, their profiles, manner? The emphasis on traditions, for example with the feuds? Drinking, gossip? Marriages, fidelity and infidelity? The place of religion and the church?

4. The character of the baker and his arrival in the town? People's esteem of him? The quality of his work? His genial and unsuspecting nature? His pleasantness to everybody and doing them favours? (And the realism at the end when it was seen that he had suppressed his real feelings?) His reaction to the shepherd serenading his wife, his waking up to find the oven on fire, his worry about his wife and going to search for her and asking various people, his continued excuses for her, his apprehension about her safety and health? His reaction to her absence and the way that people helped him? His desperation and his attempt to hang himself (how convincing?), his preparations for her return, his forgiveness? the irony of his vehemence in telling the story about the cat who had strayed? The quality of Raimu’s performance and his style? The credibility of such an innocent character and his well-meaning intentions?

5. The contrast with the younger wife, her attractiveness, her flirting, the liaison with the shepherd? The serenade, her promising to go off? Her escape on horseback and the overtones of courtly love with irony? Staying with the shepherd all day, her reaction to the shepherd’s going off? The encounter with the curate and her contention and absolution? Her tears on her return? The feelings that her husband's kindness roused in her? Her reaction to the story of the cat? Would she go away again?

6. The portrait of the shepherd, his infatuation with the baker's wife, the play at the serenading, the plan for going off? The day spent together, his fear of the priest, his running away?

7. The portrait of the men around the town, for example Cans Tontin? The discussions about the cutting down of the trees and the shade, the going out in search of the baker's wife, the drinking and the burying of feuds? How well detailed was the day of these men?

8. The portrait of the ladies of the town, the wives and the genial help to the banker, the fat wife taking over, the spinster and her curiosity and the school teacher's scaring of her into the house?

9. The Marquis and his genial help?

10. The portrait of the teacher and of the curate? In their school, in the church and the curate making the baker go to Mass? Their talk arguments? Their having to bury their differences and help the baker? The humour of the teacher carrying the priest through the water? The contribution of each to helping the baker?

11. The importance of the townspeople all gathering together to help the baker? their ironic laughing at him, but their basic sympathy?

12. The basic situation of marriage, older man and younger woman, the flirting woman, her going off? What comment did the film make about the situation, people's behaviour? How accurate was its portrait of human nature?

BLOOD OATH

Australia, 1998 minutes, Colour.
Bryan Brown, George Takei, John Bach, Terry O’ Quinn, John Clarke, Debora Kara Unger, John Polson, Russell Crowe, Nicholas Eadie, Jason Donovan, Ray Barrett.
Directed by Stephen Wallace.

Blood Oath was nominated for nine Australian Film Institute Awards, including best film. It is a sobering look at the end of World War II in the Pacific, particularly Ambon, the Indonesian Island, where there was a large Japanese prisoner of war camp for Australians.

Blood Oath dramatises investigations into war crimes and subsequent trials. (The exploration of war crimes in Europe was also current in the late 80s with Costa Gavras's The Music Box, with Jessica Lange, and the Australian film Father, with Max von Sydow). The atmosphere of police and period is strong. The intense anger and hostility and the need for justice are prominent. The complexities of US policy for using Japanese officers in postwar reconstruction ask the audience to asses the role of trials, cover-ups and the human feelings for justice.

The film was directed by Stephen Wallace (Stir, For Love Alone, The Boy Who Had Everything, Mail Order Bride). Bryan Brown is strong and credible as the prosecutor and leads an effective cast of Australians, Japanese and Americans. A sombre and thoughtful film, very well made, significant for Australian audiences.

1. Impact of the film, the 90s? Topical? Memories of the war heritage? Australian- Japanese- US relationships?

2. The title, the focus on loyalties and codes, commitment?

3. The recreation of the Island of Ambon, the tropics, the village, the military headquarters, the prisoner of war camp, the jungle? The 40s?

4. The photography and style, moods, the courtroom, the tropics, the period? Musical Score?

5. The initial information, the reality, the facts, fictionalising the facts?

6. The presentation of Ambon, its, place in military history, the war? Indonesians, Australians, Japanese? The war years? The prison?

7. Bryan Brown as Robert Cooper? His commission, his relationships with his staff, his personal assistant, the clashes with Roberts, the frustrations? The clash with Beckett and his American perspective and Japanese reconstruction? The lack of witnesses, the sick men? His attitude towards the accused Japanese? His final outburst of anger, especially in the fight with Ikeuchi? The move from anger, revenge and justice to some compassion and mercy? His responsibility to the military, to the Australian public?

8. The opening with the digging up of the graves, the emotional response, the military reaction? The Australian officials? Cooper watching? The rage? The effect on the Japanese diggers?

9. The Japanese prisoners, guarded, in prison, the digging, the loyalty to the Emperor? The code and the loyalty to the Captain Ikeuchi? The treatment of the prisoners, their presence in the court, the tracking shots showing their reactions during the trial? Their meals, the wrestling matches? Audience attitude towards the accused?

10. Baron Takahashi: His arrival, his reputation on the island, Vice Admiral, connections with Japan? His arriving with Beckett? The American reconstruction, Macarthur’s idea of using the officials and the military? No witnesses to his behaviour, his lies to the court? The reality of his orders and his cruelty? Japanese codes, the loyalty of his officers? His being acquitted, leaving? Justice not being done?

11. The portrait of Cooper: Background; the effect of the commission and the trials? His behaviour and manner? Australian style, direct? The clashes with Beckett? The frustration with Roberts? With the Japanese lawyer, discussions, interviewing of witnesses and the accused? The interrogation of Ikeuchi and his frustration? Takahashi? His relationship with the judge? Going to interview Fenton in the hospital being ordered out? The nurse helping him? The information, the photos? Fenton willing to testify? Listening to Fenton's story, getting a case against the Japanese? His physical attack on Reuchi? The nurse asking was he no better than the Japanese? The digging up of the Airmen? His case, the prosecution in court, the interrogation of the witnesses, his relationship with the Japanese lawyer?

12. The impact of the flashbacks: Jimmy Fenton and the beatings, the cruelty? Ikeuchi and his cruelty? The airmen and their being on reconnaissance, their being tortured? Jimmy and the contact with Eddy? Watching the execution? His exhaustion, the hospital anguish, testimony in court, Roberts not wanting him to testify? The news that he died after the testimony?

13. Ikeuchi and his presence in the camp, control of his men, lies to the court? The pressure on Tanaka? His spurning of the Christian? The revelation of the truth and the digging up of the bodies? The committing of Hari-kari?

14. The portrait of Tanaka: Giving himself up, the signals man? The significance of his being a Christian, his code, his prayer and compassion, his telling the truth, the interrogations and Cooper's hostility, his own lawyer? The pressure in the camp of the fellow prisoners? Ikeuchi? tearing off his cross and threatening him? His plea to Takahashi for civilized behaviour? The emergence of the truth? The testimony of the officer brought to the court, the officer trying to conceal the case but being unmasked? No signal sent to Tokyo, no written orders, the honour of executing the airmen? Tanaki not questioning the orders? His execution of Fenton? His speech in the court, his dignity, the condemnation, his bowing, the letter to his wife, the rosary beads in his hand, the assistance of the priest, his honourable death? (Expedient for one man to die for the sake of all)?

15. The officers on the tribunal, the administration of the trial, the handling of objections, justice being done, the sentence without mercy?

16. The presence of Mike Sheedy from the Sydney Morning Herald, the civilian, his ironic remarks, observations on people, on the trial, giving the new to Cooper of Fenton's death?

17. The soldiers, the officers, their reactions? The anger at the digging up of the corpses? The private soldier ? the contact with Tanaka, the execution squad?

18. Beckett, the American prospective, politics, concealing evidence, cover-ups? Beckett brought to the stand and forced to explain himself? Confidential information? The film's criticism of the role of the Americans?

19. The audience response to the visualising of the digging up of the graves, the flashbacks to the treatment and torture of the Australian prisoners, the beatings, the humiliation, starvation? The horror of the execution glimpsed?

20. Themes of justice, the need for retribution? Executions? What had Cooper achieved? His plea for mercy for Tanaka? The appeasing of Australian public opinion?

BUTTERFIELD 8

US, 1960, 109 minutes, Colour.
Elizabeth Taylor, Laurence Harvey, Eddie Fisher, Dinah Merrill, Mildred Dunnock, Betty Field, Jeffrey Lynn, Kay Medford.
Directed by Daniel Mann.

Butterfield 8 is a phone number for Gloria Wandrous, a callgirl. However, this is 1960, the beginning of an era when matters became much more frank but, at this time, were still reticent.

The film was based on a novel by John O’ Hara, very popular in the 1950s with film versions of his Ten North Frederick, From the Terrace, By Love Possessed as well as his writing the book of Pal Joey. The film was adapted by Charles Schnee who had a long career of writing melodramas and many other genre films including The Bad and the Beautiful and Two Weeks in Another Town.

The film is more famous for Elizabeth Taylor winning an Oscar for best actress of 1960. This was a sympathy vote as Elizabeth Taylor was ill and many thought she might not recover. She was to win a more worthwhile Oscar six years later for Who’s Afraid of Virginia Woolf. The win in Butterfield 8 prevented a number of significant actresses from getting their Oscar including Deborah Kerr for The Sundowners.

Laurence Harvey was often a sulky spoilt presence in films – and so is ideal casting for the affluent lawyer who takes up with the callgirl. Eddie Fisher (married to Elizabeth Taylor at the time) plays her best friend, a musician. The strong character in the supporting cast is Mildred Dunnock as Gloria’s mother – with a famous scene of confrontation where she slaps her daughter who retorts that she should have slapped her earlier.

The film evokes some of the atmosphere of the 1950s, uses the more reticent style to cover up the seamier side of life.

The film was directed by Daniel Mann who had a long career from the early 50s to the late 1980s. He directed three Oscar-winning actresses in their performances: Shirley Booth in Come Back Little Sheba, Anna Magnani in The Rose Tattoo and Elizabeth Taylor here in Butterfield 8.

1. How enjoyable was this film? As a human drama, with its sleazy subject, its glamorous world and background? Why do audiences like such films?

2. How real was the world of this film? Were the characters authentic? Was it a glossy paperback world? With paperback emotions? The picture of fantasy America that this film presented? Is it real in fact?

3. How important for the success of the film and its impact was Elizabeth Taylor? The focus of attention on her? Audience response to her in this role? Did she deserve an Oscar for this performance? How did Laurence Harvey's performance contrast with hers? Eddie Fisher? The strength of the supporting cast?

4. Was the film right to focus so much on Gloria? The special significance of the first 10 minutes or so? The wordless focus on Gloria? The revelation of her world and her character? The audience sympathy for Gloria, interest in her, condemnation of her? Expectations of Weston? Her writing 'no sale' on the mirror? Her taking of the coat? Her relationship to Steve and the pressures on him? Her disregard for Norma? Gloria's relationship with her mother? Her mother's glossing over the truth? Gloria's love for her mother? (The ironic comments of Fran?) How good a person was Gloria? How bad? How much was the evil on the surface, how real? The dramatic significance of her tantrums with Weston? Compelling and attracting him? The scenes of her working as a glamour model? The impact of love and change on her life? Happiness with Weston? The impact of her life and decisions? Her decision to go away? Hurting Weston, not hurting Steve, her relationship with her mother? How much was her leaving and escape? Was her death too melodramatic? Weston's epitaph about her being good ? was this justified? Was the film a portrait, a sketch, or a study of Gloria? How successful?

5. Weston as a contrast? Picturing him in the train, discussions about law and his career, being pushed by his wife and her family, the pressures by society? Why did he drink? His infidelity? The torment of his life as regards Gloria and Emily? Whom did he lore? Why was he so desperate for happiness? The effect of Gloria on his life? Emily's meeting him and his quarrel with Gloria? His pursuit of her and his decision? His responsibility for her death? The impact of the finale and Weston's future?

6. How sympathetic a character was Emily? On contrast to Gloria? The quality of her love for Weston and her hold on him, her giving him his freedom? The significance of her discussion with her mother? Emily's strengths?

7. The importance of the character of Mrs Wandrous? The unreal world in which she lived, her love for Gloria, her blaming herself for her evil, the support of Fran? An insight into mother-daughter relationships? Influence?

8. The Importance of the true story of Gloria's sluggishness? Was it appropriate and appropriately explained?

9. The significance of Steve in the film? An anchor of normality? His adoration of Gloria? Did he love her? the quality of his relationship kith Norma? Norma's discovery of the truth?

10. How glamorous a world was this? The values of good and evil in such a world, callousness and hurting of others? Responsibility?

11. Was this a good film,? An entertaining one, a penetrating one in terms of good and evil?

THE BAWDY ADVENTURES OF TOM JONES

UK, 1976, 94 minutes, Colour.
Nicky Henson, Trevor Howard, Terry- Thomas, Georgia Brown, Joan Collins, William Mervyn, Murray Melvin, Madeline Smith, Jeremy Lloyd, Michael Bates, Isabel Dean.
Directed by Cliff Owen.

The title tells everything. This is a raucous version of Henry Fielding’s classic which was filmed to great success in 1963 by Tony Richardson, Tom Jones. It won many Oscars including best film and best director.

This film keeps the basic plot outline without any of the subtleties in Henry Fielding’s satire on life in the 18th century and its hypocrisies. Various songs are added in to make it something of a musical romp. This was the period when sex films, especially from Scandinavia, were receiving more exhibition than previously and the British tried to keep pace, while keeping within the bounds of censorship.

Nicky Henson is Tom Jones and the rest of the cast is quite distinguished in its way. However, the poster highlights Joan Collins – which also says everything.

The film was written by Jeremy Lloyd, actor, writer and comedian who appears in this film as Lord Fellamar. Lloyd wrote a number of popular television series including Are You Being Served. The film was directed by Cliff Owen whose films prior to this were Steptoe and Son, Ooh .. You Are Awful and No Sex Please, We’re British.

1. The emphasis of the title? The Carry On style of humour? Audience expectations of the title and of the classic story?

2. How much of the classic novel was retained in the film? The plot as a sketch of the novel? The successful ingredients of the plot? The issues of this eighteenth century novel? How much was lost in the transfer?

3. The film was based on a stage musical. Was this evident? The contribution of the songs and the dances? The value of the comedy?

4. How well did the film use the conventions of broad farce? The impact of this kind of humour? Subtlety and the lack of it?

5. The story device for Squire Weston's story, giving a framework for the plot about Tom Jones?

6. Comment on the picture of the eighteenth century: its lack of morals? Life in the country and in the city? The households, the Comedy, religion, family, sex etc?

7. The picture of Squire Allworthy and the setting of the story? The complications of the birth of the baby? Jones and Bridget?

8. How enjoyable was the picture of Tom growing up? The contrast with Blifil? How was their rivalry central to the film?

9. The contribution of the tutors, Thwackum and Square? The hypocrisy? Eighteenth century comedy? Their favouring of Blifil? The sequence of the hunt?

10. How did this version present Ton as an eighteenth century hero? Or was he the ordinary eighteenth century man? What qualities of character? His relationship with Sofia? With the maids?

11. Tom seen as a victim of the eighteenth century? By birth and fortune? A victim of women? The story of the ring? Robbed on the complications at the Ball? His arrest and imprisonment? The happy ending and the vindication of the hero?

12. The role of Black Bess and her contribution to the plot?

13. The social satire in Lady Bellaston and Lord Follamar?

14. The satire of the country squire in Squire Weston? His standards of behaviour and morals? The hypocrisy of the upper class? The satire in the hunt, especially in the delay? his happiness when he learned the truth about Tom Jones?

15. The farcical aspects of the wedding and yet the possibility of true love? The sentimental aspect of the plot?

16. How successful was the presentation of the truth, people enjoying the discovery of the truth? The discomfiture of Blifil?

17. How successful were the set comedy pieces for example, bedroom scenes, the hunt and the classroom, the Ball? the prison sequences and the robbing of the stores, the highway?

18. How much successful achievement was there in this version? Considering the original, what might the success have been?

BATTLESTAR GALLACTICA

US, 1978, 148 minutes, Colour.
Richard Hatch, Dirk Benedict, Lorne Greene, Lew Ayres, Wilfrid Hyde-White?, John Colicos, Jane Seymour, Ray Milland.
Directed by Richard A. Colla.

Battlestar Galactica was a very popular television series during the 1970s and 1980s. It followed some of the trends from Star Trek but also was influenced by the emergence of the Star Wars series in 1977.

The film explores life in the galaxies, the battlestars, the fights between the Earth colonies and other peoples in the planets. In this sense, it is reminiscent of the characters and issues of Star Trek.

Richard Hatch and Dirk Benedict made their name in this series. The series also had a number of guest stars as does this television film including Ray Milland and Lew Ayres.

The film was written by Glen A. Larson, the writer and producer responsible for such series as Alias Smith and Jones, McCloud? – and episodes of many other series including The Six Million Dollar Man. However, Battlestar Galactica was one of his greatest successes. It is still shown on cable and satellite television, ensuring fans into the 21st century.

1. Audience interest in space films over the decades? The mysterious aspects of space, the more familiar aspects during the sixties and seventies? The interest in the seventies with 'Star Wars'? The spin-offs and derivative industry from 'Star Wars'? This film as influenced by it?

2. The quality of the film in itself as distinct from its origins? The quality of the film as a space adventure? Its value as a pilot for a television series?

3. For what audience was it principally made? Children, adolescents, adults? What were the particular aspects that appeal to each of these audiences? Why?

4. The appeal to the imagination of outer space? A vast realm, distant, galaxies? The fantasy of villains and heroes projected from earth to outer space? Cosmic dangers and challenges, wars? Victories in the vastness of space? The survival of mankind in space? How well did the film utilize these basic aspects of space imagination?

5. How did the special effects match the imagination? Senssurround and the use of sound? The visuals? colour, scenes of space, the models and the use of model space ships, planes? The galaxies? The staging of the battles and their strategy? Speed in space? The elaborate attention given to scientific apparatus? Audio visual machines? Machines for planning strategy? The presentation of alien civilizations in space? different from those of earth, similar? The strange creatures of space? The audience delight in special effects and the concrete images of fantasy and the imagination?

6. The effect of this kind of material on the cinema screen, on the television screen? The differences in impact? Space and the need for largeness for proper audience involvement? The contribution of the musical score and its suggestions of space?

7. The comic strip origins of this kind of film? Quick delineation of characters, the use of types and conventions, the straight up and down approach? The presentation of leadership, enemies, traitors heroes and heroines, rescuers? The dignity of age? The exuberance and enthusiasm of youth? The appeal of these basic characters and attitudes and audience straightforward response to them? The perennial appeal of straightforward good and evil?

8. How well did the film present the galaxy situation? the Colonies and their destruction, the final colony and its council and their wisdom and lack of wisdom, the president and his dilemmas, the advice, especially that of Baltar and his betrayal, the president and his anguish for making decisions, the appeasing of the enemy, the non-violence movements, the trust of the enemy? How involving was this for the audience? Sharing the president's decision-making, issues of pro and anti-war?


9. The fatality of the destruction? The audio visual presentation of the president's destruction? The Cylons and their attack? Baltar and his betrayal? The overwhelming nature of such destruction for those who survived on the Battlestar? The need for a quest for a new home?

10. The visualizing of the Battlestar? The use of model work, the sailing of the Battlestar through space, the way that it was manned, its troops, planes, Adama and his command? The Biblical significance of his name? His sons and the death of his son? His handling of the invasion, his being hampered by the president's decision, his strategy and tactics? Confronting the enemy? Rescuing the survivors and being able to offer them leadership when they panicked? The quality of his leadership in the Battlestar?

11. The scenes of rescue and the reaction to such destruction? The survivors and the trek on the Battlestar? The memories of earth and earth as a goal? The attitude of the council and their lack of wisdom? Uri and his selfish hedonism? His hoarding of the food and living in luxury? The contrast with the scenes of poverty? The young men and their strategies for sharing the food? The plight of the ordinary people compared with the establishment? Social themes in space?

12. The build-up of the voyage of discovery? The re-population of earth? Captain Apollo and Starbuck as leaders? Their youth, vigour and enthusiasm, their differing styles? Starbuck as the woman chaser, Apollo as the responsible hero? Their handling of the famine situation? The confrontation of Uri and the council? The shilly-shallying of the council in their decisions?

13. The decision for the dangerous passage in space? The council's motivations for allowing it? Apollo and Starbuck an succeeding the melodramatics of their taking the Battlestar through the difficulties? The landing on the station? The strange creatures and the ways of communication? The appearances of kindly hospitality, banquets and feasts? The sinister suggestions, the people going down in the elevators and disappearing, the transforming of hospitality into menace The Cylonal plot and the participation of the creatures on the station? Starbuck and Apollo and Adaza preparing their strategy and carrying out a deception? The battle and the escape? The ugliness of seeing the mutants trapped on the station?

14. The Cylons as enemies? Their mechanical nature, inhuman voices and qualities? An aggressive enemy? Their enthroned leader? The confrontation of Baltar and the vicious execution? The build-up to the attack and its constancy, their being tricked and making erroneous judgments? The themes and strategies of war in the battle?

15. The sub-plot of romance? Serena, Athena, the children? Attractive romance plots, conventional material an sub-plot to the adventure?


16. The appropriateness of achievement and the happy ending?

17. A satisfying adventure? The emphasis on straightforward adventure rather than exploration of themes? A satisfying science fiction adventure?

THE BATTLE OF THE VILLA FIORITA

UK, 1965, 111 minutes, Colour.
Maureen O’ Hara, Rossano Brazzi, Richard Todd, Phyllis Calvert, Martin Stephens, Elizabeth Dear, Olivia Hussey, Maxine Audley, Ursula Jeans, Richard Wattis, Finlay Currie.
Directed by Delmer Daves.

The Battle of the Villa Fiorita is based on a novel by Rumer Godden, the English novelist whose novels, Black Narcissus, The River, The Greengage Summer, In This House of Brede, were all made into successful films.

The film reflects the changing mores and morals of the 1960s. The centre of attention is a woman who has left her husband and children and gone to live in a villa with an Italian pianist. The children come from their home, team up with the daughter of the pianist, to try to break up the relationship and bring the wife home.

This is very glossy emotional material, something of soap opera. It was directed by Delmer Daves who had made a number of action films in the 1940s and 1950s including Broken Arrow and 3.10 to Yuma. However, during the 1960s he made a number of glossy films like this one including Susan Slade, Parrish.

Maureen O’ Hara appeared in a number of films like this during the 1960s. She had made great impact in the late 30s with Jamaica Inn and The Hunchback of Notre Dame and moved to Hollywood where she had a very successful career. Italian actor Rossano Brazzi had appeared in Summertime with Katharine Hepburn as well as in South Pacific. Richard Todd was a leading man in the 40s and 50s and Phyllis Calvert was a leading lady in many British films of the period. Martin Stephens had appeared in Village of the Damned and as one of the children in The Innocents. Olivia Hussey was soon to appear as Juliet in Zeffirelli’s Romeo and Juliet.

The film has beautiful Italian settings, especially around Lake Como.

1. The impact of this film? Director Delmer Daves and his soap operas of the sixties? Rumer Godden and expectations of her novels?

2. What is the basic appeal of soap operas? Interest in human beings, the emotional events, crises? Emotions heightened? The reality and unreality? The issues?

3. The film's use of colour, British and Italian locations, the atmosphere of gloss and glamour, music, the stars?

4. The importance of the introduction by Moira? The audience being involved on her side? What impact did she make initially? her ordinariness, charm, marriage, her meeting the children on their arrival from school and their ordinariness, her relationship with her friends?

5. How credible was it that she should fall in love with Lorenzo? His particular style and charm, the nature of her fascination, sufficient to make her leave her home? The warnings of her friends? Her attempt to fight the fascination? The concert and his award, her hearing it and succumbing to him?

6. How well did the film handle her leaving home? Her motivation, audience sympathy for her position, the reaction of her husband, of her children, of her gossipping friends? Their judgement on her? Did the audience share it?

7. Audience response to Lorenzo? As fascinating as Moira found him, his lack of scruple, his artistic background, the genuineness of his love for her? His gifts, his home, introduction to the servants? The background of luxury, the fulfilment of dreams? Moira's response to him and to this new background? The change in her personality?

8. Audience sympathy for Dowell? Coming home to find this situations, his immediate reaction, for Moira, the children, himself? How well did he handle the situation? Could he have done anything else?

9. The reaction of Michael and Debbie? Their love for their mother, for their father? The ordeal of selling the house, the preparations for their trip, the fact that they went? Did the audience want them to succeed?

10. The impact of their arrival, their fighting their mother, hurting her, their inability to understand her point of view? The arrival of Donna and her linking with them? The sequences of the girls not eating and bolstering themselves by the stories of the martyrs, their visit to the Church and confession, the atmosphere of hostility that they created? The effect on Moira and Lorenzo?

11. Lorenzo and his impatience with the children? Moira and her concern? The reaction of each, their being hurt, Moira's not wanting, to kiss in public, her slapping of Debbie, Lorenzo forcing Donna to eat? The significance of the title and the nature of the battle?

12. The impact of the storm, Lorenzo and Motra's decision to leave, being beaten by Michael and Donna, the crisis after the wreck, Donna and her injuries? Debbie's disillusionment with Donna and Michael because of the eating and the kiss? Debbie and her going to the priest for confession? His reaction to the parents?

13. The basis for the decision to leave? Motivation? How hard for Lorenzo, for Moira? The prospect of the future? Her asking the children to help her as she left?

14. What would the future of all of them be? The children said they had changed?

15. How credible is this kind of situation, how credible the people? Did the film help audiences to understand what happens in this situations the puzzle, the coping, the necessary insight?

BATTLE OF THE RIVER PLATE

UK, 1956, 119 minutes, Colour.
John Gregson, Anthony Quayle, Ian Hunter, Jack Gwillim, Bernard Lee, Michael Goodliffe, Patrick Macnee, Douglas Wilmer, William Squire.
Directed by Michael Powell and Emeric Pressburger.

The Battle of the River Plate is a standard war film from the 1950s but has strong writing and directing credits by the team of Michael Powell and Emeric Pressburger. They had made such interesting films during the 1940s as The Life and Death of Colonel Blimp as well as Stairway to Heaven.

This is the reconstruction of a World War Two battle between the German Graf Spee and British cruisers in the southern American waters of the Atlantic.

The film has a very strong cast led by John Gregson, very popular in films at the time, as well as Anthony Quayle, a strong character actor.

The film shows the tension between Germany and England in 1939, with small British cruisers, Royal and Renown, near Montevideo, Uruguay – waiting for Uruguayan authorities to expel the Graf Spee, which they did.

One of many British films of the mid-50s about World War Two, but one of the more distinguished.

1. How interesting a war film was this? How enjoyable? The qualities of a war films documentary tone, the human interest? The British emphasis? The picturing of the Germane? The combination of these ingredients for total impact?

2. The film as made in the mid-fifties? Its themes and impact them? Now?

3. How much did the film rely on style? On colour, the battle sequences, the structure, and emphasis on Langsdorf, on the battles, on the British success? The use of commentary?

4. What insight into war did the film give? The emphasis on battles, tactics, strategy, victories, prisoners, the conventions of war?

5. The insight into the aspects of war involving injuries death, destruction? The use of weapons? The tragedy of war?

6. What insights into war in terms of morale, patriotism, like, hatred, respect for enemies?

7. How well did the film present the conflict between British and Germane? Was it fair or not?

8. Why did the film evoke such sympathy for Langsdorf? His style, pride? Langsdorf as a person? His interaction with the British officers? Christmas Day? His communication with them? His communication with his men? The reception in Uruguay? His attitude towards defeat? The tragedy of the ending for him?

9. The contrast with the British commanders? The very nature of their Britishness, their ingenuity in tactics and strategy, their relentlessness in achieving victory?

10. The contrast with the captured British Captains? The humanity in these characters and giving the human perspective to the war?

11. The contrast of the sequences in South America, propaganda, American neutrality, the intelligence and its manoeuvring of those involved in the battles? This as a contrast to the battle sequences?

12. How impressively staged were the battle sequences? The climax involving the Graf Spee?

13. What achievement was there in war according to this film?