CATTLE KING

US, 1963, 89 minutes, Colour.
Robert Taylor, Joan Caulfield, Robert Loggia.
Directed by Tay Garnett.

A routine western from the early 60s when Robert Taylor had passed his peak. Joan Caulfield had been an attractive leading lady of the 40s and 50s. Robert Loggia was at the beginning of a successful career as a character actor. Director Tay Garnett had made many successful dramas at MGM in the 50s and 60s, including The Postman always Rings Twice and was now at the end of his career. A time-passer.

1. An enjoyable and popular western? The routine ingredients: ranches, Wyoming, cattle clashes, the President? How well presented? The American heritage and traditions?

2. Colour photography, landscapes, wide screen? The ranches, the terrain, the towns? The musical score? A Robert Taylor vehicle?

3. Audience expectations about the rights and the wrongs of ranchers, cattle-running, the depletion of grass, gunfighters, gun warfare, unscrupulous businessmen?

4. The plain presentation of the plot, the unsentimental presentation, the large rancher as hero, the heroine and her death. the small ranchers and their clashes? The basics of the western clashes?

5. Sam Brassfield as a man of the west? As embodied by Robert Taylor with his style? His property, manner of running his ranch, his authority? Johnny Quattro as his assistant? The clash with Matthews and his gang men? His attraction towards Sharleen? The possibilities of marriage, their being cut short? Friendship with the President? The help to Clevinger? The build-up to the final confrontation? A western hero?

6. The contrast with Matthews as villain - his plans, cunning, the gunfighters, double-dealing and exploitation, the final clash and violence? The attacking of the small ranchers' farm? His defeat?

7. Sharleen as heroine - her smaller ranch, family, friendship with Brassfield, the suddenness of her death? The emotional impact?

8. Johnny Quattro and his role on the ranch, aid, the final fight?

9. Clevinger as representing the small holders, their difficulties, Matthews and his pressure, the ranch and the fire, his injury, suspicions of Brassfield and joining him?

10. The portrait of the President, his background, his tour? The build-up to his visit, the town? The President and his wife? The encounter with Brassfield, the discussion of rights, reform?

11. Basic western issues, audience response, plot and characters? Satisfying entertainment?

CAT PEOPLE

US, 1942, 73 Minutes, Black and White.
Simone Simon, Kent Smith, Tom Conway, Jane Randolph.
Directed by Jacques Tourneur.

Cat People is a horror classic directed by Jacques Tourneur, the maker of a number of horror films, aided by the production values of Val Lewton. Lewton, written up in many of the books about classic horror films, was the producer of a number of small budget horror films at R.K.O. in the early 40s - I Walk with a Zombie, The Body Snatchers etc. Many directors such as Tourneur got quite some impetus from Lewton's lead. Robert Wise and Mark Robson also acted as editors and directors of these films at the beginning of their careers. The Cat People takes up mid-European legends and has the elements of European myth transported to America - quite effectively. There is also a sequel and many later films have capitalised on horror with cats and their mythological background.

1. The film is considered a horror classic. Why?

2. Audience interest in horror films, for entertainment, for excitement, fascination with the unconscious and the evil side of life?

3. The basic mythology and Serbian legends about the cat people; their explanation by Irene, the focus on cats and panthers as vicious animals? The statue of King John and the dead cat? The importance of the reality of these legends, or the reality of people believing in them?

4. What point of view did the film take about the cat people and their presence in Irene, in modern New York? A realistic point of view, belief in the legends, psychological point of view?

5. A realistic interpretation: modern New York, Irene and her drawings, Oliver and his job? The office, Alice? The world of psychology? The ordinary way of life in the city and the sudden intrusion of fear, cats and destruction? Irene's death?

6. How well did the film work on the level of legend: the initial poem, Irene's drawings, her continued return to the panther's cage? Her fears about loving her husband? Her dreams and the psychiatrist as King John? The ominous presence and the chasing of Alice? The ending and Irene's letting the panther free and her death?

7. The psychological interpretation: myths of the past, their presence, especially in European towns and families, Irene interpreting the absence of her parents in terms of the cat people; her fears, even in America? Her return to the animals and what they signified for her? The importance of the initial quotation in this regard? The encounter with Dr. Judd, the psychoanalysis and the revelations about herself? Her return and the possible cure and the sudden rejection by Oliver? The importance of the final fight with the psychiatrist? Irene's identifying with the panther and its being run over and its being stabbed?

8. How interesting a character was Irene: European background, presence in America and not having friends, her presence with the panther? The charm of the encounter with Oliver at the zoo, the visits, happy outings? The pleasant marriage with the intrusion by the cat-looking woman? Her romantic attitudes and her asking for patience? Yet her underlying fears? The jealousy of Alice and suspicions in pursuing her? The bonds with the psychiatrist and yet her fear of him? The growing atmosphere of menace about her and from her? A plausible character for this kind of horror film? The contrast with Oliver as the ordinary American, his explanation of his always being happy and not being able to cope when unhappy? His courting, decision to marry, his skill at his work, friendship with Alice, visits to the cafe? His decision to leave Irene and to go to Alice? The repercussions for Irene, on him? His genuine love for her and continued attempts to help? A credible hero?

9. Alice as an attractive character, a pleasant "other woman", yet the victim of Irene's jealousy, especially at the pool, the torn robe, the discussions with the psychiatrist, the menace on the street and her taking the bus?

10. The interest in the psychology, the theory of her turning into a cat and destroying her lover, the kissing of the psychiatrist?

11. The significance of dreams, the psychiatrist as King John?

12. The loosing of evil on to the world and her taking the key, opening the panther's cage?

13. The mystery and pathos of her death?

14. The importance of the introductory psychological quotation and the poetic comment on good and evil within mankind at the end? The value of this kind of film as a symbol of good and evil in story form?

THE CAT AND THE CANARY

UK, 1979, 93 minutes, Colour.
Carol Lynley, Honor Blackman, Edward Fox, Michael Callan, Wendy Hiller, Olivia Hussey, Betatrex Lehman, Daniel Massey, Peter McEnery?, Wilfred Hyde White.
Directed by Radley Metzger.

The Cat and the Canary was a Bob Hope- Paulette Goddard vehicle of 1939 and joins the many thrillers of that period remade with nostalgic taste and star casts in the '70s. Writer-director Bradley Metzger (usually maker of visually stylish soft-core pornography features) sticks to the Agatha Christie formula plus old dark house and maniacs lurking, for an eccentric will-reading and subsequent disappearances and deaths. Carol Lynley has the central role but the basically English cast enjoyed themselves wandering corridors and incessantly coming and going and disappearing – especially Wendy Hiller, the genial legal adviser and an almost mummified housekeeper, Betatrex Lehman. Wilfred Hyde- White oozes sinister joviality and Edward Fox sneers sadistically. Undemanding, literally old-fashioned entertainment.

1. The old play and the star vehicle of the '30s for Bob Hope and Paulette Goddard the basis for a nostalgic remake of the '70s?

2. The origins of the film on the stage, the continual movement, the house itself, the various devices of the old haunted house and the castle with secret passages? Scares, mystery? The weather, storms, thunder and lighting? The contribution of the musical score for atmosphere?

3. The conventions of murder mysteries and audience delight in the puzzle, the scares of the haunted house, the homicidal maniac and storms? The blend of these conventions?

4. The prologue and the atmosphere of 1904, British aristocracy and genteel living, the symbol of the cat making the canary afraid, the boy killing the canary? Decor, the manor, costumes, the references to similar films?

5. The transition to 1934 and its atmosphere, the manor. the change of decor but the sense of period? The build-up to the reading of the will and the assembling of the guests? Mrs Crosby and her role as guardian of the will - and the humorous burying of it in a coffin preserved with ice? Mrs Pleasant and her sinister and aged look? The device of having the will on film and its being preserved for twenty years? The device of revealing the information at a meal and with a second part - leaving the way open for tensions and murders?

6. The assembling of the guests and the devices used to introduce them.. the impressions they made on the audience, on one another? The establishing of tensions and rivalries?

7. The peculiarities of the will, the device of having Cyrus West on film and with Mrs Pleasant serving him? The repetition of the same meal and menu? The anticipation of the moves of the guests? The personality of Cyrus West, his madness, conditions? Wilfrid Hyde-Whyte's jovial and sinister style? The revelation of the will and setting the scene for tensions to follow?

8. Annabel as heroine - an attractive heroine, winning over the others, the capacity for greed? The listening to the information especially about the necklace? The glint of madness - hereditary? The beginnings of her fears, the encounter with Mrs Crosby and her disappearance, the discovery of the passages, the encounter with the monster? Charlie and Harry and their attentions? Paul and his being courteously the hero? The encounter with Susan and her pressurising of Annabel? Her ultimately being captured and tortured by Charlie? The rescue at the end and the happy ending - with a touch of greed and a repetition of the West eccentricities?

9. Susan and her hunting background, her snarling manner, her trying to terrorise Annabel and make her mad and so forfeit the inheritance? Her curiosity and death? The liaison with Cicely and her being kept? The lesbian overtones?

10. Harry as a sneering villain? His arrogance, expectations, rivalry with Charlie, the background of the malpractice? His being a suspicious character?

11. Charlie and his reputation, the overtones of the Red Baron, his being a fop? How suspicious was he? The revelation that he was the villain, his murderous intent, his deceptions? His killing of the canary in the prologue? The liaison with Hendricks and their plan for terrorising the group? The torture sequences, the ugliness of the deaths?

CASTLE KEEP

US, 1969, 107 minutes, Colour.
Burt Lancaster, Patrick O' Neal, Jean- Pierre Aumont, Peter Falk, A1 Freeman, Scott Wilson, Tony Bill.
Directed by Sidney Pollack.

Castle Keep's anti-war tone is often lost in the attempt to portray what the publicity calls 'the big, bawdy novel'. The crudity, as well as the carnage and violence, are out of proportion. The background of the film is a protest against
war by appealing to man's better achievements, art and architecture. Beauty must be sacrificed to man's cruelty and duty. The castle, the medieval tones of the set design and the costuming, Burt Lancaster in battle-dress on a white charger remind us frequently of what the film wants to say. But with a set of generally unengaging characters and mixed box-office values, much of the effect of the film is lost.

1. How would this stand up as an ordinary war film? Successful?

2. Is it a good adventure film?

3. The film is clearly meant to be a parable, what was the purpose in making this film? How anti-war is it? What impact do you think that this kind of anti-war film makes on ordinary audiences?

4. The castle belonged to the 10th Century. The war and people to the 20th. How was this contrast between centuries emphasized in the film? The castle itself, the opening hunt scene, Major Falconer on a white charger etc.? What points were being made by the contrast between centuries? The values of beauty? The need for change, forced change? The fact that a 10th Century castle was completely destroyed in the 20th Century and yet it had lasted for a thousand years prior to this without destruction?

5. How did the visual impact of the film reinforce the message about art, beauty, war, and destruction? The filming of the art treasures of the castle during the credits, the duchess on a charger, the beauty of the castle itself and its remoteness, the gardens, and the style of the destruction at the end, the destruction of the castle and all its art in a 20th Century war, the cross-cutting etc.?

6. How was the castle and its inhabitants a microcosm of our 20th Century world? Can we identify with the people in the castle in this film, in their crises? How did the film convey its message by using the castle as this microcosm?

7. What did the film have to say about war, its effects on human beings, the inhumanity of war, the changes, effected by war?

8. Major Falconer - as a person, was he real? His human feelings and attitudes? As a soldier, his military values, his impersonal feelings about art and tradition, his relationship with the Countess? Was he in any way noble or a hero? His capacities for coping with situations, in the castle, with his men, in his encounter with Beckman, and his dying at the end?

9. Beckman - the art historian, what he stood for and symbolised in the film? His interest in art and his collecting and cataloguing? His contrast with the other men and Falconer? His closeness to the Count? His attempt to communicate his knowledge and appreciation to his men, the force of his lecture? As a symbol of the artistic mentality trying to communicate to the ordinary men? Why his change of heart in the war situation? The impact of his shooting people and downing the plane, his dying in the same cause in the same way as Falconer?

10. The Count - what he stood for, tradition, the past, decorum. elegance, respectability? His measures to get an heir artificially? The old order being destroyed in his death?

11. The Countess - young, modern Europe being taken by the Americans to produce an heir, when old Europe is impotent? Was she more than a symbol in the film? Her personal response to Falconer and her escape?

12. Comment on the interaction of the main characters as symbolising human interaction in times of crises.

13. The soldiers - what kind of men were they? How ordinary?
Amberjack - as a religious person, as a timid person, especially as regards the Red Queen, his relationship with the others, his frustrations, the manner of his death? Clear Roy - as a cowboy type, as American, as obsessed with the Volkswagen, in his death? Benjamin - as black, as an author, as an ordinary person observing what happened at Castle Keep, the fact that he survived? The other men, especially the Indian and the representative group of Americans at the Castle?

14. The religious fanatic - his place in this film, his style of singing and rebuke, Puritanism, the band of his followers and their conscientious objection, their employed and led by Falconer, their deaths?

15. The place of the Red Queen in this symbolism, the brothel, the girls, and yet their friendliness and rowdiness joining against the enemy to destroy them?

16. Rossi, the baker - whom did he represent, a degree of sensitivity? The ordinary man, the baker, seeking the baker's wife, and making bread? And yet his returning to the war and his death?

17. The impact of the battle scenes, both in the town itself, the sniping, e.g. the Germans with the flute and Amberjack, but especially the scenes of the destruction of the castle. Did these sequences impose an impression of the harsh reality of war?


18. The impact of the finale, and the utter futility of war, absolute destruction, death, to what purpose?

19. The film was strong in ideas; was it as effective visually?

THE CASSANDRA CROSSING

UK, 1976, 129 minutes, Colour.
Sophia Loren, Richard Harris, Ava Gardner, Burt Lancaster, Ingrid Thulin, Lee Strasburg, Martin Sheen, Anne Turkel, John Philip Law, O.J. Simpson, Alida Valli.
Directed by George Pan Cosmatos.

The Cassandra Crossing is cinema disaster. Cinema disaster has a penchant for planes and trains. The Crossing is an old railway bridge in Poland where this trainload of stars and contagious plague is destined. For a while the plot looks wildly plausible, despite very contrived dialogue, but towards the end, melodramatic crisis piles upon crisis. Which makes for exciting entertainment, but takes the sting out of some strong criticism of power playing with people's lives. The verve of the film comes from the suspenseful journey and the plague and some stylish stars like Burt Lancaster, Ingrid Thulin, Ava Gardner. Sophia Loren is a lovely heroine as always. Richard Harris is a whispering hero.

1. An example of the disaster trend of the 70s? An example of international politics? A successful and enjoyable example? Critics were harsh.. audiences enjoyed it. Why?

2. The importance of the international flavour, the European setting, the American overtones, especially in terms of surveillance, cover-ups, murders?

3. How credible was the basic plot? The characters within this basic framework? Conventional characters on a train ride? The gallery and assortment of characters and their interactions - melodramatic? The quality of the dialogue and its contrived style for this kind of group? How well did it all mesh together for satisfactory adventure entertainment?

4. The Geneva framework and Geneva as an international city: the long shot of entering into this world and leaving it after the experience of the train and the disaster and the cover-up? The importance of the colour photography of the settings: an authentic atmosphere - the city of Geneva, its buildings, the European countryside, Switzerland, Poland?

6. The choice of the train conventions for this kind of disaster? The momentum of the train, sense of destination and movement, travel and the locations of the countryside? The confined atmosphere, limited interaction of people, the atmosphere of danger? Audience expectations from train disaster films?

7. The impact of the initial raid, the reminders of the terrorism of the 70S? The cause and its lack of clarity, motivations, the lack of background of the people involved? Health experimentation in Geneva and security? The risk taken, viruses and plagues? The government sponsorship of this kind of research? The violence of plague and the picturing of deaths? The situation of the escape and the danger for the train? How credible this kind of misadventure in such a city as Geneva?

8. The film's presentation of research, the status of research, medical investigations, lack of cures? Security? Doctor Stradner as representing the research point of view? Her personality, involvement in her work, human compassion for the people on the train? Her interaction with Colonel McKenzie? and her being helpless?

9. Colonel McKenzie? and his strict control of the situation? His representing America, international interests? What kind of character to be in such a position? The tension, advice of Doctor Stradner and Major Stack? The growing tension, his responsibility to Papa Superius? The decision about the train, his contact with Dr. Chamberlain and advice? The decision about the crossing? The double think and the double talk? Government hypocrisy? How did he salve his conscience about the disaster? What end justified the means that he took? The critique of Dr. Stradner but her helplessness? Major Stack and his supervision? The irony of his being under surveillance at the end and his death ensuing? Dr. Stradner also under surveillance?

10. The personality of the Swede terrorist, the raid, his infection, his going on to the train, encounter with the little girl, other passengers, in the dining car, the ugliness of his death?

11. How important was the Chamberlain story? The background of Judith and her writing, the divorces? Jonathan Chamberlain and his medical work, his inability to live with Jennifer? How interesting the story, how trite and conventional? Hero and heroine for this kind of film? The fact that Sophia Loren and Richard Harris were playing these roles? Dr. Chamberlain and his gradual involvement medically his involvement with the saving of the people? Jennifer and her help. the risks that she ran. the bond with her husband? The heroism for the ending? Credible for this kind of person?

12. The atmosphere of arrogant glamour with Nicole Dressler, having Robbie Navarro with her, travelling with a gigolo? Her arrogance, her German industrial background? Ava Gardner and her style? Her reaction to the situation? The disillusionment with Robbie when it was revealed that he was using her for drug smuggling? The irony of the federal agent disguised as Father Haley? The character of Haley? How conventional these people for the action? Nicole and her attitude towards the possible destruction Navarro and his heroics in travelling along the outside of the train - his death?

13. The European background with Herman Kaplan? His fears and memories of Poland? The echoes of Nazi persecution of the Jews? His freedom, sense of foreboding, his not wanting to return? The ominous knowledge of the Cassandra Crossing and the concentration camp the irony of his being diverted there? His help during the crisis, the pathos of his suicide?

14. Minor characters like Susan and her boyfriend suffering from the plague? Mrs Chadwick as governess and the little girl? Their contribution to the plot?

15. The personality of the train conductor, and his having to cope with the situation?

16. The atmosphere of the plague, physical manifestations, illness, people panicking, people coping? The importance of the sealing of the train and the security guards - and Kaplan's attempt to escape? The progress of the train through Poland and the oxygen clearing up the plague? The hopes then for their not having to travel to Poland? The irony of the government not wanting the information spread?

17. The visual presentation of security guards, the fascist overtones of the control of the train and the people and their destiny?

18. The visual presentation of the Crossing, the strength and weaknesses of the bridge, speculation about the success, the purpose of sending the train to the Crossing?

19. The final atmosphere of heroics, especially Navarro climbing on the outside of the train? Chamberlain and his device for separating the carriages?

20. Was the audience expecting so much of the train to crash after the Crossing gave way? The visual presentation and the special effects? Audience identification with such disaster? The escape and the implications of people surviving such a disaster, the breaking of the cover? Would authorities hunt down the survivors from the train?

21. The irony of the film's ending with McKenzie? being victimised in the same way as he victimised the train passengers? How seriously was the film meant to be taken? As much more than an adventure? The implications for modern travel, security, dangers, disasters? An easy 'message' film?

CASQUE D'OR (GOLDEN MARIE)

France, 1952, 96 minutes, Black and white.
Simone Signoret, Serge Reggiani, Claude Dauphin, Raymond Bussieres.
Directed by Jacques Becker.

Casque D’ Or (Golden Marie) has become something of a classic of French cinema of the 50s. It is noted for its period re-creation of the 1890s and the atmosphere of Paris at the time. It is also an effective melodrama showing relationships and clashes and the atmosphere of criminals at the time. The film is also noted for the performance by Simone Signoret who was at the peak of her career and popularity in France - later in the decade she was to win an Oscar for her performance in Jack Clayton's Room at the Top, 1959.

1. The impact of this French drama today? Its success and notoriety in the early.50s? The reasons for different response?

2. Techniques of black and white photography, the memory of the French heritage? The film as a moral drama, as a melodrama?

3. How well was an age reconstructed, the presentation of society, the visualising of the painting of the end of last century?

4. Comment on the basic ingredients of the plot. The ageless melodrama of human relationships; the down-and-outer, the woman who enjoys life and traps men? The clash of power and the innocent victim? Anger and hatred, love?

5. The impact of the opening with the canoes, the atmosphere of the dancing, and the quick change of moods? The quick introduction of characters and their style? How well did this involve audiences immediately?

6. The film's focus on Marie as central: her way of life, her style and personality, her profession as a prostitute, her relationship with the gangs, a gangster's moll despite her vivacious personality? Unstable in her affections? What kind of woman was she? How sympathetic was the film-maker, how sympathetic the audience to her?

7. The immediate impact of the hero? As out of prison, chip on his shoulder, his capacity for work, his impetuousness, his capacity for anger? How sympathetic?

8. The meeting of Marie and the hero? The use of the dance for their meeting, the emotional impact of their encounter? The reason for their growing in love? Their mutual needs, the quality of their love? The romantic aspects of the consummation of their love? How realistic, genuine?

9. The contrast of the love with the hatred of the gang, the types that were the criminals in Paris? Comment on the attention to detail of the way of life of these gangs and types,

10. The contrast of Felix with the hero? His control, his jealousy, his contriving crime? How unsympathetic were we to Felix? How did this help us to like Marie and the hero?

11. The impact of the murder? The reasons for its happening? Blame?

12. Comment on the further development of the relationship between Marie and the hero? Why did it develop? Their growing dependence, considering the difficulties of their situation and way of life?

13. The melodramatics of the shoot-out?

14. The importance of the condemnation and death? The dramatic impact of Marie watching it? Our watching it through her eyes?

15. The impact of the execution on the hero? Audience attitudes towards capital punishment?

16. What insight into the workings of fate? Fate and chance? The working class types and the hardness of their life? The criminal element of a city? The consequences of a dance and an encounter? How was this film?

CASEY'S SHADOW

US, 1977, 116 minutes, Colour.
Walter Matthau, Alexis Smith, Robert Webber, Murray Hamilton.
Directed by Martin Ritt.

Casey's Shadow is a horse in a pleasing treatment of fairly conventional material - a kind of adaptation of National Velvet for an ageing trainer, poor and seemingly mediocre, to get his chance at achievement and reputation. The background of horse-breeding and training in Louisiana backwaters, as well as at New Mexico race meetings, is given in detail but the film is Walter Matthau's who creates a convincing character, likable as well as irritating, of the trainer and the deserted father of three sons, whom he loves but whom he also frustrates. Martin Ritt, a director sensitive to human interaction, keeps a fine balance between sentiment and tough realism.

1. For whom was the film made? Younger audiences, older? Its particular appeal? The background of horse training and races? Human interest and human themes? Themes of achievement and sacrifice? For an American audience, non-Americans?

2. The importance of the Kentucky settings and the wag they were portrayed - the authentic farm and its poverty, a sense of realism with the farm, the town, the races, the way of life of the people who lived in Kentucky, the importance of horses and their training? The way of life in Kentucky compared with New Mexico? The prospects of money, success? The world of Sarah Blue? Wealth, success? The hardship and dedication of horse training and races, the beauty? The importance of the race settings, colour photography, musical score?

3. The film as a portrait of a family and audience response to this? The details of their home and its squalor, men living together, the absence of the mother? The continual need for money, the way that they lived and ate, cleanliness and dirt? The three boys and their relationship amongst themselves, their need for their mother? Their age, their particular skills especially with the horses, their bonds to home? The importance of the ordinary domestic scenes? Lloyd and his place in this family? Bringing them up without a wife? An ordinary average man with some talent, hopes? His love for his sons, his skill with horses, his employers? The bets at the races, the challenges? His hopes? Lloyd as the ordinary everyman with some talent, seeking the occasion for success? Walter Matthau's style in presenting Lloyd as a complex and likable character - with faults?

4. The presentation of the races, the bets? The importance of the boy Casey racing his donkey and winning? The importance of Mike Marsh and his daughter and the challenge? The double images of fathers? The contrast of Mike and Lloyd as trainers? Lloyd in his rut, and yet his human yearnings?

5. The build-up to the arrival of the foal, the owner not wanting it, the contract? The birth of the foal and naming him Casey's Shadow? Comment on the explicit detail given to the birth of the foal and the reality of farm life, horses, the need for care and fostering? The family and their co-operation? Casey and his role as the baby in the family, needing his mother, his good and bad traits? His father's treatment of him - too hard? The other brother's comment that he was only a kid? His love for the foal, training it and yet succumbing to racing it and the danger of hurting it?

6. Comment on the impact of the film's detail on horse breeding and its effectiveness within the film?

7. The growing awareness of plans, hopes, contracts? The testing of Casey's Shadow with its pedigree? Sarah Blue's watching it and her visit to the farm and discussions about contracts? The importance of money and the getting of money? Randy and Buddy and their skills, getting the money, the prospect of training Casey's Shadow for the big race?

8. The tempo and pace of the film with the training sequences, the decisions about Shadow's capacity for racing - Casey's hurting the horse?

9. The shift of atmosphere to New Mexico, professional, the beauty, the competitiveness? Mike Marsh and his hard treatment of horses e.g. their behaviour in the starting booths and having to be shot? His owner and his greedy attitude and hard-headedness? The starters and their problems with such dealings with the horses? Mike's daughter and her presence and her ability to ride, the exhilaration of her winning the race even though hurt? The insights into the way of life of the racing fraternity?

10. Audience anticipation of the trials and Casey's Shadow being so successful and yet hurt?

11. The problems of the horse being hurt, Sarah and her attitudes, the boys? The decision and Lloyd's determination to go on - especially for himself?

12. Lloyd and his reasons - did the audience agree with these. sympathise with his ambitions to be something and have success? His negro partner and his comments? The boys and their hostility? Sarah Blue and her wanting to break the contract?

13. The attempt on Casey's Shadow's life and the donkey dying for the horse? Casey's sadness? Lloyd's reaction and his seeking out Mike and bashing him? Credible behaviour, deep human feeling? In view of the race?

14. His sons' attitude towards him in allowing the horse to race and yet their doing what he wanted? The way the race was filmed and the attention to detail, atmosphere, his win? Lloyd's exhilaration, his speech, achievement? His drinking and his talk with Sarah Blue and her hard attitude?

15. The horse and its hurt, Lloyd's decision to spend the money on healing it -redeeming himself? Sufficient redemption and to compensate for his needs to succeed?

16. The importance of Randy and Buddy deciding to go back with their father? The possible future at Sarah Blue's? An optimistic and sentimental ending?

17. How engaging a humane story, interest, realism? The pros and cons of achievement and the means to succeed?

CARRIE

US, 1976, 98 minutes, Colour.
Sissy Spacek, Piper Laurie, William Katt, John Travolta
Directed by Brian de Palma.

Carrie is an outstanding shocker and was named as one of the ten best films by Time Magazine in 1976. Another directed by Brian de Palma, Obsession, was also in the list. Psychologists will probably have a field day for some time exploring Carrie as a parable of human nature and a symbol of modern America. Young Carrie, still at high school, is a victim. She is disliked, patronised, loved. Externally quiet and commonsensed, she has within her telekinetic power. She has almost uncontrollable destructive forces inside her as well. They are unleashed. Who unleashes them: the jealous and mean students, her encouraging friends, her encouraging teacher, her religious fanatic mother, the pressures of conventions and society? All of them?

The film is a blend of extraordinary moods. There is a beautiful build up of serene joy in the happiness of the prom dance which suddenly becomes mayhem with icon-like Carrie centre stage. Sissy Spacek is marvellous in her portrayal of Carrie. She is an excellent actress (as in Badlands, Three Women). Piper Laurie was nominated for an Oscar for her portrayal of Carrie's truly frightening fanatic mother. There is also a famous surprise ending that will grab at audiences, even if they know there is a shock to come. Carrie is interesting entertainment, excellent discussion material about forces inside human nature.

1. The impact of this film on its various levels? Overall? Time Magazine included it in its ten best of the year. why?

2. The film as typically American? American at all levels of plot, theme, genre?

3. The film as a commentary on the United States in the 70s: the presentation of youth, education, generations, religion, morals, psychology and the psychic?

4. The psychological interest in Carrie herself: as victim and destroyer, as repressed and yet sane, as happy and yet being very sad? As someone who would haunt others?

5. Comment on the use of the variety of styles: the ordinary school and youth genre style, its visualisation in the school, sport, cars cruising up the streets, prom, dance etc.

6. Comment on the use of romantic soap-opera styles: the lonely girl, the kindly teacher, the hostile girls and headmaster, teacher? The down-and-outer becoming the Queen of the Prom?

7. Comment on the styles used to portray the repressed mother, her missionary zeal, her repression, religious fanaticism, violence?

8. How was the film wise in hinting only at the psychic at the beginning, the ashtray, the light globe, the mirror? How did this prepare us for the full sudden burst at the dance?

9. How well were these various ingredients and levels integrated for a total impact?

10. The opening and the various elements: Carrie as an awkward and gawky girl at sport, the hostility of the other girls and their picking on her, the transition to the showers and all the girls together, Carrie isolated, her having a shower with the emphasis on the sensual, the sexual and slow-motion, to the transition of blood, the discovery of the period, fear and panic, laughter and scorn? Comment on the variety of moods in this sequence and the impact and audience response to Carrie.

11. The importance of Miss Collins and her role as a gym instructress, as representing care for Carrie? The contrast with the headmaster and his offhand not knowing her name? The hint of the broken ashtray?

12. Comment on audience response to Miss Collins and her treatment of the girls, her taking them for detention and exercises, her strong telling them about insensitivity, her kindness in talking to Carrie and taking her aside, comments on beauty and makeup? Her questioning of Sue and Tommy Ross about taking Carrie to the prom, the build-up of her kindness, the motherly chat at the proms and the reminiscences about her own? In the light of this why did she have to die? why did Carrie in her nightmare see her as bad as the others?

13. Carrie and the English Class, Tommy Ross' poem, her comment about beauty and the teacher's reaction? His later death?

14. The presentation of Mrs White and her visit to Sue's mother, her religious fanaticism, her pressurisation, Sue's mother as representing ambiguous morals, trying to pay Mrs White off? Mrs White at home, her look, her cloak and her hair, her deep manner of speaking and religious way, indications of her repressions and madness, the confrontation with Carrie, the discussion of the period and her interpretation of it in a sinful way, scriptural readings for Carrie, Carrie in the dark with the St Sebastian figure looking like a crucifix and eyes glowing in the dark in a devilish way? The effect of all this on the audience, Carrie represented as normal despite her ignorance, her innocence, and her mother? The sequence in the room and the breaking of the mirror? Carrie trying to discuss things normally with her mother, especially the prom and Tommy Ross? The after-effect of Mrs. White's influence and words of curse?

15. The contrast between Sue and Chris? Chris as a spoilt beautiful girl, her outing with Brian, her teasing him, her language? The malice in the killing of the pig and the setting up of the revenge on Carrie White? Brian and his involvement? Their deaths?

16. The contrast with Sue and genuine sensitivity and concern, her horror at seeing the bucket and her inability to do anything?

17. Comment on the build-up to the prom and audience participation in it? Carrie and her sensible approach to her psychic gift? Her response to Tom, hesitation, acceptance? Her dress, makeup, sitting in the car, talking and dancing, the whirling motion of the climactic dance, the innocence of the vote, the supreme happiness in being Queen and crowned? How did the film build up for a crescendo of ultimate happiness?

18. The contrast with the chaos and the slaughter? The impact of the blood falling, the split screen technique, Carrie's reaction, the chaos and pandemonium, friend and foe alike seen as hostile, laughing at her, their deaths, things moving. Carrie as an icon of destruction moving amidst them? Moving down the road?

19. Audience response to the transition to the normal. Carrie and her bath, the confrontation with her mother? Her mother's decision to kill her daughter as a witch, the lamps all lit in the house? Carrie's revenge and her mother being killed like the St Sebastian statue? Her hand pulling the house down, the fire, the both dying?

20. The transition to the false peace, Sue and her illness, her mother giving clues about her sleeping, her mother on the phone?

21. The presentation of Sue's dream as reality. and yet the unreality of the cross and the 'for sale'. the graffiti on the cross, Sue's solemn procession with the flowers and the tribute, the meaning of this for Sue and what she represented?

22. The impact of the shock and its meaning?

23. What was the audience left with on receiving this shock? How did it affect what went before?

CARNY

US, 1980, 102 minutes, Colour.
Jodie Foster, Gary Busey, Robbie Robertson, Meg Foster, Kenneth McMillan?, Tim Thommerson.
Directed by Robert Kaylor.

Carny is an offbeat feature which had limited cinema release. It was written and directed by documentary-maker Robert Kaylor (Roller Derby). It has sharp observations about carnival life, the routines of travelling the American countryside, the sideshows, performances - and the people whose lives are shaped by their carnival work. The world is presented as a strange microcosm, taking hold of the very life and personalities of all involved.

The central focus is Frank, a 'bozo' who sits on a perch taunting passers-by to throw the ball at him to make him fall into the water. He is able to read human nature - but sometimes goes too far. With his painted mask, clownlike, he is caged and becomes a symbol of antagonism and victimisation. Jodie Foster portrays a waitress dissatisfied with her life in a small town who leaves and joins the carnival, naive, the victim of violence, but eventually learning the exhilaration of manipulating a crowd. Rock singer Robbie Robertson co-wrote the story, produced and acted a central role. There is a very strong supporting cast of character actors including Elisha Cook Jr., Burt Remson. Not popular film-making, but a very well-made curiosity film.

1. For what audience was the film made? Its offbeat subject, style? The carnival as a microcosm? The film as a piece of '80s Americana? The portrayal of a world of popular entertainment - in a specialist way?

2. The portrait of the carnival: the use of darkness and light, shades of colour, darkness? An atmosphere of reality and unreality? The carnival as a microcosm - a self-contained subculture? Its vision of itself - limited, hustling? The gypsy way of life? The portrayal of the freaks - yet a home for those who are considered freaks? The group of unwanted people, exploiters and exploited. victims and con-artists?

3. The atmosphere of reality in the texture of the film: the attention to detail, the life of the individuals, the group, the tensions? The group considering themselves as insiders and their attitudes towards outsiders?

4. The picture of America: the towns, people who came to the carnival, enjoyment and delight. gaping, mockery, voyeurs and curious? The illusions of the carnival - hustling the illusions of the audience? The American road?

5. The title and the significance of the credits? The effect of the vivid close-ups watching Frank putting on his make-up? The initial impression of a clown? Laughter? Frank saying he wasn't a clown and that the make-up was a mask? Sadness, entertainment, provocation? Provocation as a way of communication? Frank as a Carny instead of clown? The mask. the paint, its thickness, colours, vividness, disguise, challenge? The Carny's ability to read nature? The bozo who mocks and is mocked? Provocation? The cage, the dunking, being pelted, a kind of scapegoat for animosity? The tension for the Carny? His enjoyment of his role, his feeling caged by it? His wanting others to experience the cage like himself?

6. Frank portrayed as real and symbolic? His work, relationship with people, partnership with Patch, reliance on Patch for people to come to his show? Bond, sharing the caravan? The wealthy-looking caravan and its comfort? The two complementing each other? Patch's control of Frank? Rivalry? The reaction to Donna and her friend? Guessing her age and her name? His delight in her turning up again, creating a bond, taking her along, introducing her to the group? The violence in the diner and their having to move out? Getting her the job dancing? The violence and Frank's saving Donna? His getting a job for her with Greta pulling the cords? His continually going back to his cage? The reaction to the authorities, the bribes? The friendship with 'On The Mark'? The violence and the destruction of the carnival in Georgia? The trick violence on the local hoods and scaring them off? Donna’s sexual encounter with Patch and Frank's seemingly nonchalant reaction? His wanting to go off by himself? Patch offering to take his place? A symbol of the 20th. century victim? The qualities of Gary Busey's performance?

7. The contrast with Patch as dealer, hustler? The sequences in which he moved from item to item passing money, urging people along, threatening the types disrupting the action? His control, hustling? His being his own man? Friendship with Frank? Working with the others? Working with Heavy St. John and the needs for permits? His unperceived jealousy? The hostile reaction to Donna? The violence in the diner, pushing her to the striptease? The subsequent violence? His encounter with her in the caravan and the sexual liaison? Paying off the authorities? Hustling the local hoods? The violence to the carnival and his reaction? The mock-death to frighten the locals? His taking Frank's place? Another version of the Carny?

8. Heavy St. John and his control, the rules for the setting up of carnivals, local laws, pay-offs? The takeover and exploitation? The items for the locals - striptease, sex? Using Donna?

9. Donna and her boyfriend, watching Frank, Donna engrossed, her hating her work as a waitress, her boyfriend's bad manners and temper? Her deciding to leave her work? Helping in the carnival, tidying the caravan - and Patch's hostility? The violence in the diner, her wanting to work, her costume and delight, dancing at the background of the striptease? The violence and her inability to cope? Working on the store with the pulling of the cords - and her being able to hustle, attracting the two lesbian girl to lose their money? Her wanting to tell this to Frank? The encounter with Patch? Her future? The young American wanderer of the '70s and '80s?

10. The portrait of the people involved in the carnival: the buskers, their spiels, the sideshows, the stereotypes, the range of 'freaks'? Normality and abnormality? The sympathetic portrayal of the sideshow characters - not exploited by the filmmakers?

11. The sleaziness of the stripper show and the audience response?

12. 'on The Mark' and his place in the carnival, frightening, loony? His stranger utterances? The pathos of his death?

13. The carnival world - a mixture of delight, shadow and violence?

CARNIVAL OF SOULS

US, 1962, 75 minutes, Black and White.
Candace Hilligloss, Frances Feist, Sidney Berger, Art Ellison, Herk Harvey (as the Man).
Directed by Herk Harvey.

Carnival of Souls is a small budget, locally made feature (Lawrence, Kansas) which is quite successful within its limits and has been bought for television screening. A victim of a car accident emerges from the river after some hours. She resumes her ordinary life as a Church organist, but is haunted by hallucinations and fear. Fascinated by an abandoned fun-pier, she finally goes there at night, is involved in a carnival of dead souls who chase her. The film has overtones of the occult, or, on the level of symbolism, Mary Henry, the heroine. has lived through a purgatorial experience before finally dying. There are a number of bizarre touches about the film, especially Mary's organ-playing and the pier; there are also a number of well used horror techniques to create an atmosphere of terror in the audience. This succeeds because the location photography and most of the daylight sequences have a normality about them which brings some relief to the night sequences. A minor film, but quite good.

1. What does the title mean?

2. The film started realistically. How long was it before you began to think in different terms?

3. Had Mary Henry died?

4. Mary's experience during the main part of the film could be called a purgatorial experience. Do you agree? Why?

5. What elements of the horror film were used? Were they effective? Why?

6. How was the atmosphere of the film helped by the fact that Mary was an organist, a church organist?

7. Why did she keep seeing the face of the mysterious man? Do you think the man was meant to be symbolic of death?

8. Why was Mary fascinated by the empty and deserted fun-pier?

9. How did Mary contrast with the landlady, the lodger, the minister, the man at the bubbler, the doctor? Did they show there was something wrong with her? Why did she become deaf and invisible? Do you think these sequences were meant to be premonitions of death?

10. Who were the people dancing at the pier?

11. Can you give a coherent explanation of the plot of the film?

12. The theme of the film was life and death. What insights did you obtain from it about these themes?