ROSES BLOOM TWICE

Australia, 1977, 90 minutes, Colour.
Directed by David Stevens.

Roses Bloom Twice is a telemovie from the late '70s, a period when the Australian industry made quite a number of telemovies. This one focuses on a widow, the concern of her daughter about her mother living what she considers a proper life. The mother, with strong memories of her husband, is in something of a depression. However, she meets an ex-army officer who cultivates roses and a romance follows. The daughter has to cope with what is happening to her mother. The title is obviously symbolic of the widow coming to life again in her relationship.

The film was written by Tony Morphett, a veteran writer of many telemovies and mini-series. Direction is by David Stevens, who was to go on to direct A Town Like Alice, The Clinic, Undercover and, in the United States, Kansas. In the late '80s he was living in the United States and a successful playwright.

1. Interesting and entertaining telemovie? Human drama? Relationships?

2. The Sydney settings, affluent suburbs, workplaces? The authentic atmosphere of the city? The musical score?

3. The title, the reference to Diana? Her relationship with Frank and his growing roses?

4. The focus on Diana, a portrait: the widow, grieving for her husband, alone, going out by herself, on the streets, with people, the cinema? At home, the strange prowler - with the serious tone, the comic tone? Her fears and ringing the police? Her relationship with Maryanne and Gabe? Maryanne and her concern? Gabe and his easygoing attitude? Her relationship with Peter? The socials, the parties? Her not being interested? The gradual change? Having meals with Liz and discussing relationships? Betty and the old friends avoiding her? Some charity work? The social, her encounter with Frank? Going home? The change of attitude and Maryanne's being upset, prying on her mother? The friendship with Frank, the outings, the discussions? Getting to know each other? The dancing? Maryanne's disapproval? Gabe and his approval? Peter and his concern and the fight? Diana coming alive, the prospects of marriage, the sexual encounters? Her future? The symbol of the rose?

5. Frank, meeting Diana at the party, his military background, the divorce and the visit of his ex-wife? Friendship with Diana, the outings together, enjoying the company, the roses? The reaction of the children, the dance, his frank way of speaking, the fight with Peter? The relationship - and its future?

6. Maryanne and Gabe, the permissive generation, living together, her refusal to marry Gabe? Their domestic life? Her not wanting a child? Gabe and his wanting to get married? His Jewish background, his mother? The picnic and his mother staying in the car, Diana and her sitting in the car with her? Her wanting children? Gabe's grief at her death? Gabe and his approval of Diana, of Frank, being supportive? The discussions with Maryanne? The possibilities of marriage? Maryanne and her concern, phone calls, visits, getting Peter involved? Her changing her stance? The prospect of marriage and family? The feminist tone and her wanting a career, achievement, travel?

7. Peter, his practice, his doctor talk - and his cliche of people coming in and out of his surgery? Concern for his mother? The fight with Frank?

8. Liz, the society women, Diana's friends, introductions, talk about men? Her interest in Frank and bringing them together?

9. Betty, the Jewish mother, her concern about her son, wanting children? Silent in the car, refusing to eat? The friendship with Diana? Her death and the ceremonies?

10. Diana's friends, their embarrassment at her being a widow, society dinners and companions? Charity work?

11. Interesting glimpse of Sydney city life, portrait of a middle-aged woman, her grief, her crisis, coming alive again? The concerns of the younger generation - and their moralising tone for others rather than themselves?

BROADWAY MELODY OF 1936

US, 1936, 101 minutes, Black and white.
Jack Benny, Eleanor Powell, Robert Taylor, Una Merkel, Sid Silvers, Buddy Ebsen, June Knight, Vilma Ebsen, Nick Long Jr, Robert Wildhack, Paul Harvey, Frances Langford, Harry Stockwell.
Directed by Roy Del Ruth.

The Oscar for best film of 1929 went to Broadway Melody. This is the next in the series, with episodes in 1938 and 1940. They were not sequels, just titles to give an occasion for an MGM musical, song and dance routines, some comedy. It was in the vein of the Warner Bros series The Gold Diggers of 1933, 1935, 1937.

Comedian Jack Benny is at the centre of the film, playing, as usual, an unlikable character. He is employed by a newspaper editor for his column but is urged to dig the dirt on celebrities (nothing new in the media). He has a sidekick played by Sid Silvers.

Robert Taylor plays an entrepreneur for Broadway (in a similar role to that of Broadway Melody of 1938). A widow is courting him in order to make her a star in his musical. He seems to be in love with her, has some song and dance routines with her, she also dancing with Nick Long Jr, an acrobatically graceful dancer.

However, the main part of the plot concerns Eleanor Powell in her first starring role. Having gone to school with Taylor, she comes down from Albany to New York to get a job in his show. At first he does not remember her, then wants to save her from all the heartbreak of Broadway. She does an audition – mimicking Katharine Hepburn in Morning Glory. Then an idea is concocted by Benny, that there is a French actress who is interested in performing – completely fictitious, with Taylor falling for it. This is part of an ongoing fight between the two where Taylor comes to his office and knocks him down. The sidekick has to answer the phone and pretend to be the actress or to say that she is busy rehearsing. Taylor’s secretary, played by Una Merkel, is in on the deceit and eventually, Eleanor Powell passes herself off as the French actress (not before Sid Silvers has to get dressed up and impersonate the actress as well).

Buddy Ebsen and his sister Vilma are a brother and sister vaudeville team and have quite a few numbers together.

The music and the dancing is one of the main features of this kind of musical. The songs were by Nacio Herb Brown and Arthur Freed, responsible for so many musicals especially the summing up of their career in Singin’ in the Rain. Direction is by Roy Del Ruth, veteran director of a variety of films in the 30s and 40s.

1. The popularity of this kind of film in its time? The atmosphere of the Depression? The Gold Diggers films? The Broadway Melody series? Seen now in retrospect?

2. The atmosphere of the 30s, the high life, top hat and tails, glamour, Broadway musicals? The New York settings? The realistic feel – or artificial?

3. The musical numbers, the choreography (and Oscar for the choreography for I’ve Got a Feeling You’re Foolin’): The Broadway Melody, You Are My Lucky Star (and the version with the dream that Eleanor Powell has imagining herself as a star), Sing Before Breakfast (from the Ebsens, danced by Eleanor Powell), All I Do is Dream of You and On a Sunday Afternoon. Several of the songs are reprised – and the singer for Eleanor Powell as well as for herself is Frances Langford?

4. The plot, plausible and implausible, Robert Taylor as a young producer, his reputation, his talent, the clash with Bert Keeler, punching him out? With Lillian Brent, her wanting to be in the show? His hesitations? The rehearsals? The meeting with Irene, not remembering her, then wanting her to go back home? The attraction? The story of Mademoiselle Arlette? The phone calls, the frustration? Eventually her conceding to be in the play, the press conferences, her presence at the parties, her absences? Impersonated by Irene? The final truth and the romantic ending?

5. Irene, coming from Albany, at the office, encountering Kitty Corbett? Not getting in? Gordon not recognising her? Her wanting to give up, but her wanting to dance? Her meeting with the brother and sister, the dance routines them? Going back to see Robert, his urging her to go home? Her pretending to go, with Bert Keeler and the plan for Mademoiselle Arlette, her impersonation (and her impersonation of Katharine Hepburn)? The dancing – her dreaming of a lucky star, the Broadway Rhythm?

6. Kitty, secretary, friendly with Irene, ticking off Robert, helping in the plot, her encounters with Snoop Blue, with him disguised as Madamoiselle? Arlette, his faux pas on the phone?

7. Snoop Blue, working with Bert Keeler, having to be in the hotel, pretending to cover for Mademoiselle Arlette? Dressed as her?

8. Ted Burke and his sister, vaudeville background, singing and dancing, their excellence, in the show?

9. Jack Benny and his screen persona, as Bert Keeler, with his editor, being asked to get scandalous material, writing the columns, concocting crises? Robert Gordon coming to the office, the punches? His continued attack? His encountering Irene, his plan for Mademoiselle Arlette? The execution of the plan? His mellowing?

10. A pleasing 30s concoction of fairytale plot, lavishly staged songs and dances?
 

CRIME WAVE

US, 1954, 73 minutes, Black and white.
Sterling Hayden, Gene Nelson, Phyllis Kirk, Ted de Corsia, Charles Buchinsky, Jay Novello, Nedrick Young.
Directed by Andre De Toth.

Crime Wave is a very brief film noir. It stands up well after many decades – and received some strong critical praise.

The plot is quite simple, a gang burst out of jail, murder someone on their way to a rendezvous for a bank robbery that has been planned for years. One of the group goes to a former cellmate’s house, wanting to enlist his help. However, he has a solid job, is happily married, is responsible to a parole officer and wants to avoid any contact with these ex-convicts.

Sterling Hayden portrays the detective, who has no time for any criminals, is very suspicious of the Gene Nelson character. He then uses him to set up the criminals and trap them, the audience not realising this until the arrests are made.

Sterling Hayden is always reliable as this intense, seemingly mean-minded detective. Gene Nelson has a rest from singing and dancing and is quite good as the former prisoner, Phyllis Kirk his wife. Ted de Corsia looks like a tough criminal, and Charles Bronson (in his Charles Buchinsky period) always looks as if he could be a criminal.

The film was directed by Hungarian Andre de Toth, director of a wide range of genre films in the 40s and 50s, receiving great praise for the 3D work in The House of Wax (even though he had only one eye).

1. The title? Expectations? Short running time? A film of the 50s?

2. The Los Angeles settings, the air of realism? Black and white photography? The streets, the homes, the precincts? Authentic feel? The bank robbery – filmed in an actual bank? The musical score?

3. The situation: Doc Penny, Hastings and Morgan, breaking out of jail, needing the money, the killing at the service station? Morgan and his going to see Lacey? His trying to persuade Lacey to join the group?

4. Steve Lacey, out of prison, parole officer, good job, married to Ellen? The reaction to Morgan coming to the apartment? Lying to the police? Trying to keep safe? The arrival of the other criminals? His covering for them? Sims, taking him in, the interrogations? The pressure on him? The capturing of the criminals at the bank robbery, an easy arrest – and the revelation that Lacey had helped?

5. Penny, the brains of the group, the long years of planning the robbery, working with the other two, the pressure on Lacey? Hastings, tough? Morgan and his toughness? The effect of the group?

6. Dr Hessler, his seedy background, helping criminals, the wounded man? Treating him?

7. The build-up to the robbery, the plan, the execution – and the arrests?

8. Themes of police work, prisoners, crime, investigation, arrests? In the 50s (with far less technological help and back-up than in later decades)?

THOROUGHBREDS DON'T CRY

US, 1937, 80 minutes, Black and white.
Judy Garland, Mickey Rooney, Sophie Tucker, C. Aubrey Smith, Ronald Sinclair.
Directed by Alfred E. Green.

Thoroughbreds Don't Cry is a standard racehorse story of the 1930s. It was the first starring of Judy Garland and Mickey Rooney together – nine more films, mainly musicals, to follow.

Judy is an aspiring singer, named of all names, Cricket West. She lives in a boarding house for jockeys with her aunt, played by the singer Sophie Tucker who does not sing in the film. (Though she has a wisecrack about an usher, telling him to go and ush.) C. Aubrey Smith appears as a very British grandfather. Ronald Sinclair is his grandson, very much looking like and sounding like Freddie Bartholomew.

The English part of the film has the grandfather and his grandson with a horse which they take to America to race. The American part is the house with Mickey Rooney as an arrogant young jockey. After a clash, the two young men become friends and Mickey Rooney helps train the horse. However, his no-good father is in on a scam to pretend that he is dying and wants his son to forfeit the race. This puts pressure on the young jockey, but eventually he does and is disqualified, the scam being exposed for what it is.

The old grandfather dies, leaving the horse to his grandson who is now impoverished. Mickey Rooney gets the money, enters the horse, urges the young Englishman to ride it, National Velvet style, to victory. Happy ending.

Judy Garland gets to sing a song, Got a Pair of New Shoes. She was about to star in The Wizard of Oz.

1. An entertaining racing story? Familiar material? The 1930s?

2. The British background, English aristocracy, horse owners and breeders, racers? The American contrast, the boarding house, the young jockeys, Mother Ralph in charge?

3. The basic premise, the grandfather and grandson, the decision to come to the United States, to race the horse and be successful? The quality of the horse, the focus on the horse? And the care of the horse?

4. Timmie, his success, vanity, relationship with Cricket? His skill in riding, his helping Roger? Riding the horse? His father, his scam, pretending to be dying, wanting the money for an iron lung? Timmie and the dilemma? His final decision? Pulling the horse? His being exposed? His going to live on the streets? Cricket finding him? His getting the money, entering the horse, getting into the tree, advising Roger on how to ride? Ultimate success?

5. Cricket, her singing, in the boarding house, friendship with Roger, with Timmie? Going to find Timmie in the streets? Her song?

6. The character of the old grandfather, typically British? Coming to America? Roger, his age, experience, the death of his grandfather, the disappointment as regards the race, his having no money, Timmie’s support, riding the horse to victory?

7. The characters around the stables, Timmie’s father, the other jockeys? The officials?

8. Timmie and his failure, ashamed, forgiven?

9. Everything being righted at the end?

HAPPY FEET TWO

Australia, 2011, 100 minutes, Colour.
Voices of: Elijah Wood, Ava Acres, Robin Williams, Hank Azaria, Brad Pitt, Matt Damon, Richard Carter, Pink, Sofia Veragara, Magda Szubanski, Hugo Weaving, Anthony La Paglia, John Goodman.
Directed by George Miller.

This is a cheerful show even if most of the penguins, computer-generated thousands of them, are stranded by a shift in the ice and snow, in need of food, and longing to get to the sea. With lots of little penguins, especially Mumble’s tiny son, Erik, there is enough for the littlies and their parents – despite a sequence where the raiding Alpha Skua swoop on the penguins. Not sure at what age tolerance for penguins, especially singing, dancing and stomping penguins, cuts out.

This sequel can’t have the novelty of the Oscar-winning original. But, there are enough characters to welcome back, Elijah Wood as Mumble, serious now in caring for Erik (Ava Acres) and anxious about Gloria (Pink – singing some songs – replacing the later Brittanny Murphy. Hugo Weaving and Magda Szubanski have cameo roles as the severe Noah and the loud Miss Viola. And Robin Williams is back in two roles, and courting penguin Carmen (Sofia Vergera).

As always, from The Simpsons to The Smurfs, Hank Azaria does scene-stealing voices. This time he is the very Scandinavian, Sven the Puffin, pretending to be a penguin that can fly, helping when he can, though puffining out at times. Then there are the two Krill, Will the Krill and Bill the Krill, whose story runs parallel to the main one until the end, who indulge in lots of repartee and wisecracks – one in a krillion. They are voiced by Brad Pitt and Matt Damon who are obviously enjoying themselves.

My favourite was Richard Carter as Brian the giant sea elephant, very Ocker accent and vocabulary and all (with two littlies who are cutely concerned about their daddy). Since the penguins, judging by their accents, have all migrated from the US, except for Hugo and Magda, Brian offers more than a little local colour and tone. And the stories he is involved in are a bit of excitement instead of us looking so much at the stranded penguins, even though they do sing and dance a lot.

Mumble does a good turn for Brian when he is beached on an ice ledge. Later, there is an appeal to Brian and his company to come to shake the ice (the happy feet aren’t able to do it alone) and make a path to safety for the penguins.

There are excerpts from quite a few songs as well as some originals. When Erik sings to plead with Brian to come, he finds words about his hero father to an aria from Puccini. When, Brian and the herd take to the ice to come to the rescue, it is the theme from Rawhide.

Now that director George Miller has finished Happy Feet Two at last, we all hope that he gets back to his next Mad Max project – and we will be even happier.

1. The popularity of the original film? A welcome sequel? Penguins and popularity? The Antarctic? The imagination? The environmental issues?

2. An Australian production, the quality of the animation, the landscapes and snowscapes, the mountains, the sea? The birds? The sea elephants? The groups, action? The voice cast?

3. The song and dance routines, the range of songs, performance?

4. Audience familiarity, Mumble and his dancing, Miss Viola, Noah, Ramon and Lovelace?

5. The next generation of penguins, Erik, the other small penguins, with Mumbles, Erik with his mother, the range of littlies and their families? Erik not able to fly?

6. The situation, the isolation, the penguins and their being marooned, starving, the need for food, the birds coming and supplying some fish, Noah going to the top of the ice and lamenting, the small group, getting out, organising help, the birds, giving the fish, the birds of prey, Sven and his arrival, the puffin, his help?

7. The communication between the big group and the small group? Their not being able to cross over?

8. Sven, the comic touches, his wanting to be a penguin, really being a puffin, his voice, helping, feeling ashamed to help?

9. Robin Williams as Ramon, Lovelace? The flirting with Carmen? The talk about beauty? Carmen and her place within the group?

10. The sea elephants and their encounter, the personality of the main sea elephant, his accent? The accident, Mumbles and his help? The later appeal for the help for the penguins, interrupting the fight, the Beach Master? The sea elephants coming, as a group, stamping, loosening the ice and snow, able to affect the contact and communication?

11. The effect on the penguins, their being saved?

12. The characters of Bill and Will, the Krills, as an extra for the film, not quite integrated into the plot, their comments, their wisecracks, play on words, their separating, the end, with all the krill, becoming individuals, helping the penguins with the shift of the ice?

13. The appeal to the family audience, to children, to adults?
 

GOING HOLLYWOOD

US, 1933, 78 minutes, Black and white.
Marion Davies, Bing Crosby, Fifi D' Orsay, Stuart Erwin, Ned Sparks, Patsy Kelly, Three Radio Rogues.
Directed by Raoul Walsh.

Going Hollywood is a star vehicle for Marion Davies who had been appearing in films since the silent era. She made a number of films at MGM including The Bachelor Father, Polly of the Circus, Cain and Mabel – but was better known for her relationship with William Randolph Hearst, dramatised in Citizen Kane. She was portrayed by Kirsten Dunst in Peter Bogdanovich’s The Cat’s Meow. The film is also an early vehicle for Bing Crosby who seems just the same as he was in most of his films, relaxed, charming, crooning. Late in this film, after some romantic and comic songs, he is able to sing the well-known Temptation. The score was by Herb Nacio Brown and Arthur Freed, responsible for so many musicals including Singin’ in the Rain.

Fifi D' Orsay (actually a Canadian rather than French) plays an obnoxious French film star. Patsy Kelly plays the sympathetic friend.

At a party, the action is interrupted by some comic performances by a group called The Three Radio Rogues, comic, singing falsetto, singing and crooning – probably very popular at the time but seeming a bit antiquated now.

The film was directed by Raoul Walsh who had worked with Pancho Villa in 1913, directed many silent films and was to continue on making many films at Warner Bros, action and gangster films as well as westerns until the 1960s.

The film is just a frothy concoction, starting in a finishing school for ladies, travelling to Hollywood, and principally on the set of a musical.

1. The popularity of Marion Davies in the 1930s? A star vehicle for her? Comedy, singing and dancing?

2. Bing Crosby in his early years, his screen presence, ease and charm, his singing, his crooning, his reputation?

3. The title? Altered to Cinderella’s Fella? The irony of a Hollywood Cinderella story?

4. The introduction to Sylvia, at the finishing school, the starchy staff and the exam questions, the teacher going to her room, Sylvia listening to the radio, singing? Finding that she was not to be a teacher? Turning on the radio, the reaction of the staff, of the girls? Her leaving? Her listening to Bing Crosby and infatuation?

5. Bill Williams, his agent, getting him up in the morning, the trip to Hollywood, singing his song – and recording it? His going on the ordinary rounds of the day and singing at the same time? Sylvia coming to see him, declaring her love, his escaping? At the station, the farewell, the crowds? With Lily? The relationship with Lily, on the train, Sylvia’s arrival, his putting her off the train – Lily having the difficulty with her maid, Sylvia becoming the maid? Her flirting with Bill, his trying to avoid her?

6. Sylvia in Hollywood, going to the studio, her being refused entry, her friendship with Jill, Jill taking her under her wing, to the apartment? The long dream sequence – the musical, with Bill, the farm effects, the comedy? Her going to the studio, trying to get a part? With Bill? Insulting Lily?

7. The film, the producer and his earnestness, friendship with Sylvia? Conroy, the director, walking around with a stern face? The clashes with the cast? With Lily? Her walking off? Her performance of the number, then her refusal after criticism? Bill talking with her, trying to persuade her to come back?

8. Bill , his drinking, the reaction to Sylvia? Lily and the break-up?

9. Mr Baker, the invitation to the party, the song and dance, Temptation?

10. The film, Sylvia getting the part, her performance, everybody happy? Jill and Mr Baker?

11. Sylvia, the imitation of Lily, the audition for the part? The final number – Bill not present, his coming on set and singing? The happy ending?

12. The party, the interlude with the Three Radio Rogues – in itself, as part of the film?

13. The froth and bubble of this kind of 30s entertainment?

TINKER TAILOR SOLDIER SPY

UK, 2011, 127 minutes, Colour.
Gary Oldman, John Hurt, Benedict Cumberbatch, Tom Hardy, Toby Jones, Colin Firth, David Dencik, Ciaran Hinds, Kathy Burke, Stephen Graham, Simon Mc Burney, Roger Lloyd Pack.
Directed by Tomas Alfredson.

John le Carre has been around for a long time. Older filmgoers may remember his popularity in the 1960s with the almost archetypal, The Spy Who Came in from the Cold, as well as The Deadly Affair and The Looking Glass War. He was the author of grim cold war stories which had been part of his own life and work. In the late 70s and early 80s, he was on television in the celebrated series, Tinker, Tailor, Soldier, Spy as well as Smiley’s People. Fred Schepisi made The Russia House in 1990. More recently there have been films of The Tailor of Panama and The Constant Gardener.

Tinker, Tailor, Soldier, Spy now gets a cinema treatment, honed down to a two hour running time that Le Carre has given his approval to. We are back in the Cold War, in the tensions between East and West, in the infiltration of intelligence offices, in the memories of Philby, Burgess and Maclean and their socialist loyalties which led to betrayal of the nation. There is a traitor in this film which makes it a mystery as well as an espionage thriller.

The film has been directed by Swede, Tomas Alfredson, who impressed critics with his vampire film, Let the Right One In. One might suppose that spies are akin to vampires, creatures of deception and the dark, draining the life blood of the country. Alfredson certainly takes us into the literal dark and the dark concealing the moles in high places.

Television viewers have remembered Alec Guinness as George Smiley. Gary Oldman now does an effective impersonation of a man who has been around a long time, still grieves over the loss of his wife and of his private life, a serious loner who is set the task by the powers that be (where the mole must be) to ferret out the traitor. Oldman is surrounded by a top cast, the powers that be: Toby Jones, Colin Firth, Ciaran Hinds and David Dencik; his young assistant, Benedict Cumberbatch; the young scapegoat, Tom Hardy; Control, John Hurt.

With the reduced running time, there are various layers of action and meaning to attend to, a film about Intelligence that requires intelligence. The setting is 1973, almost forty years ago, so the settings and the atmosphere are not familiar to audiences who may now be nearing fifty. And it is over two decades since the collapse of Communism. The film is inviting us to go back to a less well-known past.

The screenplay is written as a dramatic jigsaw. An assassination in Budapest, high level meetings, the lead up to Budapest, the discovery of the scapegoat in Istanbul, back to the times when Control was alive and definitely in charge, the setting up the trap for the mole – and some twists along the way.

This is the kind of film that older audiences will be interested in seeing, admiring the writing and the performances, wondering just how much spying and infiltration still goes on and who are the personalities attracted to this kind of life.
1. Acclaim for the film? For the performances? John le Carré’s book and career? The television series of the 1970s? Continued interest in espionage, the UK and Russia?

2. John le Carré, his experiences, his books of the 1960s and 70s, encapturing the Cold War? The changes in the 1980s, the fall of communism? The interest in the 21st century in relationships between East and West, Russia and the US, the role of the United Kingdom? Continued espionage suspicions?

3. The Swedish director, his insights into the story, the dark presentation of a spy story? Echoes of the history of Burgess and Maclean and Philby?

4. The title, the rhyme, the chess pieces with the names? The British tone? The puzzle?

5. The visuals of the film, the muted colours, dreariness and dinginess, London 1973, Budapest, Istanbul, the British countryside? The musical score?

6. The introduction and themes, the mood? The information about MI6, the Circus? Prideaux and Control, the journey to Budapest, the mission, the streets, the restaurant, the connection, the assassins, the mayhem, Prideaux being shot? British reactions? Later information about Prideaux, his being saved, the link with Bill Haydon?

7. Control, his role in MI6, his personality, age, his bringing in the heads of departments, the discussions, his relationship with George Smiley, dependence on him? The discussion, the mission? Smiley semi-resigned? Control and his resignation, illness and death? Smiley calling in Peter Guillam? The setting of the tone, the mystery concerning the mole?

8. The meeting with Oliver Lacon, representing the government, his wanting solutions? The lining up of the suspects: Percy Alleline, his role in government, his concern about the United States and intelligence? Roy Bland and his experiences? The bluff type? Bill Haydon, smooth, Establishment? Toby Esterhase, the previous communist, Hungarian, his coming over to England? The backgrounds, their personalities, their meetings and discussions, their work, their authority? Their concern about Operation Witchcraft? Information coming from the Soviet Union, going to the Soviet Union? Accountability? Audience interest, suspicions of each character?

9. George Smiley and Gary Oldman’s performance, as a person, appearance, clothes, quiet speech, deliberate, observing? His career and the irony of his semi-retirement, the relationship with Control, the behest of Control? The past, his discussions with Connie Sachs, the memories of the war – and the seeming integrity of espionage at the time? His being with each of the four, discussions, their friendship? Observing them? Using Peter Guillam to further investigations?

10. Peter, young, his capacity for information, working well with Smiley, the difficulties of the job, confidentiality, using his wits, the setup with the garage and the car and its collection, his discussion with the man at the desk, put his bag in the cloakroom? Infiltrating, getting the documents? The ways of espionage? His private life, his partner, his being sworn to secrecy, breaking up with his partner, the hardships of the separation?

11. The structure of the film, the interweaving of past and present, jigsaw puzzle, mosaic? The glimpse of each of the characters in the different periods? Establishing and deepening the observation of their characters? Smiley and his wife, Bill Haydon and the relationship, the friendship?

12. Control being seen at the parties, the importance of the Christmas party, the subtexts of the conversation? The observation of others?

13. The introduction of the character of Rikki Tarr? His work in Istanbul, trade missions? The setup, his character, the visit to him and the connections with the espionage story? The trade mission and his initiative in making the contacts, falling in love with the contact, on the run, her being taken? His hiding, the explanation, going to Paris, returning to London, the contact with Peter? His not knowing the full story – need-to-know? The girl, the arch spy and his being on the mission, the irony of his cruelty? His observations on Control and on Smiley? The woman, her torture, her death?

14. Prideaux and his work in the school, living in the caravan, hiding out? The fat boy and his confidentiality? His dealing with the students? Living alone, the contacts? His relationship with Bill Haydon? Setting him up in Budapest, rescuing him? Haydon and his internment – Prideaux coming, the gun, shooting him?

15. The intrigues in London, the Russian contact, feeding the information to Russia? It appearing to be the opposite flow of information? Esterhase and his contact? Roy Bland and Percy Alleline? Their reactions? The revelation of Haydon being the mole, his motivation, gentlemanly, the idealising of communism? His personal life, Smiley’s wife, with Prideaux? His being interned, the prospects of going to Moscow, his death?

16. Smiley, his bringing his mission to completion, his becoming Control?

17. The themes of espionage, spies and their lifestyle, identity questions, dangers and death, the political background, adept at lying, double agents, double lives, the effect?

BLONDE CRAZY

US, 1931, 79 minutes, Black and white.
James Cagney, Joan Blondell, Louis Calhern, Noel Francis, Ray Milland, Guy Kibbee.
Directed by Roy Del Ruth.

Blonde Crazy was the fifth film made by James Cagney in 1931 (after The Public Enemy, one of his most celebrated performances). He began acting in 1930 and was to continue until 1960, making Ragtime in 1981 and Terrible Joe Moran in 1984. He won the Academy Award in 1942 for Yankee Doodle Dandy.

He is full of beans in this film as a bellhop who has an eye for money. He has several confidence schemes going on. He is attracted by Joan Blondell who is employed as the provider of linen in the hotel where he works. Reluctantly, she joins him in his enterprises. They encounter a far superior conman, Dapper Dan Barker, played by a young Louis Calhern, with Noel Francis as his accomplice.

One of the confidence tricks involves Guy Kibbee as a lascivious old man who is set up and blackmailed. There are various other schemes that are presented – but Calhern has the better of Cagney in swindling him of his money. However, Joan Blondell joins with him and several other associates in pulling a big scam on Louis Calhern.

It is said that this is the kind of film that the Hayes Code was trying to prevent – the types of characters, the scams and dishonesty, a touch of the risqué in the dialogue.

Ray Milland has an early role as the man who marries Joan Blondell but turns out to be a criminal himself. The director is Roy Del Ruth, who was to direct many films at Warner Bros over the coming decades.

A glimpse of entertainment 1931 style – still entertaining in its way.

1. The title? The tone? Joan Blondell and the other blondes? James Cagney and the men who were crazy?

2. Warner Bros production values, the early 1930s, the transition from silent to sound? The characters? The wisecracks? The scams?

3. The stars at the beginning of their careers? Indications of what was to come?

4. Bert, James Cagney as the bellhop, in the hotel, treatment of the guests, his eye for Anne, arranging the job for her, paying off the man whose fiancée was to get the job? His inviting her up to the room being furnished? Her slapping him? His decision to leave the hotel – and invite her in on the schemes? His scheme with Mr Johnson? The setup, the fake policeman, the money? Going on the road? To New York? Meeting Dan Barker, the attraction, Barker’s patronage? Bert believing him? The plan with the money, the fake notes, at the theatre, Barker’s suave manner? Bert getting the money from Anne? Giving it to Dan – and its being robbed? His attraction towards Helen – and her callous note? His humiliation, eventually confessing to Anne who knew what had happened?

5. Anne, a good girl, her glamour, her charm, wit? Her fending off Bert? With Mr Johnson? Her reluctant decision to go with Bert? The scam for Mr Johnson? In the train, her reluctance to take the money? The encounter with Dan Barker? Meeting him later, his boasting of what had happened? Her going back to Bert, the plan for the scam, going to the races, the signalling for the bets and the winners? Taking Dan Barker completely?

6. Dan Barker, suave and confident, Helen, his associates? The fake notes, the forger, getting the money out of Bert? In New York, attracted to Anne? Her plan, his falling for it, the fake horse-owner, the trick in getting the information about the winners? Fleecing Dan Barker?

7. The finale, the revelation that Bert had stolen the jewellery to repay Anne? The cleverness of the scam, sending it to the house for the heiress, ringing to say that it was a mistake, collecting it, fencing the jewellery? The prospect of jail?

8. The happy ending – with the moral/amoral touch?

ROBIN HOOD

US, 1991, 116 minutes, Colour.
Patrick Bergin, Uma Thurman, Jurgen Prochnow, Edward Fox, Jeroen Krabbe, David Morrissey.
Directed by John Irvin.

Robin Hood was released at the same time as the Kevin Costner spectacular, Robin Hood, the Prince of Thieves. This is a more down to earth version of outlaws in Sherwood Forest. It gives us something of a more realistic picture of the times: the oppression of the Norman overlords, the arrogance of Prince John, the Saxons overtaxed and despised in their own land. Not that there isn't some tongue-in-cheek swashbuckling to enjoy (although Jurgen Prochnow as the dastardly Norman is a bit heavily Germanic and some of the dialogue is overly arch). But Patrick Bergen is a more credible Robin, though not having a great deal of charisma, and Uma Thurman (Dangerous Liaisons, Henry and June) is a more robust Marian. Tuck, Little John, Will Scarlett and the rest are there - although there is no Sheriff of Nottingham.

The audience is meant to cheer the Saxon rebels and their uprising in the 13th century - a contrast with the way traditional audiences are with similar uprisings in contemporary central America. Perhaps audiences need Robin Hood stories, not just to appreciate the past but to interpret the present.

In the supporting cast are Edward Fox as Prince John, Jeroen Krabbe as a vacillating Norman and the project was directed by John Irvin, whose films range from The Dogs of War to Turtle Diary.

1. The traditions of versions of the Robin Hood story - the Errol Flynn version, the popular movies and television series? The Kevin Costner version?

2. The work of John Irvin, an emphasis on realism, the dashes of swashbuckling and the blend of these styles? Legend and reality? The aim for relevance?

3. The settings, the opening with the dark forest, the forest itself, the mediaeval towns, the caves and the countryside, the home of the baron? The countryside, the aspects of pageantry? Action and stunt sequences? Editing and pace, the musical score?

4. The Saxon-Norman? settings, the prejudice against the Saxons, the oppression, the clash of culture? The darkness in the credits? The poacher and his pursuit? The night and the baron? Robin Hood and Will Scarlett and their defence of the miller poaching? The clashes of power? Alliances, justice? The friendship of the baron with Robin? The humiliation? In the court, the sentence for the lashing? Robin's reaction? Becoming outlaws? His meeting others in the forest? The taxes, the torturing of prisoners, the rebellion? The final reconciliation and justice to be done in England with Normans and Saxons?

5. Patrick Bergen's presence and style as Robin Hood? His friendship with Will Scarlett? Scarlett's influence and urging Robin to some justice, the defence of the miller, the clash, friendship with the baron and his origins as a pirate? In court, Robin's reaction, leaving, the fight, the escape from the castle, the forest encounter, Little John, Harry and his suspicions, the shooting of the arrow and Robin's skill? Fighting Little John at the bridge, the swimming and the drowning and the rescue? His being accepted by the group of exiles in the forest?

6. Life in the forest, the Saxons and their poverty, building up a community? The experiences of oppression? The attacks on the Normans? The encounter with Friar Tuck and his becoming part of the group? His story of the church, the raid on the abbey, the confrontation with the abbot and robbing him? The boys about to be hanged and their being rescued? The setting up of the trap with the knight? Marian's servant taking her place? The decision to give the money? The scenes of helping the poor? The fights and the battles? An atmosphere of realism?

7. The Norman knight (and his Teutonic style)? Arrogant, his encounter with Robin and the pursuit of the poacher? His friendship with Prince John? In court, the alliance with the baron? The engagement to Marian? His anger at Robin, his going on the hunt - and being trapped by Robin? The encounter with Prince John, justice to be done? The confrontation with Robin, the wedding, the fight - and his death? The Norman enemy?

8. The contrast with the baron, his soft light, pirate origins, friendship with Robin, trying to compromise, the sentence of the lash, Robin and the baron parting in anger? Marian as his niece, the proposed marriage? Her disappearance? The taxes for John, the cruel impositions? John's arrival and holding court? The confrontation with Robin Hood, his repentance and the reconciliation?

9. Marian, niece of the baron, her relationship with the knight and the engagement, her pouting at Robin, but tough, fascinated by him? The dress and the preparations for the wedding? Her escape, masquerade as a boy, serving Robin, warning him about the trap and the raid, the truth, the sexual relationship, her being captured, the preparations for the wedding, her faith in Robin - the final rescue and the heroics? Comparisons with the traditional picture of Maid Marian?

10. The merry men - Tuck, his size, religion, selling relics? Will Scarlett and his friendship with Robin, good advice? Little John and the others? Harry and the continued clashes, his betrayal, wanting the money, the torture?

11. The picture of the families, poverty, deaths and suffering, the uprising?

12. Prince John, his arrogance, his relationship with the Normans, the raising of the taxes and the cruel impositions, holding court? His young adviser and his demands on the Normans and the raising of the taxes?

13. Robin and the effect of life in Sherwood Forest on him, his beginning to understand the people, the move from a frivolous and wealthy young man to a hero? Strong, his skills, the fights? The trap? The final rescue - the cart, going into the castle, watching the wedding, the confrontation?

14. The encounter with the bow-maker, the Welshman, the bargains, his helping, making the long bows - and the uprising using them?

15. The build-up to the confrontation, the battles, the wedding, the duel?

16. The popular elements of movie making - with history and legend, made relevant for today?

ROONEY

UK, 1958, 88 minutes, Black and white.
John Gregson, Barry Fitzgerald, Muriel Pavlow, June Thorburn, Noel Purcell, Maire Kean, Liam Redmond, Jack McGowran?, Eddie Byrne.
Directed by George Pollock.

Rooney is a pleasant Irish yarn of the late '50s. A star vehicle for John Gregson, it is also one of the last films for Barry Fitzgerald, who portrays his usual kindly cantankerous old grandfather character. There is a good performance from Maire Kean as the widow who is highly critical but sets her cap at Rooney. Muriel Pavlow is the heroine. In fact, the screenplay is a variation on the Cinderella theme with Rooney as Prince Charming, Muriel Pavlow as Cinderella (the dowdy cousin looking after the family) and Maire Kean as the stepmother.

Rooney works for the local council, collecting garbage - and wants to show that working for the council is as good a job as any. His companions are played genially by Irish character actors including Noel Purcell, Eddie Byrne and Jack McGowan?. There is also a background of Irish feeling for the sport of hurling. The film was directed by George Pollock, who was later to direct the Miss Marple/Margaret Rutherford films.

1. Entertaining Irish yarn? Characters, the Irish, the atmosphere of Dublin?

2. Black and white photography, musical score, the theme song? The authentic atmosphere of the suburbs of Dublin?

3. The Cinderella framework of the story - Rooney as Prince Charming, Maire as Cinderella, Mrs O'Flynn as the stepmother with her daughters? The old grandfather doing the equivalent of the fairy godmother turn in giving the money anonymously to Maire.

4. Rooney and his working for the council, his friends, their talk, bonds between them? At work, their customers and the cantankerous woman? At the bar? Their helping Rooney with his moving? At the hurling match?

5. Rooney and the attraction of the landladies, fending off their advances? Having to move house? The encounter with Doolan, the possibility of playing in the finals? Mrs O'Flynn's address, the interview? Her suspicions, her misinterpreting his job? His moving in, meeting the daughters, meeting Maire, the grandfather? His becoming part of the household? Doreen setting her cap at him? Mrs O'Flynn? The friendship with Maire? Helping grandfather? At work, the gift of the necklace - and later having to get Maire out of jail? His drinking, Mrs O'Flynn's misinterpretation? The final of the match? The love for Maire, the proposal?

6. The grandfather, Barry Fitzgerald's Irish style? Upstairs, the cantankerous family? Love for Maire, her buying him the nip? Friendship with Rooney? Going out and getting the money for Maire? At the party? His death and his will - and the irony of his bequests and not helping Mrs O'Flynn?

7. Maire, her staying in Ireland and not going with her fiance? The poor relation with the family, slaving, the treatment by Mrs O'Flynn and her daughters? Grandfather? The bequest, transformation? Her love for Rooney, the arrest? The finale and the future?

8. Mrs O'Flynn, her Christianity and her hypocrisy, cantankerous? Jealous of her daughters? Treatment of grandfather? Rooney? Her disappointment at the grandfather's will?

9. Doolan, the lawyer, his status? The hurling? Friendship with Rooney?

10. The police, all admiring Rooney? The interviews with Maire?

11. An entertaining comedy - and the particularly Irish flavour?