ROUGH CUT

US, 1980, 111 minutes, Colour.
Burt Reynolds, Lesley- Anne Down, David Niven, Timothy West, Patrick Magee, Joss Ackland, Isobel Dean, Andrew Ray, Douglas Wilmer, Roland Culver, Cassandra Harris, Sue Lloyd.
Directed by Donald Siegel.

Rough Cut is an ambitious attempt for Burt Reynolds to move into sophisticated romantic comedy. He does quite well (echoes of Cary Grant, Tony Curtis) but the screenplay emphasises his macho image, stunt work and gives him many trite lines. David Niven is much older but suave, Lesley Ann Down is beautifully elegant, with an elaborate wardrobe reminding us that this is affluent fantasy world. This is also a diamond robbery caper with a touch of The Sting. The opening gam:-bit is quite protracted, then much glossy dawdling on the way. The robbery, however, is quickly and effectively paced, reminding us that director is action expert Donald Siegel - responsible for such films as The Invasion of the Body Snatchers, many Clint Eastwood police dramas like Dirty Harry and westerns, and Escape From Alcatraz. Amusing, but not essential viewing.

1 . The appeal of the comedy, romance, robbery? An entertainment film?

2. The work of Donald Siegel? Action adventure? The film as a Burt Reynolds vehicle - his work in sophisticated comedy? A change of image? A variation on his image? His popularity in the '70s and '80s?

3. The background of caper film like The Sting - unpredictable predictable? Twists? The audience enjoying being taken in?

4. The character portraits of this kind of film? Types? Expectations? Dialogue and situations? The affluent and glossy world? The fantasy of wealth, fashion? Identification with the stars? The importance of the English background and setting? The use of the Continent?

5. The opening 25 minutes? The audience being attracted by Gillian along with Jack? The mystery of her presence at the party? Jack's curiosity? The style of the party - dancing, guests? English society? Wealth? Jack and his pursuit of Gillian,' his stunt work, observation of the robbery? Jack's arrival home and Gillian's presence in the closet? The puzzle of who was tracking whom? The theme of control and manipulation?

6. Burt Reynolds as Jack: the imitation of Cary Grant and Tony Curtis? His presence in England, wealth, restaurant? Clothes and apartment? A romantic lead? His presence at the party with Sheila and the return home with the emphasis on the macho image? The following of Gillian, the stunt work over the house, watching her steal the jewels? Encountering her in the closet? The attraction to Gillian? Her leading him on? The various outings - restaurants, the car ride and the police pursuit, the garbage over the car? The sexual attraction but the delay in the liaison?

7. Gillian and her fashionable presence, air of mystery? The irony of her being a kleptomaniac? Her father and Willis' hold over her? Her contacting him in the middle of the night? Her visit to Scotland Yard? The various visits to Willis and his elaborating of the plan? Her rebellious attitudes? His prison threats? Her concealing the truth from Willis? Her falling in love with Jack? The love scenes - the long tracking sequence through the bedroom with the scattered clothes culminating in the bath? Their plans together?

8. The presence at the tennis, Jack's trick and finding out the truth about Gillian and the diamond contacts?

9. The portrait of Willis and New Scotland Yard, his work, his assistant? His imminent retirement, small pension? Hopes and obsessions about Jack? The home sequences and his indifferent relationship with his wife? The irony of his using Jack and Gillian? The build-up to his wife leaving? The finale and the truth?

10. Jack's decision to steal the diamonds - the elaboration of the plan, the introduction of Nigel, the recruiting of Muller and the satire on the neo-Nazi, the jazz player in Paris? The visit to the red light district of Amsterdam and the hostility towards the pimp?

11. The picture of the police work especially at Antwerp?

12. The pace of the caper itself, Willis' supervising the diamonds, his advice to the board? The planes, the rerouting of the plane? The examination of the diamonds? The car chase and the stealing of the diamonds, the use of Dutch locations for the pace and chase?

13. The irony of the truth when all was revealed?

14. The appeal of this kind of caper robbery film? Amoral? Audience fantasies?

ROSE MARIE

US, 1954, 115 minutes, Colour.
Howard Keel, Ann Blyth, Fernando Lamas, Bert Lahr, Marjorie Main, Ray Collins.
Directed by Mervyn Le Roy.

Rose Marie is a pleasant, but low-key, Cinemascope and colour remake of a Rudolph Friml, Oscar Hammerstein musical. Filmed in 1928, it was an important vehicle for Nelson Eddy and Jeanette Mac Donald (with James Stewart - and even David Niven in the supporting cast). It had great reputation in its time. Howard Keel was very popular at M.G.M. in the early '50S (Showboat etc.) and Ann Blyth had made The Student Prince, The Great Caruso and was to make Kismet. Fernando Lamas has also appeared in many M.G.M. musicals. There is humorous support from Bert Lahr and Marjorie Main. Direction is by Mervyn Le Roy who started with gangster films and thrillers and moved into big-budget romantic dramas at M.G.M. Choreography is by Busby Berkeley.

1. A pleasant Hollywood musical? Comparisons with the Nelson Eddy Jeanette Mac Donald version? The appeal of operetta on screen? In the '50s? Later?

2. Colour photography, Cinemascope? Canadian scenery? Studio sets? The musical score - the Friml music - especially The Mounties Song, The Indian Love Call, Rose Marie? The romantic ballads? The comic Mountie getting his man' - and Bert Lahr's style? The popularity of the music? The contribution of the lyrics? The placing of the songs throughout the film - as set pieces, as part of the action? The choreography of the Indian celebrations and rituals?

3. The conventions of operetta: the heroine and her decisions, the hero and his heroism, the villain and the romantic complications? Comic support? How well handled in this version?

4. Operetta and its treatment of basic romantic issues? Love, self-sacrifice, suspicion?

5. Howard Keel as Mike Malone and the heroic Mountie? His work? Promotion? Mission to get Rose Marie, falling in love with her, sacrificing her to Duval? His suspicions about Duval and the investigation? The comedy with Barney McCorkle? His giving up Rose Marie at the end?

6. Ann Blyth's style as Rose Marie? The tomboy? Her being transformed into a woman after her training with the Mounties? The dance, the robbery? The attraction to Duval? Her believing his innocence? Testing out love? The jealousy of Wanda? The Indian Love Call and her going to Duval at the end?

7. Duval: Fernando Lamas' charm and style, the trapper, wanting to buy the Indian land, the bargaining with the Indians, the gift for Wanda and his giving it to Rose Marie, the attempted robbery, the dance with Rose Marie, the accusations, the trial, his vindication and escape?

8. The presentation of the Indians - operetta style? The chief - and Wanda killing him? Her attempt on Duval? Her jealousy? Malone getting the truth from her? Her contribution to the choreography -with the jealousy of Rose Marie?

9. Marjorie main's raucous style as Lady Jane? Bert Lahr's comedy as Barney - his song, wanting promotions, and his finally receiving the medal? Ray Collins as Inspector Appleby?

10. The background of the life of the Mounties? Training, good spirit? The comparison with the Indian lifestyle? Romanticised?

11. A memorable musical? Entertainment?

ROSELAND

US, 1977, 104 minutes, Colour.
Teresa Wright, Lou Jacobi, Don De Natale, Geraldine Chaplin, Christopher Walken, Lilia Skala.
Directed by James Ivory.

Dancing is a powerful symbol for human experience and relationships, from tangos to waltzes. Its qualities of sentiment, skill, nostalgia, endurance are used in three stories, set in a still-used but symbolic New York ballroom, Roseland. A widow (Teresa Wright) relives her past; an imperious old lady (Lilia Skala excellent) more alive at Roseland than elsewhere, wants to win the Peabody competition; the central story of a gigolo (Christopher Walken) and the elderly women who depend on him as well as the dominating divorcee, Geraldine Chaplin. Writer Ruth Prawer Jhabvala and director James Ivory have made many perceptive films in India; here they look at facets of America, ageing and loneliness. with care.

1. The impact of the total film? Each individual story and their cumulative effect? The quality of the film as entertainment, human drama? The message of the film?

2. The contribution of the writer and director, the male-female combination of creative work? Their background of films in India - and their concern with fading cultures and their survival in the present and their hold on the present?

3. The quality of the three stories? The introduction to the characters during the credits? The interweaving of the stories? The importance of Roselands as the locale and atmosphere of each story? Audience identification with the principal characters in each story? The overall experience of such identification and shifts in identification?

4. The visualising of Roseland - as a ballroom, its size, vastness, cavernous atmosphere? The design and decor of the past and yet its being in the New York of the 70s? A world of its own, its power of isolating people? The M.C. and his hold over the people there? Cleo and her importance as guide, teacher, confidante? So many old people and lonely people there with their memories, means of communication? The essence of their lives lived there - with so little shown outside Roseland ? Companionship, partners, communication, the interplay of men and women? Roselands as a microcosm of the world? Was the film wise in taking the audience outside the building into the New York streets?

5. The significance of dancing as an activity of skill, art, grace, communication? Beauty of movement? Its engaging the whole activity of the person, bodily movement, feeling, emotion? The competitiveness of the dancing and the competitions? The motivation to win? The possibility of achievement on the dance floor, at any age? Loneliness and age and achievement pervading the atmosphere? These dancers symbolising this?


6. The waltz: the focus on May? In herself, an attractive woman, widow? The importance of her memories and her frequent talking about herself and her love for her husband? The encounter with Stan and the difference in his style from her dead husband? Talking with him and his reaction and wanting to escape from her? Drinking and her primness, change of heart, being loosened by the drinks? Stan's purpose in going to Roselands and enjoying the dancing? Their dance together? Each changing after the harassment? The mirror effect and May wanting to look in the mirror more and more, the memories of the past? The importance of accepting herself as she was, of accepting Stan and inviting him to dance with her not just for the experience of seeing her husband? The brevity of the story and its full impact? The importance of Cleo's commentary and judgments on the characters and their experience?

7. The hustle: the central story developed at most length? The importance of the title of the story and its focus on the central competition? The kind of dance that it was, symbol of the activities of the main characters? The hustle within the atmosphere of Roseland and its people and its dancing?

8. The focus on Russell? An attractive young man, his life as a gigolo? What was he doing with his life? Avoiding responsibilities? His being used by the women and becoming a victim? His using them? Cleo and her partnership with him, her commentary, her continued withdrawing even though jealous and desiring his support? Pauline and her total reliance on him? Marilyn and the attractiveness and her trying to possess him? His way of talking, his interests, his support of Pauline? His acts of kindness and courtesy towards her? Marilyn trying to force him to make a decision for her? His being attracted by Pauline's gifts and his automatic reaction to follow her? Did he have a mind of his own? Why could he decide only when pushed? How weak a character was he? How good a character?

9. How well drawn was the character of Pauline? Her life, widow, age, wealth, her illness, her fear of hospitals? Her friendship with Marilyn and pushing Russell towards her? The aftermath of her operation, watching for Marilyn and Russell dancing and her jealousy, her pain? Her fading life and her dependence on Russell? Her presence and drawing his decision from him? How authentic a portrait of this kind of woman?

10. Cleo and her presence at Roseland, her skill in coaching dancing, the young couple that she was training and their failure in the competition? George and Bella and her relationship with them? Her partners, her hopes for Russell, her proposition, Marilyn's supporting him? How insightful a portrait of the coach at Roseland?

11. Geraldine Chaplin's interpretation of Marilyn? Her first visit to Roseland, prim, her divorce? Her attraction towards Russell? The transition from liking to possessing? Her talk and explanation of herself, her searching for a job? Seeing her outside Roseland? Her not getting on the bus? The white dress, her plan for Russell and his success, jobs, paying for his lessons? The imposition on Russell and her losing him?

12. How credible were these characters? In the context of New York, Roseland? In their interactions, jealousies? Loneliness, love? Fear?

13. The Peabody: how engaging a short story? Its dramatic impact after the central story? Essentially a Roseland story - the effect of the sequences outside the ballroom? The focus on Rosa as a strong big woman, her age, manner? Her European background, her dresses? The reality and her confession of her position? The flashbacks and their dramatic effect? Rosa having a nap and a chat and condemning Arthur for his naps? The portrait of Arthur and his age, loneliness, friendliness? His lack of Rosa's competitive spirit? The practising of the Peabody? Rosa's domination of him and his happy response to her? The fact that he proposed to her and the effect on her? Their talking together? The Peabody itself and the skill of the dancers, the M.C. and his comments and chatter? The Peabody as a dance where old people died? Rosa and Arthur and their dancing and losing? The pathos of Arthur's death? The sequences in the New York subway? The M.C. and Rosa's dream dance, her winning? The impact of her death and yet her wanting to leave Roseland feet first? Final happiness in her ageing years?

14. For what audience was the film made? How much compassion, how much insight? The communication of genuine human feelings and response to them?

ROSEBUD

US, 1974, 126 minutes, Colour.
Peter O'Toole, Richard Attenborough, Cliff Gorman, Claude Dauphin, John V. Lindsay, Peter Lawford, Raf Valone, Brigitte Auriel, Jean Martin, Isabelle Huppert.
Directed by Otto Preminger.

Rosebud received terrible reviews. It invites them as it oozes topicality concerning Jews, Arabs, Black September, Munich massacres, rich European industrialists, the CIA. It looks too facile, too impossible and, for some, too propagandistic for an ideal Israel. However, in 20 years or more, it might look
like a good old exotic action adventure because the realistically-melodramatic elements could be over-looked for a story of spies, expert undercover agents (Peter O'Toole seedy and heroic), mad Englishman turned Arab (Richard Attenborough), terrorists and five abducted heiresses. There is a tradition of big. 'bad', booming but enjoyable movies. Rosebud is in it.

1. Was this an enjoyable film? A good or a bad film? Why?

2. The highlighting of the title, reference to the boat and the subsequent themes? The joke about 'Citizen Kane"?

3. How good an adventure film was this? The adventure ingredients? Topical adventure? Plausible or impossible?

4. How satisfying was the film as topical of the 70's? The presentation of the Arabs, Lebanon? Kidnapping, hostages. the background of massacres? The European and the eastern backgrounds? The C.I.A.? Television coverage? World response to Israel? How just was the propaganda?

5. The nature of the propaganda in the film? Was it just? The presentation of Jews. the situation of Israel? The presentation of the Arabs? 'Goodies and baddies'? World reaction? The call for repentance and reparation?

6. How exciting was the film as adventure? The topical backgrounds, expectations, the yacht.. Israel. Arabs, Corsica? which were the best adventure ingredients?

7. The importance of the initial build-up on Corsica? The opening of the film, the Arabs and their cellar, the ice-pick? The use of this later?

8. The importance of the presentation of the girls and their backgrounds? How much sympathy for the girls and their way of life? Youth and the 'jet set'? How interesting and important were the sketches of the family background, e.g. Lady Carter going to Rome? The differing nationalities?

9. The sequences of the taking over of the ship and the later execution? The change of tone in the film? The playing on audience reaction of violence, hijacking?

10. The drifting ship and the Israelis landing? The presentation of the efficient Israelis?

11. The sequences of the imprisonment? The making of the films about the girls? The questions about putting the film on television, the disputes and deadlines? The politics or the saving of lives? The effect on the girls? The effect on the parents?

12. The grandfather and his revelation of the truth? The implications of this for political and propaganda purposes? The differing nationalities and their background: England, America, Greece, France? What kind of people were the parents? How were they presented?

13. The background of the CIA, its work and its covers? In Paris? The character of Martin: the eccentric Englishman, the mercenary, converted to the CIA? His style and assistance? His work with the parents and counselling them to wait? The sequences in Berlin.. especially with the lesbian woman? His awareness of the couriers for messages?

14. The melodrama of the French student, his leftist tendencies., imprisonment? martin assuming his character?

15. How plausible was the story of Sloat and his conversion to Islam? His background in Lebanon, his followers? His madness and eccentricity?

16. How plausible was the rescue at the end? Martin's ability to collect rocks and trace the location though blindfold? The escape while the Muslims prayed to Mecca?

17. What were the human values behind this film? Political points of view? The picture of human nature? Man in the 1970s? Optimism, pessimism?

18. This was a blockbuster movie. why do audiences enjoy these? Rather uncritically? How will this film stand in twenty years, after the topical details have merged into history?

ROPE

US, 1948, 81 minutes, Colour.
James Stewart, John Dall, Farley Granger, Enid Evanson, Cedric Hardwicke, Constance Collier, Joan Chandler, Douglas Dick.
Directed by Alfred Hitchcock.

Rope was Alfred Hitchcock's first colour film. It was made after his success with Spellbound and Notorious. (There are humorous references to Cary Grant, Ingrid Bergman and Notorious in the dialogue.) The film was based on a play by Patrick Hamilton, author of Gaslight. The film was noted for its experimental technique: ten-minute takes (the length of film stock) to give the impression of continuous action. Hitchcock had a lot to say about the intricacies of moving walls, the difficulties of recording sound with such movement - and he didn't use the technique again. However, the technique is useful for the play which is set in one room.

The film was based on the Leopold- Loeb murders (as was the 1959 Richard Fleischer film Compulsion). Two homosexuals, with a philosophy of elitism (supermen having power to eliminate inferiors) commit a murder for the art and the excitement. They invite the parents of the dead man to a party, using the chest with his body as the table for serving. This still seems quite macabre - and must have made an impact in the '40s. Their old Prep master, who vocalised such elitist thoughts, attends the party and uncovers their secret. Finally challenging them and declaring that they had put a meaning into his words that he never intended. James Stewart is excellent as the master. John Dall and Farley Granger (who appeared in Hitchcock's Strangers on a Train) convey the suave intensity or artistic nervousness of the two men. The supporting cast is excellent, especially Cedric Hardwicke as the dead man's father and Constance Collier doing a Florence Bates impression of a would-be socialite. Rope was one of the lost Hitchcock films and was released to great success in the early '80s.

1. The work of Alfred Hitchcock: interest in crime, thrillers, psychological motivation, the taking of life, guilt and responsibility? As illustrated in this film?

2. Hitchcock as a master or technique: his first colour film, the contemporary atmosphere of the '40s, the New York street, the apartment, the use of the New York skyline and its changing evening colours, the atmosphere of the chic party? An atmosphere for such a murder thriller?

3. The musical score, the piano theme - and its use for Philip's character, for nervous atmosphere throughout the film? The ending?

4. The film as the adaptation of a play? Confined to one room? The effectiveness of the ten-minute takes - the roving camera, following the characters, the various devices possible for characters to move around the camera, for the re-creation of David's death? The linking movements and darkness for continuity?

5. The strength of the cast? The variety of styles? The two young men and the contrast of self-confidence and nervousness, Constance Collier and the snobbish humour, Cedric Hardwicke and an atmosphere of realism and pathos? Joan Chandler as a strong heroine? The maid and her humour, mothering, complicity? The authority of James Stewart's presence?

6. The style of the '40s: New York, reference to clubs, universities, prep-schools, the aftermath of World War Two and reference to Hitler, studies, the references to films and stars- James Mason, Cary Grant, Notorious and Ingrid Bergman, musicals? Fashion, diet, magazines like Allure? Hitchcock and comedy - and tongue-in-cheek observation and critique?

7. The credibility of the events: the background of the Leopold Loeb, killing? The arrogance of the two young men, the reference to the philosophy of Nietzsche, Hitler and the Nazis and their elitism? Criteria for elitism, for superiors and inferiors? The difference between theory and acting? The relationship between the two men? The background of homosexuality? Dependence, need, which of the two needed the other? Discussions of Freud, psychoanalysis and motivation? The contrast between logic, clarity of concepts and emotional, emotive reasons?

8. The opening and the atmosphere of the New York street, the closed curtain and the scream and its effect on the audience? The sudden impact of the visuals of the strangling, the corpse bundled quickly into the chest, the breathing and reaction of the two men? The audience somehow in complicity with the crime?

9. The brevity of the film and the confinement to the apartment? The change of time? The New York skyline and the gradual darkness? Tension - bizarre action, cruel action, the two men and the way that they were coping, in themselves, with each other? The audience aligned with them because they had shared the crime? Mrs. Wilson and her return, possibilities of discovery? Rupert and his talk, theories? The men thinking he was on their side? Rupert as detective? The techniques of the unravelling of the crime? Rupert's disbelief and audiences sharing his work, his attitudes, discovery? An appropriate culmination of the evening with Rupert's speech, the firing of the shots? The positions of the two men (one drinking, one nervously playing the piano) for the finale?

10. The relationship of the two - was each capable of killing his friend by himself? The theory of elitism? Philip and the story of strangling the chickens? Philip and his temper -.but the killing of fowls being so different from killing humans? Brandon and his cruelty, manipulation, excitement? Mutual need? Brandon needing Philip as audience?

11. The importance of the dialogue of the film: the amount of talking, sharing of ideas, the perfect crime, experiencing murder, murder as fine art, the touches for the masterpiece? The effect of these touches on audience emotional response? The theory and the use of power, violence? Learning from Rupert? Rupert's conversation and Brandon's exulting? The theories of European elitism transferred to affluent, America?

12. Audience belief that the men could commit this crime? The way that they spoke, the way they bolstered their beliefs? Rupert's smart talk - metaphor for human relationships- and belief in human nature? The examples that he used? Brandon trying to justify himself to Rupert? Rupert's condemnation of Brandon? Rupert's ideas about humanity, a grim view, his belief in logic and clarity, his being shamed by their behaviour, the difference between theory and reality, the criteria for responsibility, Rupert's condemnation of Brandon as thinking he was God? The significance of Rupert's speech about humanity and human rights?

13. Themes of guilt, responsibility, sin and expiation? Brandon - any sense of guilt or responsibility? Philip? Rupert's ultimate responsibility for the death of David? His action in firing the shots and waiting for the police to take the two men?

14. Brandon as suave, exhilarated in experience, strongly controlled, his smile and poise? Leading Philip? Taunting him? His power over Mrs. Wilson and smoothly organising her help? His touches for the macabre party: the use of the chest, the use of the rope for tying the books, the relationship between Janet and Kenneth, manipulating Janet, manipulating Mr. Ketley? Manipulating Rupert? The gun and its discovery? A brittle facade? A strong theoretical plan - which immediately failed? His standing drinking at the end? His cruel vision - no more than that of a petty and cruel boy?

15. The contrast with Philip and his artistry, sensitivity, belief in the theory, influenced by Brandon, committing the crime, an audience for Brandon, his growing fears, nervousness in behaviour and speech, cutting his hand, being questioned by Rupert, his gesture and postures? Collapse, drinking? Fear and yet not afraid of Brandon? The final piano-playing?

16. James Stewart as Rupert? His reputation, sudden arrival, his background with the men, his cracks, smart talk? His treatment of the boys when they were children? His theories about elitism - especially with Mrs. Attwater? The humorous jokes about the films and the musicals? His shrewdness, listening, interrogations - with Philip and the metronome? His direct questions? Suspicions. fears, seeing David's hat? The discussions with Mrs. Wilson? The leaving of the cigarette case? The return and planting it? Talk, drink, speculation. the reconstruction of the crime (and the camera movement),, the confrontation, the gun, his denunciation of the men? The shots into the air? His being shamed into action?

17. Janet as the smart young woman, strong, her work, relationship with Kenneth. with David? Chic? The magazine? Her interchanges and jokes. humour? The confrontation with Brandon? Sympathy for Mr. Ketley? Her leaving with Kenneth? Brandon manipulating her - but having the story about the relationship with Kenneth wrong? Kenneth as a plant, being used by Brandon? Relating well to Janet - the sincere talk and reconciliation?

18. Mr. Ketley and his sadness, a genial but quiet man, concerned about his son, his wife? Well mannered? His listening to the talk about murder? Not knowing whether it was real or not? Asking them to stop? Looking at the books? Audience emotional sympathy for him?

19. Mrs. Attwater and her style, talk, humour - and her being mocked?

20. Mrs. Wilson - her real concern, fussing, supplying information, the clearing of the chest and her being about to open it, her information to Rupert? A strong characterisation?

21. The touches of humour - the blend of corn, irony, the macabre? ironic and double-meaninged statements? Mocking of New York society? The chest and the rope and the macabre touches? The humour shaping audience response?

22. The final effect of the film - as entertainment, as a moral examination of issues? In the light of Hitchcock's other films?

ROOSTER COGBURN

US, 1975, 108 minutes, Colour.
John Wayne, Katharine Hepburn, Anthony Zerbe, Richard Jordan, John McIntire?.
Directed by Stuart Millar.

Rooster Cogburn is the sequel to "True Grit". "True Grit" was a most successful western and a great deal of the enjoyment came from John Wayne's crotchety, patch eyed marshal. What better than writing a sequel for this character? The better happens to be the casting of Katharine Hepburn in a western variation of her religious teacher of "The African Queen". Together the stars provide a lot of pleasure. Wayne almost does a parody of himself, Katharine Hepburn quoting scripture and maxims. The story is the standard chase with shootings, rapids, the lot. The film was not as successful as expected. Its appeal was to older non-movie going audiences who would, however, thoroughly enjoy it.

1. How enjoyable a film? Its value as a sequel? The ease of the two stars?

2. The use of widescreen, colour, location photography? Contribution to atmosphere and success?

3. The western structure of a pursuit of criminals? The use of western conventions? How well?

4. How well was the blend of comedy and action? The appeal to audiences?

5. Rooster Cogburn as a character? old, gone to seed, upholder of the law, violent, getting on with the job? His presentation of himself to the judge? At home with his Chinese friend and cat? Yet his skills as a marshall?

6. The initial ambush and killing of soldiers and the robbing of the nitro to create an atmosphere? The need for Rooster Cogburn?

7. Hawke and his character and his fanatical leading of the men? Breed and his wiliness as a guide? Typical criminal types? How well characterised? Necessary for Cogburn's pursuit?

8. The impact of the criminals' arrival at the mission, the confrontation with Mr. Goodnight and Ula? The killings and the devastation? Again a need for law and order?

9. Ula and her style? Confronting people, reciting a psalm at Gunshot, burying her father, strengths of personality, dedication to the mission, her use of the Bible? Her wit and survival capacity?

10. The inevitable clash and humour when she teams with Cogburn? Quoting the Bible at him, trying to reform him, riding and shooting with him? Attitudes towards law and order? Her growing admiration for him? The importance of Wolf accompanying them?

11. The action of the siege and their pretending to be a posse? Ula's shooting and saving Rooster?

12. Their skill in getting back the nitro. putting it on the raft, weathering the rapids and the dramatics of going down the rapids?

13. The human touch with Breed saving Cogburn? His own death?

14. The massive explosions as climax?

15. Ula pleading at the court case and the judge giving Cogburn back Ills badge?

16. The various themes of the west in terms of law, order, justice, criminals and violence? What the west did to individuals? The significance of the parting words and the two riding off at the end? A successful human western?

RONJA, THE ROBBER'S DAUGHTER

Sweden/Norway, 1984, 90 minutes, Colour.
Hanna Zetterberg, Dan Hofstrom, Per Oscarssen.
Directed by Tage Danielsson.

Ronja, the Robber's Daughter is a delightful mediaeval story for family audiences and for children. It is beautifully photographed with wonderful Swedish forest settings. There are also some excellent special effects for the castle, for strange creatures who roam the forests, for battles.

The film shows genial robbers and their way of life in remote areas and times. However, the film focuses on two ll-year-olds - in a Romeo and Juliet way. However, the ending is happy and the two rival robber families are united. The film is based on a story by noted children's author Astrid Lindgren.

1. Popular entertainment? Mediaeval folklore: ballad, serious, fun, the world of the fairy and imagination?

2. The quality of the re-creation of Sweden in the Middle Ages? The castle: exteriors and interiors, atmosphere? Forests and the beauty of nature, magic, sinister? The passing of the seasons?

3. The songs, the ballads, the dancing? Music and drama?

4. The traditions of mediaeval stories and legends? The Swedish mystique? The universal appeal? The focus on the children and their appeal?

5. The variations on the Romeo and Juliet theme? The young boy and girl, their friendship, their love for each other. the rival families, the unhappiness, the happy resolution?

6. The opening of the film with the robbers and the landscapes. their singing? The night of Ronja's birth: the people involved, Mattis and his concern about his wife, Lovis and her preparation for the birth? The upheaval in nature with the storm? The splitting of the rock? The rejoicing and the sense of destiny? The announcing of Ronja's birth? The contrast with the birth of Borkas's son?

7. The robbers' way of life e.g. the robbery along the forest path (and the Princess singing and then screaming)? The acrobatics? The robbers at work, their comradeship. meals in the castle, songs and dances. men and women? Ronja and her place in this household? Summer and the beauty of the countryside, winter and the humour of the delousing? Joy? Sorrow? The similarity of lifestyle for Mattis's family. Borkas's family?

8. Ronja and her spirit, her charm, her age, her being tested for survival in the forest, her being at home, overcoming the dangers? Her meeting with Birk? Their clashes? The rival jumping across the gap? Ronja saving his life with the strand? The friendship and love, sister and brother? Their meetings, the discovery of the tunnel? out in the forest and enjoying themselves? Birk being caught. the confrontations between the families? Ronja leaping the gap? The exchange? Her being disowned by her father? Her leaving home, with Birk. the bear's cave? Innocence and joy, clashes and arguments about the knife, the food, the messenger with the bread, saving the horses, the riding, the swimming? Lovis's visit? Mattis and his plea? The happy reconciliation? Acknowledgement of Birk? Their both deciding they would not be robbers? The delightful story of a young boy and girl? The finale with the summer - and the joyful scream and cry of spring and hope?

9. Mattis and Lovis and their lifestyle, Mattis as leader, an emotional man, boisterous, throwing things, fighting? Clash with Birk? Disowning his daughter? His grief? The visit to the cave? The uniting of families against the sheriff and his men? The fight with Borkas and his winning? The place of Noddle Pete in the castle. the sadness of his death? His love for Lovis? Her running the household? The comparisons with Borkas and his wife and their lifestyle?

10. Noddle Pete - the old man. the fool, the wise man? His jokes, earthiness? Love for Ronja? The timing of his death?

11. The magic in the forest - sinister and wonderful? The harpies and their attack, the sinister grey dwarves. the happy goblins?

12. A mediaeval world and the audience invited in to experience it?

ROMEO AND JULIET

UK/Italy, 1968, 138 minutes, Colour.
Leonard Whiting, Olivia Hussey, Milo O'Shea, Michael York, John Mc Enery, Pat Heywood.
Directed by Franco Zeffirelli.

Shakespeare had a lot to say to the people of his own day - at all levels: those who wanted a story, those who wanted action and romance, those who wanted poetry, beauty and wisdom. It is a mistake, to give us a modern Shakespeare by looking at today's questions, reading them into him and producing a play or film accordingly. We need Shakespeare for the moderns, Shakespeare understood in the conventions of his times, then his beauty and wisdom presented in our equivalent conventions. Whatever his intentions, Zeffirelli did it with 'The Taming of the Shrew' and now, despite so much pruning of the text, he has done it with Romeo and Juliet.

It is a beautiful, most enjoyable film. We do not listen, perhaps aren't capable of listening, as well as the Elizabethans did; we rely much more on visual help. The visual beauty here is the same as that of 'The Shrew', the golden tones of Renaissance Italy, castles, markets, balls, ceremonies and Renaissance-type profiles of actors who are sumptuously costumed. Frequent use of close-ups and the choice of teenagers, Olivia Hussey and Leonard Whiting, involve us more in the well-known story. By their fresh, less-polished acting, the couple convey the adolescent nature of their love as well as its passion. This impulsiveness comes through in the balcony scene. Shakespeare's heroines are generally vigorous and take the initiative; Juliet is no exception. Romeo does not pale beside her, however.

The brawls and the duel scenes, especially that between Romeo and Tybalt (Michael York) are some of the most realistically and skilfully filmed. John McEnery's Mercutio is an interesting interpretation - a poser, who is sensitive to taunts but whose nature strives for some kind of heights. The scene of his death, with his friends joking around him in disbelief, is excellent.

1. The impact of this version of Shakespeare? How well did it communicate the impact of Shakespeare’s original play? Critics were against the film because it eliminated too much of Shakespeare's dialogue. Is this a just critique? Did the film compensate for the elimination of the dialogue?

2. Basic response to Shakespeare's plot, the values in the exploration of medieval society, the encounter between Romeo and Juliet and the implications of love and hate, death? The insight into character, the insight into human nature? The theatrical impact of Romeo and Juliet, the reliance on the dialogue, the poetry?

3. How good a cinematic version of Shakespearian theatre was this? The visual impact and communication? The elimination of the words? The elimination of poetry? The importance of the opulence of the sets, the Veronese locations, the costumes? The colour photography and its golden hue? The resemblance to Renaissance paintings? The importance of the music, especially at the ball?

4. The aptness of the choice of the young leads? As being the right age for Romeo and Juliet? Their acting ability and ability to communicate the poetry and the intensity? The adult stars in support and their capturing the atmosphere?

5. The importance of Verona as an environment for the action? The presentation of both families, the visualising of the feud? The Prince and his ruling of the city, his attempts to reconcile the families, his coping with these situations? The intensity with the fighting in the dusty streets of Verona?

6. The portrait of the two families? The attention to detail in the houses, the rooms, the personalities, their dress, fashions, vanity, interaction? How were the Capulets similar to the Montagues? Dissimilar? The importance of knowing these backgrounds for the understanding of Romeo and Juliet?

7. The film's introduction to Romeo, to Juliet? Situated within Verona, their families,, their heritage? The strengths and weaknesses of their character? Their youthfulness? The expectations of how they would behave. grow up. marry? The focus of the ball and the Capulets' preparation for it? The importance for Romeo and his friends for being there, the daring of being in an enemy camp? The poetic presentation of Romeo's encounter with Juliet? Its taking place during a sonnet, the preparation of the music. the minstrels singing the theme? The awareness of falling in love, the implications of its self-giving. the intensity. the single-minded and single-heartedness of it? A credible falling in love?

8. The presentation of the love scene, the fact that their poetry is well known. the way they were visualised, the Capulet house. Romeo's climbing the balcony? The implications for each? The celebration of youthful and adolescent love, without awareness of the consequences?

9. The contribution of Mercutio? His role with the group. his relationship with Romeo, the sexual overtones of this? His madness and exuberance? The importance of the Queen Mab, speech and the way it was presented? The contrast with Tybalt and his arrogance? The background of youth, action, vengeance, a cavalier attitude towards life and death? Their fights, their likeness to modern gangs? The vigour and hatred in their fights? The death of Tybalt? The death of Mercutio?

10. The comic role of the Nurse, her relationship to Juliet, her character, her fussiness? Her moodiness and change of attitude? Her support of Juliet? What did she contribute to the love, to the destruction?

11. The character of Friar Lawrence, as a man, as a religious, the background of superstitions, his influence in the Renaissance household? His advice, the legitimacy of his performing of the wedding? His joy for Romeo and Juliet? The importance of his plan for Juliet's feigning death? His contribution to their love, to their destruction?

12. The change of atmosphere with Romeo and the death of Tybalt, the atmosphere of vengeance, the necessity of his fleeing? The irony of the messenger not meeting Romeo?

13. The heightened dramatics of Juliet's plight? The plan? The importance of our having seen the fact that they had consummated their love? The poignancy that this gave to the destruction?

14. Comment on the ironies of the resolution, The mistakes, the mistiming, passion, love unto death?

15. The aftermath for the two families? Reconciliation through sadness and death? The ultimate realisation of destructiveness? The importance of the Prince and his comments to the family? The prologue and the epilogue about the star-crossed lovers?

16. The value of the poetry and the literary response to Romeo and Juliet? The structure of the play, the five acts. the set of speeches, the conventions of Elizabethan drama and response to this?

17. Insight into the themes of love and sexuality, death? How is the Romeo and Juliet story an archetype for all stories of youthful love?

ROME EXPRESS

UK, 1932, 94 minutes, Black and white.
Conrad Veidt, Gordon Harker, Esther Ralston, Joan Barry, Harold Huth, Cedric Hardwicke, Donald Calthrop, Hugh Williams, Finlay Currie, Frank Vosper, Muriel Aked. Eliot Makeham.
Directed by Walter Forde.

Rome Express is a very early sound film from the British Film Industry. It is entertaining today, allowing for its dated style and characterisations. There is a vitality and pace about it even though the film has been used as a model for so many other train films - it is very reminiscent of Agatha Christie's Murder On The Orient Express. The screenplay was co-authored by Sidney Gilliat, who was later to use the same framework for his very successful film The Lady Vanishes, directed by Alfred Hitchcock. It was again used by Gilliat for a war atmosphere train ride in Night Train to Munich, directed by Carol Reed. All the familiar devices of the train leaving, the assembling of the characters, the interaction and the melodrama and crime are here. They were used, of course, for the disaster films of the '70s. The cast is very good and the photography and editing for its time is quite excellent. Conrad Veidt, the celebrated German actor, made his English debut in this film. John Paddy Carstairs directed Sleeping Car to Trieste (1948), a scene-by-scene remake of this film. Finlay Curry played the same role in both films.

1. The appeal of the train journey film? The journey, the artificial group of characters interacting, the possibility for crisis and solution en route? The format and style of the train film? The popularity of the genre? The influence of this film over the decades?

2. Trains: journeys, a variety of places and countries, stops and movement, customs, the confined space, the confined time, the artificial cross-section, the possibility of anonymity and discovery?

3. The quality of the film for 1932 - black and white photography, the editing and the sense of movement especially in the opening sequences with the group arriving at the station, pace, visual impact, characters and staging? Musical score?

4. A situation for murder, violence? Detection? The effect of the crisis on the lives of the passengers? How satisfyingly presented here?

5. The fluid assembly of the characters at the Paris station, their range, characteristics, style of introductions? The train itself and the details of its preparation for departure?

6. The quality of the screenplay in the staging of the character interactions and plot links: coincidences accidents, death and motivations, detection?

7. The range of characters and types - how well sketched? - the film star and her glamour, her being tired of it, her press agent and the satire on advertising, gags and stunts for publicity, the pressure on the star? Her relationship with Tony and the encounter on the train? Giving him an alibi? Her giving up career and escaping at the end? - Grant and his taking the girl on the trip, his wanting to be anonymous with her, the chance encounter with Bishop and his incessant talking, the meal and ignoring the girl, the preparation for the card games, the questions of compartments and the cover-up, the death of Poole and the blaming of Grant, the exposure of his trip, his decisions at the end? - McBain? and Mills - McBain? as the gruff millionaire, pushing Mills around, his interest in his own philanthropy and making a good impression, wanting the Van Dyke, his threats to Mills, the chance of getting the Van Dyke through the wrong briefcase, Mills threatening him and blackmailing him, the criminal searching his compartment, his saving the day and giving in to Mills, the ironic humour of his being ignored on arrival?
- Bishop and his incessant talking, complicating the situations, his theories about the death?
- Tony and his involvement with the criminal, hastily getting on the train, tracking down Poole, encountering the film star, the memories of the past, his decision to give up?
- Poole and his being scared, being put in the same compartment as the Chief of the Surete, his covering for Grant at the buffet. his joining in the game, his meeting with the criminals and the cat-and-mouse techniques, his escaping to the compartment and hitting Grant, his being murdered? The changes of briefcase?
- Conrad Veidt and his German menace and style, his being on the train and work with Tony, tracking down Poole, the control of the card game,, the searching of McBain's compartment, his being interrogated, the film star giving an alibi.. his being outwitted and escaping to his death?
- the Chief of the Surete, his seeming to be a bore. the discovery of his identity, his detective work?

8. The detective work and the rapid resolution of the murder?

9. The happy arrival at the destination with people's lives changed? The train ride and the image of journeys and the complexity of life? An enjoyable and satisfying example of the genre?

THE ROMANTIC ENGLISHWOMAN

UK, 1975, 116 minutes, Colour.
Glenda Jackson, Michael Calne, Helmut Berger, Marcus Richardson, Kate Nelliganf Rene Kolderhoff, Michel Lonsdale.
Directed by Joseph Losey.

Joseph Losey makes striking films. This one parodies soap-operas in its style (and explicitly in the imagination of the heroine) and aspires to some comment on women, their status as housewives and the nature of modern marriage. However, it seems to border perilously on what it is criticising. Glenda Jackson (seen, at last, doing housework instead of demented or dominating) does her best to show the frustrations of modern living, especially with such a suspicious and obtuse husband as Michael Caine portrays. Helmut Berger is an international smuggler and gigolo who moves into London suburbia. A strange character in a film that combines romance, thriller aspects and an exploration of character in a social context.

1. The significance of the title, the explanation? Elizabeth, at first, at Baden, holiday, running away? At home? Where was she most particularly romantic? The nature of romance? The emphasis on the Englishwoman as romantic? The wish to have freedom and have everything when it is not possible? Did this theme pervade the film?

2. The importance of colour, English and continental locations, London suburban houses, the contrast with the European countryside, the finale and the luxurious settings? The musical commentary? The visual style, for example, mirrors, images, photos? The use of imagination, especially the visualising of Lewis's screenplay? The contrast between reality and, unreality?

3. The focus of the title and the film on Elizabeth? How ordinary an Englishwoman, how ordinary a woman? The pressures on her running away, the effect of her train journey and her arrival in Baden? The effect of Baden and its holiday atmosphere, the casino, the spa? Her telephoning her husband? Her imaginative flirting with Thomas, her real flirting with him? The atmosphere of danger surrounding Thomas and her fascination? Lewis and his suspicion of her? The contrast with her arrival home, the change of plans, her first meeting with Lewis. the scene in the garden? Her ordinary housework and seeing her as an ordinary Englishwoman?

4. Elizabeth in the context of suburbia, washing, cleaning up the house, looking after her child? The contrast with going out with Lewis, the film producer, the meal, the idiotic atmosphere of parties, literary functions, clubs? Elizabeth as at home in this world?

5. The film's criticism of women? The role of housewife, boring life, the contrast with the exotic and the romantic? Should women yearn for this? The ambiguity of the screenplay? Lewis's imagination of how women should be, suspicions of his wife. the artificial dialogue and the posed tableaux of the film and of Lewis's screenplay?

6. How interesting a character was Lewis? Credible as Elizabeth's husband? what kind of nun was he, his literary talent, his being at home in the film world. Lewis at home, Miranda? His suspicions and telephoning? The games that he played and his manoeuvres? His language? The quality of his relationship with Elizabeth? In terms of love and sexuality, as father of David?

7. The contrast of Thomas with this English world? The scene on the train, the fascination in Baden, behaviour and manner as a gigolo, his drug pushing and the dramatics of the scene of his hiding the drugs on the roof, and their being spoilt by the rain? Was he idealised in the film? Presented as superior to Elizabeth and Lewis or not? The wanderer. the European, the poet? Attitudes towards sexuality, his following Elizabeth and using her? His allowing himself to be used by her?

8. How plausible was his use of the Fieldings? His mistake about authorship? The introductions, settling in, using the family and all they had to offer? His gratitude, working for Lewis, his indolence? How likeable was he? How was this illustrated in his relationship to David, Catherine, his effect on each of them?

9. The episode in the greenhouse and the effect on each of them? The build-up, fear. turning on of the lights?

10. The atmosphere of the home, in its detail, Catherine and her role, David? The chatter and gossip? Elizabeth’s hostility towards Catherine and the long scene of her reprimand? its significance, especially for Elizabeth? The comparison with Lewis' attack on Isabel? Isabel’s advice to Elizabeth and her meriting the attack?

11. Thomas and his theories of freedom, his ironic belief that he was free? The invitation to Elizabeth and her sudden decision for freedom? Was her leaving home credible, what did she gain? The relationship with Thomas, his gradual ignoring of her and going about his business?

12. The details of the pursuit, the gangster and his pursuit of Thomas, the involvement of Lewis? The character of Swan?

13. The irony of Lewis wanting to turn his screenplay into a thriller? The film turning into a thriller? Was it appropriate, a success?

14. How convincing was Swan's pursuing Thomas and taking him away? The effect on Elizabeth, her going home? How convincing her return? The effect of this experience on her and as a basis for the future?

15. How much insight into modern life, modern marriage, boredom and expectations?

16. Critics called this film pretentious. They accused it of trying to be arty, entertaining and realistic. The irony of the film was the film. The humour and the ironic touches about the characters and their situations? Did this balance out the pretensions? A good film?