ROCKY IV

US, 1985, 87 minutes, Colour.
Sylvester Stallone, Carl Weathers, Talia Shire, Burt Young, Brigitte Neilson, Dolph Lundgren.
Directed by Sylvester Stallone.

Rocky IV was an extraordinary commercial success of 1985. It was a personal success for Sylvester Stallone who also acted in Rambo, First Blood Part 2.

Audiences know what they are getting in Rocky IV. The impact of the original was exciting, enthusiastic and optimistic. Rocky 11 & 111 modelled themselves on the original - always going one better, but were entertaining Stallone vehicles. Rocky IV is a commercial venture and concoction: the patriotism of the United States in the Reagan era, the cold war attitudes towards the Soviet Union. Stallone has looked at the surface of his Rocky character (despite the large amount of flashback material from the previous films in this one). Rocky Balboa now embodies American individualism and freedom. He is contrasted with Ivan Drago, the giant Soviet fighter who is scientifically and medically controlled. The clash between Drago and Apollo Creed (giving some sympathy for the Americans and anger at the Russians) builds up to a conflict between East and West.

While the film is excitingly made, Stallone's boxing choreography as effective as ever, it comes as a jolt to non-Americans to see not only the Russians supporting Rocky in the fight in their own country but the members)of the Politburo actually standing and applauding at the end. Stallone delivers a homily about international peace at the end.

overseas critics were unsympathetic towards Rocky IV while Americans were enthusiastic. It could be seen in the context of the macho-American films of the period including Invasion U.S.A., The Delta Force, Iron Eagle as well as White Nights.

1. The popularity of the Rocky series? The character of Rocky Balboa? Audience knowledge of him and interest in his career? Sylvester Stallone and his American stances?

2. Production values: the use of flashbacks to link this film with its predecessors? The staging of the boxing bouts? Press conferences? The collage for the training sequences of both American and Russian? Musical score? Editing and pace?

3. Rocky as an American character? Emerging from the '70s and the Bicentenary era? The fulfilment of the American dream? Rocky and his boxing success, titles, his family, affluence? Their being challenged? The American way of life being challenged?

4. Stallone's performance as Rocky, the writing of his dialogue? His home life, his love for Adrian, for his son? The arrival of Drago in the United States? Apollo Creed and his friendship, the challenge to the Soviet fighter? Rocky's attitude towards the bout? Helping Apollo? The spectacular fight? Apollo's death? Rocky's decision, Adrian's hostility? His going to the Soviet Union? The rigorous training? The build-up to the fight? Adrian's arrival and support? The anti-American crowd at the fight? Rocky's taking punishment, winning? The support of the whole audience? His final words about peacemaking?

5. Ivan Drago as the Soviet boxer? The community-made hero - physically, medically? The Russian authorities standing behind him? Arrival, the interpreter, the press conference, his snarling attitudes? The bout with Apollo Creed, his reaction to the razzamatazz? Creed's death? The challenge to Rocky? The training programme and its elaborate detail? The bout, his expectations of winning, the defeat?

6. The sketch of Adrian and her son? Support of Rocky, friendship with Apollo? The decision to go to the Soviet Union, her resistance, her finally supporting Rocky, the final fight?

7. Apollo Creed and his bombast, friendship with Rocky, the decision to fight Drago, the press conference and his turns, the Stars and Stripes Show at Las Vegas, the fight and his death?

8. Paulie and his place in the household, friendship with Rocky, with Apollo Creed? The build-up to the fights, his uncertainties, his own wealth but - his attitudes and way of speaking? Participating in the training?

9. The portrait of the Americans - and American patriotism? Sports officials? Las Vegas officials? Announcers and commentators?

10. The Russians - and the paralleling with the Americans? The interpreter and her challenge? The attitudes in Russia? The Politburo finally standing?

11. A mid-'80s American fable - exercise in chauvinistic patriotic entertainment?

ROCKY III

US, 1982, 95 minutes, Colour.
Sylvester Stallone, Carl Weathers, Mr T, Talia Shire, Burt Young, Burgess Meredith, Hulk Hogan.
Directed by Sylvester Stallone.

Rocky III is an entertaining reworking of the first two Rocky films. In fact, during 1982 it had extraordinary box office success. once again the film was written by Sylvester Stallone (who wrote all three films) and directed by him (he also directed Rocky II). Music is once again by Bill Conti and the song 'Eye of the Tiger' was Oscar-nominated. The regular cast reappears - although Burgess Meredith's Mickey dies in this film.

The film takes up Rocky's story - he is successful, wealthy and a plaque and a statue of him are unveiled in Philadelphia. He also goes through a wrestling bout to raise money for charity - and as he is battered, the audience is in full sympathy for what is to follow. Rocky's wealth is manifested in his affluent lifestyle and a distancing from his wife Adrian. Needless to say, they are reconciled throughout the film as Adrian becomes more self-assured. Her brother Paulie is still there but is even more envious than before.

Rocky discovers that he has been protected in his career and that he has not had successful bouts. He goes into public training and then is defeated by a gigantic boxer played by Mr. T. Audience sympathies are again for Rocky. His former opponent Apollo Creed emerges to train him. He goes to Los Angeles and trains privately - although with the same zest as before and becomes trim. Once again there is the build-up to the final bout which, naturally, Rocky wins. Apollo Creed then wants a private bout, with no witnesses, in which he can prove that he is superior to Rocky.

The film raises the same issues as before and is an example of the tried and true being seen to be successful.

ROCKY II

US, 1979, 119 minutes, Colour.
Sylvester Stallone, Talia Shire, Burt Young, Carl Weathers, Burgess Meredith, Tony Burton, Joe Spinell.
Directed by Sylvester Stallone.

Rocky II is very much a replay (as well as a rematch) of the original. However, Sylvester Stallone (who wrote the original screenplay) not only writes and stars but directs as well. It is a professional job of broad appeal entertainment with a great deal of sentiment and, even, piety, and marriage, parenthood, illness, challenge situations milked of as much feeling as possible. Rocky trains again, fights again, and (to the loud cheers of the audience) melodramatically wins. The original cast reappears with Burgess Meredith and Carl Weathers (as Apollo Creed) overacting - which makes us like Rocky even more. Stallone (a clever writer) treats us to more of the same nice ingenuous character he created.

1. The popularity and acclaim of the original film? Its basic appeal, the '70s? Hero, winning, enduring? The possibility of a sequel? Audience interest, expectations? Fulfilment?

2. How well did the sequel continue character, style from the original? A re-run of the original, a replay of the incidents, thews, climaxes?

3. The Philadelphia background, the environment of the city? As representing the United States in the '70s? Rocky as an American type? The confrontation with the champion and becoming an American and World Champion? The Italian background, black, white? Endurance, fighting, success? The boxing background?

4. The opening sequences from the original film and the linking with the sequel? Replaying the final fight? The focus on boxing, audience interest in the sport, its skills, violence, harm and bodily injury? Training, risks? Sylvester Stallone and his choreography of the boxing? The build-up of training, vigour, techniques, the fight itself, Rocky becoming a punching bag, victory - but at what cost?

5. How well was Rocky presented as a character? The changes from the original? The laconic style, the humorous remark, taciturn? A pleasant man? A gentleman? Unpretentious? His treatment of others? His resilience? Sylvester Stallone speaking his own screenplay and the nuances of his character? How well did he make him a believable and likable character?

6. Rocky's relationship with Adrian - from the original, during the final fight, the humorous proposal at the zoo? The build-up to the wedding, the marriage ceremony itself? Lovemaking and the marriage night - reticence and sentiment? The build-up to the spending of the money, the exploration of the house and their consultation, the car and Rocky's driving it, clothes? The effect of wealth on the two of them? The importance of Rocky's popularity and the demand for television commercials? The humour and satire in these? The satire on the commercials themselves, the product, the making of commercials, the artificiality? Rocky and his inability to do the job well? The losing of the money, his seeking out jobs and the various refusals especially for a desk job, the advice to go back to labouring? The option to going back to being a loan shark? The contrast with Paulie? Rocky and his selling his car to Paulie, the interview for the abattoirs, the hard work there and the way that it was presented, his finally being laid off? His working at the gym, doing ordinary tasks despite Mickey's advice? His unwillingness to box because of the situation of his eye and the doctor's warnings?

7. The impact of Apollo Creed's pressure? The TV campaign, the hard sell to provoke Rocky into a fight, Adrian and her reaction to it, Mickey and his visit, his holding off especially about the eye, his decision to push Rocky to a fight? The change to training, but Rocky not having any heart in his training because of Adrian ? The humour of the press interviews with Apollo Creed and Rocky - how did each man come out of the interview?

8. Adrian and her love for Rocky, her work at home, her supporting him when laid off, her work at the pet shop, her pregnancy, Rocky's pride in it? Paulie's abuse of her at the pet shop, the possible miscarriage, the premature birth and her coma? The long coma sequence and audience response to Adrian, Rocky and his love for her and his presence at her side, his prayers, Mickey's presence? The birth of the child? Her final awakening and change of heart? Rocky's joy, the build-up of the training collage and its energy? His training in order to fight and win?

9. How well did Sylvester Stallone portray Rocky as a human being, for audiences to identify with, a hero? A genuine kind of person? How were the situations with Rocky milked of the most emotional value for audiences? Mickey and his attitude towards Rocky, training him, praying with him?

10. The character Of Adrian - was her acceptance of his fighting credible? How had she changed in the marriage? Her attitude towards the TV ads, the pet shop and work? The effect of the pregnancy, the coma and the birth? Her shyness, niceness? Her staying at home to watch the fight on television? Rocky's final tribute to her?

11. The character of Paulie - appearing less in this film than in the original, his taking over Rocky's money-collecting job, his attitude towards the car, towards Rocky's going back into the fight, his presence at the interviews, his attitude towards Adrian and his brutality towards her, his presence at the fight and at the end?

12. The character of Mickey - his fighting background, his one chance in training Rocky as the champion, his running of the gym, his arguments, his attitude towards Rocky's eye, training, praying with Rocky, urging him to the final victory?

13. How well portrayed was Apollo Creed? The exaggerations in his challenge? His attitude towards his initial loss? Seeing him at home with his wife, children? His agents and the campaign? As a person, his vanity, showmanship? His training? His participation in the fight, his provoking of Rocky's non-reaction, his conceding victory at the end more graciously than might have been anticipated?

14. The emotional demands made on the audience in view of the niceness of the characters, the humorous touches, Stallone's attention to personal detail? Strong emotional sequences like the coma, the training, the final fight?

15. The impact of the final fight? The way that it was choreographed, its brutality, physical violence, endurance? The people watching, the commentators? Adrian at home? The melodramatics of Rocky's seeming defeat, the final desperate winning? The significance of his interview at the end and the comments that he made?

16. How well did the film utilise the basics of popular entertainment and basic human situations?

ROCKY

US, 1976, 119 minutes, Colour.
Sylvester Stallone, Talia Shire, Burt Young, Carl, Weathers, Burgess Meredith.
Directed by John G. Avildsen.

Rocky is excellent popular entertainment, written and acted well by Sylvester Stallone and winning Oscars for Best Film and for John G. Avildsen's Best Director. The plot is the fairytale of the American Dream, opportunity and success for the ordinary man; the boxing background and the squalid New York streets lead the audience into believing that this story of an inarticulate man, his bout with the world heavyweight champion, and his intense training are as real as the people next door. Supporting cast is uniformly excellent and Stallone's dialogue and his build-up to the fight involves the audience totally. Highly entertaining human drama, even for those who dislike boxing.

1. How well did the film deserve its acclaim? Its quality in itself? As a film from America in the Bicentenary year with a bicentenary theme? An optimistic picture of human life and human beings?

2. The contribution of Sylvester Stallone to the film: the quality of his screenplay, of his choreography of the boxing, of his acting style and personality, mannerisms, ticks, way of speaking, special style of communication, helping the audience to view a particular person and his way of life through his eyes?

3. How well did the film blend the human, the social, the boxing world, the American world in general, the atmosphere of optimism?

4. The contribution of the atmosphere of Philadelphia, the people in their ordinary way of life, at work, boxing, loan sharks, kids on the corner, people in pet shops etc.? The particular viewing of Rocky's location with its landscapes, warehouses and factories, building sites, railways, streets? The broadening out for Rocky's training sequences and for locations for his final triumph? The contribution of the musical score: the fanfare at the beginning, throughout Rocky's training, for the final fight? The piano presentation of the theme, the jazz arrangements? The popular songs sung at the street corner? The Rocky theme played throughout the film rising to a chorus through the training and for the ending? Contribution to atmosphere and tone?

5. The film as American: typical American story of achievement and dream? Black and white, the world of migrants, the land of opportunity, the Bicentenary, the response to someone coming up and succeeding, American ballyhoo, especially Apollo Creed at the final fight? Could this story have happened anywhere else? In such a way?

6. The emphasis of the prologue: the focus on the mosaic of Christ, the boxing locale, the details of the fight. the bets. Rocky's win and his money, his talking about the fight with everyone he meets? Mickey's view about his failure even in his success? The training sequences?

7. The importance of the presentation of Rocky in his environment: in his room and its look, his fish and his turtles? His taking the drunk man and putting him next to another as a friend, the street scene and his walk in giving advice to Marie? His relationship with Paulie? His comments to the barman about taking a shot? what did this reveal about Rocky as a person?

8. The contrast with Rocky and his work? As a collector? His attitude towards his work? Seeing him accosting the man for the money and yet not breaking his thumbs as ordered? The insults and the clashes with the chauffeur? The importance of how much money he received from Gazzo? Paulie and his hoping to work for Gazzo?

9. The sequence in the sym and the clash with Mickey when he lost his locker? The comments about his fighting and what he might have been, about his nose -and the significance that his nose was not yet broken?

10. The world of Adrian and the pet shop? Rocky enjoying going in, cracking jokes, friends with the proprietress, with Adrian? The significance of his relationship with Adrian and the fact that each of them had gaps and could communicate? Friendship with Paulie and going home with him? His permission for dating Adrian? The importance of the Thanksgiving evening and Adrian's cooking the turkey, Paulie's bossy behaviour, Adrian hiding in the room and Rocky talking to the door, their going out together and the repercussions?

11. The importance of the skating sequence and Rocky's paying for the use of the rink, their talk and Rocky's revelation of himself to her and to the audience? The return to the apartment, the playing of music, the tentative kiss? What happened to Adrian in her bonds with Rocky? Falling in love and Paulie's reaction and language about their relationship? The repercussions of the fights with Paulie and Adrian's moving in with Rocky? How was she transformed, her clothes, supporting him, especially in the important vigil sequence before the fight, her not watching the fight but coming to him at the end? How rounded a characterisation was that of Adrian? How plausible a character?

12. The world of Apollo Creed and his plans for self-promotion? The world of the promoters? The managers? The offices compared with the Philadelphia slums? Bicentenary celebration and ballyhoo? The plan to give a newcomer a chance? The business side of the fight and its promotion? The basis for the choice of Rocky and his name, Italian background? The glimpse of the business side of the boxing world?

13. TV interviews and Rocky's seeming to be made a fool of? Saying it didn't matter when it did? Adrian and himself watching the television? His greeting Adrian from the television? The importance of the interview in the meat freezer and illustrating his boxing methods?

14. Rocky and his visit to the managers, his reasons for accepting? His reaction to this opportunity and the change in his attitude? The fact that there was a chance to do something more? What did it stir in Rocky?

15. The significance of Mickey's visit and the clash between the two? Rocky telling the truth, Mickey reminiscing about his prime, the amount of truth told between them? The importance of Mickey's dejection as he went down the stairs, Rocky going after him? The significance of their reconciliation and arrangements in long shot? The audience supplying by imagination the bonds between the two?

16. The transition to the strenuous training? At the gym, Mickey's skills? Rocky and his running and not being able to run fast and the contrast with the later triumph in his training? The fanfare, the music, the early rising, the eating of the eggs, going out on to the street and the gathering momentum and the collage of his training? The final triumph at sunrise?

17. Character of Paulie as an ordinary man without chances, wanting to work for the loan shark, bossing around his sister? The love and hate between the two? His idea of promoting Rocky in the freezer? Supplying the robe for the match?

18. The significance of the vigil sequence and Rocky's fears and anticipation? His going to the ring, his meeting the manager, the determination to go the fifteen rounds?

19. The solemn night vigil? And then the real night? The dressing room, the prayer, Adrian and his being ready?

20. The contrast with Apollo Creed and the showing off and the George Washington tableau?

21. How well filmed was the fight, the determination and desperate nature of the fight? Creed and his skills, Rocky and his staying? The piercing of his eye? Attacking Creed's ribs, getting advice to lie down? The passing of the rounds? Where were audience sympathies and why?

22. Rocky's final achievement in staying the fifteen rounds? His calling to Adrian and her coming? His not wanting a re-match but just to have achieved staying with the champion?

23. How much was communicated about human nature via this film's story? As a fable about opportunity and an optimistic view of human nature?

ROCK A BYE BABY

US, 1958, 107 minutes, Colour.
Jerry Lewis, Marilyn Maxwell, Reginald Gardiner, Salvatore Baccaloni, Hans Conried, Isobel Elsom, James Gleason, Isa Moore, Connie Stevens.
Directed by Frank Tashlin.

Rock a Bye Baby was one of Jerry Lewis' earliest solo films - after his break with Dean Martin. They had had a very successful cabaret and film career to the mid-'50s. Several of their films (Hollywood or Bust, Artists and Models) were written and directed by former cartoonist Frank Tashlin. Tashlin continued a collaboration with Jerry Lewis for almost ten years from the '50s to the '60s.

Tashlin here adapts Preston Sturges' screenplay for The Miracle of Morgan's Creek, a Betty Hutton-Eddie? Bracken comedy vehicle of the mid-'40s. This kind of thing had happened for Jerry Lewis in Living It Up (adapted from Nothing Sacred with Jerry Lewis in Carole Lombard's role) and You're Never Too Young (from The Major and the Minor with Jerry Lewis in the Ginger Rogers role). Here he has the Betty Hutton role - at home in a small town having the responsibility of what seem to be illegitimate children. It is interesting to note how Tashlin adapts the strong heroine for Lewis' comic personality. There are many funny sequences - but success depends on audience response to Lewis and taste for his comic style. Marilyn Maxwell and Reginald Gardiner offer strong support, Italian opera singer Baccaloni (also in Full of Life) is the father. The character supporting cast includes Hans Conried and James Gleason. A young Connie Stevens appears as Marilyn Maxwell's sister.

1. The popularity of Jerry Lewis in the '50s? The impact of his comedy in its time? Later generations? In retrospect? French admiration for his comic style? in himself. as a comic, his comic persona? An American type? His acting abilities, sentiment, the little man? Put-upon? mimic? Singing and dancing? The quality of his work with Frank Tashlin?

2. The adaptation of The Miracle of Morgan's Creek? Updating, transferring of the feminine role to Jerry Lewis? The colour musical comedy of the '50s? The presentation of the small American town? The television era?

3. The Paramount style: California. Indiana? Special effects, especially for comedy? Parody of genre films? Fantasy? Musical score and songs?

4. Jerry Lewis' persona in the film? His name Clayton Poole? Midvale as his home? An idealised little man? Selflessness? Love for Carla? Friendship with Sandra? His work - and the details of his work providing farce and pratfall comedy? Carla's father? Carla's career and Clayton's joy? The babies and his caring for them? The humour of Jerry Lewis as surrogate mother? Studying how to bring up babies? His courting of Carla? The admiration of Sandy? His relationship with the range of people in the town - employers, customers? The credibility of his idealised little man?

5. The quality of the laughs: the television aerial sequence, the hose, the advertisements, the TV impersonation, the children, being a father, at home, the Elvis parody?

6. Carla and her glamorous style. laughs. ambiguity, the agent, the babies, her using Clayton, the filming. the skit, the ending?

7. Sandra as the nice devoted hometown girl, television, the children, marrying, the end?

8. The father - in town, the games, work, drinking, hardness, the photo, singing, the resolution?

9. The detail of life in the small town: phone, the ads, the television-watcher, the judge, the university and work?

10. Jerry Lewis' portrayal of the American comic as the generous and long-suffering little man? Hollywood glamour - divorced from reality? The eccentricities of characters?

ROBIN AND THE SEVEN HOODS

US, 1964, 117 minutes, Colour.
Frank Sinatra, Dean Martin, Sammy Davis Jr, Peter Falk, Barbara Rush, Victor Buono, Bing Crosby, Edward G. Robinson.
Directed by Gordon Douglas.

Robin And The Seven Hoods is one of several films made by the so-called 'Rat Pack' in the early '60s: Frank Sinatra, Dean Martin, Sammy Davis Jr., along with their friends. Other films include Oceans 11, Sergeants Three, Four For Texas. This is a humorous gangster parody based on the story of Robin Hood - even taking the well known names. The setting is Chicago and a humorous look at the divisions in the city, gangster methods. Frank Sinatra seems at home in this kind of role as Robbo. However, Dean Martin seems much more relaxed as Little John. The surprise of the film is the casting of Bing Crosby as Allen A. Dale - it is one of his better comic performances - and also one of his last film roles. He seems to enjoy it thoroughly.

The film offers the opportunity for audiences to see Sinatra, Martin and Crosby singing together. There is also an opportunity for these three singers to work with Sammy Davis Jr. The songs, which punctuate the film rather oddly, are by Sammy Cahn and James van Heusen. Peter Falk - acting as he always does -is the villain. There is a guest role by Edward G. Robinson. The film is rather long, scattered in its comedy but always genial. Director is Cordon Douglas, maker of quite a range of films from musicals to gangster films and westerns. He directed Sinatra in such thrillers as The Detective, Tony Rome and Lady In Cement.

1. An entertaining comedy, parody?

2. The use of the Robin Hood story - its parallels with the historical detail, names? The humour of transferring it to the gangsters of Chicago? The conventions of the gangster film, the gangster parody? The genial gangsters, the pious man who wants to be a gangster? The wealthy woman? The oddball villain? How well did they blend?

3. The colour photography, Panavision? The humour of the credits? The recreation of Chicago in the '20s? The set of the speakeasy which could turn into a revival centre? The wealthy homes? The song and dance routines - the songs and their punctuating the film e.g. Peter Falk leading the tough looking gangsters, the Mister Booze revival sequence, the stars and their song about dressing smartly ( Style ), Sammy Davis Jr. and his gun song? The cast and their genial working together, the old competitiveness between Frank Sinatra and Bing Crosby? The three crooners singing together etc.? The enjoyment of an 'in' film?

4. The enjoyment of the gangster plot: the opening with the birthday party for Big Jim, Edward G. Robinson and his speech, the humour of his being shot? Guy Gisborne taking over - and Peter Falk's characteristics. his running the meeting, the build-up to the confrontation with Robbo? His henchmen? The attack on Robbo, the attack back? The murder of the sheriff and his being planted in the concrete slab? The use of the deputy sheriff? The possibility of the deal with Marian and her trying to avoid him? The attack on the speakeasy and its becoming a revival centre? The come-uppance of Guy Gisborne and his being planted in cement as well? The comic portrait of the villain, the assistant sheriff and his size, cocoa, attempted deal with Marian?

5. Frank Sinatra as hero - his tough stances, the confrontation with Guy Gisborne, the pool game with Little John, the arrangements with Allen A. Dale and his accounting? The story to the papers about his Robin Hood generosity? The build-up of the empire? Robbo and the court case with Guy Gisborne's testimony? The rivalry with Little John? The success and the confrontation with Marian? Their losing out - and the final Santa Claus sequence? Frank Sinatra and the possibility of comedy role, satire, the songs with martin, Crosby, Davis?

6. Dean Martin's easygoing style as Little John? His pool song? Romance with Marian? Supporting the main stars? Sammy Davis Jr. as Will? The verve of his songs, the enthusiasm he put into the role?

7. Bing Crosby as Allen A. Dale - his piety, his wanting to be a hood, his interview, the song about his clothes, his song with the children, Mister Booze? His double dealings and success with Marian? An enjoyable comic performance?

8. Marian and her style, wealth, brains? The long table and her attempts to win over Robbo, John? Her encounter with Guy, with the deputy sheriff? Her winning out at the end - the reversal of the Maid Marian role?

9. The popularity of this kind of Americana - good-natured gangsters, the spoofing of conventions, the use of such a number of celebrities?

ROBIN AND MARIAN

US, 1976, 107 minutes, Colour.
Sean Connery, Audrey Hepburn, Robert Shaw, Richard Harris, Nicol Williamson, Ronnie Barker.
Directed by Richard Lester.

Robin and Marian is a very melancholic film, from the bleak opening of the cruel caprices of Richard Lionheart through the memory of twenty years of wandering, crusades and massacres, by Robin and Little John to the sad realisation of lost possibilities in the re-uniting of Robin and Marian. They had changed. But England had not. The Sheriff was still there, social oppression and King John's regime. Battles to the death had still to be fought. It is beautifully photographed and well acted, particularly by Sean Connery as the ageing Robin and Robert Shaw as the vindictive, though less bitter Sheriff. Audrey Hepburn is charming. A rueful, sad and pessimistic film.

1. The overall impact of this film? For what audience was it made in the 70s?

2. The legend of Robin Hood and audience expectations? Familiarity with the story and characters? The atmosphere and the values? How were these expectations used and fulfilled? How well?

3. The importance of the legend being taken on twenty years? The challenge to audience imagination? The visual presentation of realism?

4. The colour and atmosphere of the film, the forest. the symbols, such as apples at the beginning and the end. the arrow at the end? The importance of these for meaning?

5. How well did the film set its mood? The initial picture of war. the siege of the town. the plea of the people,, Richard the Lionheart's cruelty. the massacre? How did this set a tone for the rest of the film?

6. How did the film treat the legend? Its homage to heroism? Its presentation of age and ageing? The ludicrous aspects of the legend, the enthusiasm of youth? The mellowing and the cynicism of growing older?

7. Sean Connery as Robin Hood? His impact? His personality and style? How convincing? The talk and the revisiting of Sherwood Forest to make the old days credible? Robin's participation in the Crusades and their effect on him? His speeches about the cruelty and the wars. their uselessness? Robin as a loner? His leaving Marian and then rediscovering her? The comradeship of Little John? The encounter with Richard. being imprisoned by Richard, being present at his death and the impact of this? The importance of the return to England? Trying to recapture the past. the success and the futility? His emphasis~on 'a good day's living'? What insight into Robin Hood. what insight into the legend. what insight into a hero and his recollections of his energetic past?

8. What motivated Robin: as a man, as a soldier. as loyal to the King, antagonism to John, protection of people like Marian, protection of the ordinary people,, social motivation? How well were these illustrated?

9. Robin and his relationship to Marian? How credible was it that he left her? His remembering her again after the years? The nature of their new friendship? Growing into love? The effect on each of them?

10. What kind of person was Marian? The memories of her as a heroine in the older days? Her disappointment in Robin's leaving,, her lack of awareness of what motivated him? The fact that she had attempted suicide. that she had retired to a convent? Her vigorous work as Abbess? Her defiance of the sheriff? The anti-war theme in her personality? Her capacity for anger and love?

11. Audience response to the death? The melancholy of the final futility and failure? The fact that Marian poisoned them both? Robin's unwillingness to die, then accepting it with Marian? Her declaration of loving him beyond everything else? The significance of the arrow. the apples?

12. The importance of the sheriff in this film? The memories of the past, his staying in the one place? His capacity for waiting, for fighting? The fact that he was vindictive but not bitter? His despising of the nobility? Allowing the knight to do the fighting for him until the end?

13. The picture of Richard the Lionheart and the criticism of his image? His cruelty at the massacre, his attitude towards his family and towards John? Imprisoning Robin and John? The significance of his death and the way that it was filmed?

14. The picture of England and the insight into the Mediaeval period? The glamour of the wars and their bitterness? The Crusades? John and the pomp of his court? The sheriff and the Norman knights and their pomposity? The ugly way of life for the ordinary people? Their being pressurized and taxed? Their fleeing into Sherwood Forest and fighting?

15. The importance of the characterization of Little John and his continued companionship? His support of Robin? His memories of the forest? His memories of his family and discovery of their death? His growing old? His final talk with Marian? The characterization of Tuck and Will Scarlett? Their memories and revisiting old scenes? The ordinary people and their admiration for Robin, the way of life in the forest? The nuns and their loyalty to Robin and Marian?

16. The importance of Sir Ranulf and the Norman-Saxon? conflict? His defiance of Robin? His death?

17. The importance of the final battle between Robin and the sheriff? The heaviness of the broadswords and the armour, older men fighting?

18. How important for an exploration of age-old legends is this kind of film? The values that it presents and explores? How much of an entertainment?

THE ROBE

US, 1953, 132 minutes, Colour.
Richard Burton, Jean Simmons, Victor Mature, Michael Rennie, Jay Robinson, Dean Jagger, Betta St. John, Torin Thatcher, Jeff Morrow, Richard Boone, Ernest Thesiger, Dawn Adams.
Directed by Henry Koster.

The Robe was the first film made in Cinemascope and this makes it worth watching for historical reasons - the way of the wide screen, the skill of the director in filling the screen well, the clarity of focus and colour with a new style lens. The film is also interesting for a viewing of a youthful Burton performance.

As a religious film, The Robe is in the Hollywood tradition of celestial choirs. This is almost embarrassing in the triumphalistic ending. However, despite the piety and the swordfights, the film is an interesting one for its flavour of the early Christian decades, especially some of the Cana sequences. The early Christians must have been something like this.

1. Was this a religious film? why?

2. Was this a good religious film? Why?

3. This was the first film made in Cinemascope. Did you feel that the film was exploiting the wide screen at any time rather than presenting the story?

4. How authentic did you find the Roman and Palestinian background to the film? Did it create a real impression of the world Christ lived in in some of its day to day details?

5. Was the picture of the Roman Empire sympathetic - consider the opening comments of Marcellus, the portrayal of the slave-market, Caligula, Senator Gallio, Marcellus' behaviour and reputation, Tiberius, Pilate, the Centurion, the barracks at Jerusalem.

6. Was Marcellus a convincing character? What were his good qualities of character? What were his bad? Was Caligula unjust in sending him to Jerusalem?

7. What was the impact of Christ's crucifixion on him? What role did Christ's blood play and the robe itself? How do you explain his madness? Were his return to Cana, his confrontation of the centurion and his conversion credible?

8. Were the sword fight and the prison escape too sensational for this film or did they fit in well?

9. Was Demetrius a credible character? Was his conversion on Palm Sunday believable, his trying to warn Jesus,. his meeting with Judas, the Way of the Cross and Calvary?

10. Comment on the appropriateness of the music and choir for the big religious scenes, also the expression of 'holiness' on victor Mature's face.

11. What role did Diana play in the film? Was her final conversion convincing -and her attack on Caligula?

12. Were the scenes with Christ well done? Do you think they were fairly real portrayals of what actually happened?

13. Do you think Tiberius understood Christianity's threat to the empire when he commissioned Marcellus to seek out the Christians?

14. Do you think that the presentation of the people of Cana as early Christians was fairly authentic - Justus, Miriam and her gospel song, her conversation with Marcellus, Jonathan and the donkey?

15. How well was Peter presented in the film - his physical presence, his confession of his betrayal to reassure Marcellus, the healing of Demetrius?

16. How were miracles and healing presented in the film? - e.g. Miriam.

17. Much was made of Christ's charity as being the basis of a new world, but that the world would never accept it. How true was this?

18. Did this film help you to imagine and visualise how the spread of Christianity was actually possible in the Roman Empire?

19. Marcellus gave his life for his friend - did this convince you he was a true follower of Jesus?

20. How effective was the ending - as cinema? As appropriate to this religious film?

THE ROARING TWENTIES

US, 1939, 106 minutes, Black and white.
James Cagney, Humphrey Bogart, Priscilla Lane, Jeffrey Lynn, Gladys George, Frank Mc Hugh, Paul Kelly, Elizabeth Risdon.
Directed by Raoul Walsh and Anatole Litvak.

The Roaring Twenties is considered a classic of its kind. It gives a dynamic star role to James Cagney - an ordinary citizen, soldier of World War One, demobbed and out of work, becoming involved in gangster bootlegging in New York, rising to heights, clashing with authorities and with rival gangsters, coming down in the world - the final phrase by Gladys George is that 'he was once a big shot'. It is a character that Cagney was able to portray very well from his early gangsters in Public Enemy Number One right throughout the '30s and into the '40s. He is supported by Priscilla Lane leading a standard Warner Brothers cast including Humphrey Bogart. There is an atmosphere of the '20s and '30s based on a story by Mark Hellinger. Action director Raoul Walsh directs with verve. The film has a moralising tone and at the opening of World War Two is asking Americans to look back at a strange period of their history. The film has influenced subsequent gangster films.

1. The classic status of this gangster film? Its influence in later films? Its being influenced by the trends of the 130s? The screen persona of James Cagney? Humphrey Bogart? The Warner Brothers vigorous films - gangster styles, use of their stars and cast? Dynamic action impact? How well does the film wear?

2. Warner Brothers production values? Black and white photography, studio sets, re-creation of period and atmosphere? The use of collage styles for the passing of the years and the impact of events? Songs - especially Sentimental Baby? Musical score? Mark Hellinger's memoirs and moralising about the gangster era and prohibition? The voice-over commentary. the moralising points? Audiences faced with the prospect of Hitler and World War Two? The invitation to look back on the American heritage between wars? The strangeness of the between-wars period? The hopes of World War One to end all wars? The failure in Europe? The changes in America? Exploitation? Prohibition and the subsequent corruption? Bootlegging and gangsters? The mirroring of developments in Europe in the gangster wars in the United States? A morale-boosting film?

4. The memories of World War One? The experiences of the three soldiers? Eddie and his being an ordinary soldier? George and his viciousness - especially shooting the soldier before Armistice? Lloyd and his accidentally falling into the hole with Eddie and George? Sign of things to come? George and his vindictiveness towards the sergeant employed by his family? The sergeant's death? The hopes for the three as they returned hone? The year in Europe? The parades in New York? Being demobbed and ignored? The landlady and the raised rent? Returning for jobs no longer there and the scorn of the men who didn't go to war? Different world, different style,. the soldiers experiencing ingratitude? Grounds for disillusionment?

5. James Cagney's screen presence as Eddie? Friendship with Danny? The shared cab? The humour of the visit to Jean and her age, the photo, the response to Eddie? The delivering of the alcohol to the speakeasy, the arrest? The court and Eddie being victimised? Panama getting off? The short time in prison and the suicidal prisoner? Eddie and his not wanting to be in prison? Sign of the future?

6. Panama's patronage of Eddie? The jobs done. working with Danny, the use of the cab, building up a small empire? Small origins to gangster success? His toughness. living by the gangster code? Friends? His influence?

7. The film's attitude towards prohibition? The background to the legislation? The motivation for the legislation? The repercussions for money, exploitation, crime? The speakeasies? The police on the take? The courts and arrests? The collage of people wanting liquor, especially when it was forbidden?

8. The re-creation of the gangster world of the '20s? The types, the methods, the profits? Lloyd and Jean being caught up in the gangster world?

9. Lloyd and his hopes, his helping Eddie in the initial case, his becoming involved? Changing and wanting to get out? Jean and her work in the theatre? The audition? Her depending on Eddie? Panama's help? Knowing the reality but not facing up to it?

10. Lloyd and Jean falling in love? George exploiting it? Eddie not wanting to face it? His disappointment? The later visit to Lloyd and Jean when he was down and out? The toys for the child? His finally giving his life for Jean?

11. Eddie going up, the rivalry of George, the threats to Eddie and his evading them, George and his victory? Eddie down and out? The change in legislation? The investigations? His driving the cab and meeting Jean?

12. Panama and the woman with the heart of gold? Strengths and weaknesses? Loyalty and help? Caught up in the gangster world? Friendship with Jean? Continued support of Eddie? Present with him when he died and speaking his epitaph?

13. George as evil? In the war, on his return, organisation and henchmen, friendship towards Eddie, turning against him, the set-up for Eddie's death? The final confrontation and his cowardly death? The violence of the shoot-out?

14. Eddie and his being appealed to by Jean, his drinking, the confrontation with George, the violent deaths, his own death on the church steps? The passing of a once big shot? The irony and the film's comment on the American big shots?

15. A picture of a way of life, a piece of Americana, 20th. century American history? The violence inherent in the American character and history? ordinary types and the possibilities for good and evil? The moralising warning of the film?

ROAR

US, 1981, 96 minutes, Colour.
Noel Marshall, Tippi Hedren, John Marshall, Jerry Marshall, Melanie Griffith.
Directed by Noel Marshall.

Roar is a film about lions in the vein of Born Free. Just as that was a story about the Adamsons and their work in Africa, so this is a film about the Marshall family and lions in Africa. It is spectacularly photographed in Panavision with beautiful location photography and a sense of realism about the lions - the animals are credited with co-scripting and directing because of their spontaneous reactions! The film is the work of Noel Marshall and his family: actress Tippi Hedren, actress daughter Melanie Griffith and their sons John and Jerry Marshall. The plot is slight - showing Noel Marshall (Hank) at work, the family arriving after a separation of three years, making their way to his centre and warding off lions, tigers, elephants etc. for almost 24 hours till he gets back to them. The trite story and dialogue give rise to action sequences with numerous animals on screen. There is a thumping and resounding score and the film is made for direct family entertainment of the pleasing but very unsubtle variety.

1. The appeal of an animal film? Lions and tigers, African animals, Africa, work with the animals?

2. The background of the Marshall family - authenticity, providing the slender plot, providing the activity and action of the film, their being at home with the animals? The movie being an elaborate and extended how movie - with the possible tedium for those not so involved with lions?

3. The quality of the Panavision photography, locations, photography of the animals, the special effects and the sense of realism? The house and the river? The atmosphere of the score?

4. The establishing of the situation: Hank and his treatment of the Massai, his riding his bike and speeding with the animals, especially the giraffe racing, the family arriving from America and being left in the lurch,, the visit from the Supervising Committee?

5. The impact of so many lions and tigers? Audience expectations, fear? Their appearance, roars? Growls? Their being playful and natural? The survival by domination? Their potential for viciousness? The vicious lion as villain of the piece? Cruelty and protection? Seeing them in their natural environment? The irony of seeing them in the house? Cruel treatment of human beings? Playful treatment?

6. The impact of the numbers, the activities and the contrived threatening of the family for so long? The visitors and the accidents and scratches and blood? Hank's assistant and his apprehensions? Hank and his being at home literally with the animals?

7. Audience response to the family being terrorised for so long by the animals? The various devices used to escape them?

8. The tigers and their following Hank and the assistant? The elephants - and the breaking of the boat? The other animals - giraffes, jaguars, panthers etc.?

9. The sketch of the family in itself, their story of separation from Hank, arrival at the airport, the scenes with the bus, walking through the bush, discovering the house, their fears, helping one another, hiding, the bike ride, falling into the river etc.?

10. Hank and his going to the airport by boat and its sinking, by bicycle, borrowing the car, the flat tyre, running?

11. The sub-plot of the committee and their reactions to Marshall's work? The two injured men planning to kill? Their shooting of some of the animals? Their deaths? The anti-killing of animals message of the film?

12. The film capitalising on audience love of animals? Environmental themes? Cruelty to animals versus harmony with animals? The message of the film? Enjoyment value?