RIDING THE EDGE

US, 1990, 100 minutes, Colour.
Rafael Sbarges, Catherine Mary Stewart, Peter Haskell.
Directed by James Fargo.

Riding the Edge is a pacy, if far-fetched (we hope), action thriller. Filmed in Israel, it has North African settings, American and international technological development, international terrorism. The film is reminiscent of the gung-ho attitude of the teenager in Iron Eagle, where he takes a plane to rescue his father. A suburban Californian young man here goes into the North African country and,-:almost single-handed, rescues his scientist father - even to the destruction of a large dam.

Rafael Sbarges is the hero, riding his bike, defying everyone to do his own thing and the right thing. Catharine Mary Stewart is, as usual, a strong heroine. The film was directed by James Fargo, one-time Clint Eastwood protege, The Enforcer, Caravans.

1. Enjoyable action thriller, espionage, technology, terrorism, American gung-ho?

2. The Israeli locations for African settings, spectacular? Stunt work, the bikes, the battles? Special effects? The score?

3. The title, bikes, skills, riding? Danger?

4. The Introduction: Raycor and its technology, solar energy, success with their work, John and his status? The personnel? The attack, the killings, the kidnapping? Kroll and his anger, the ransom?

5. The F.B.I. and the police? Stradling and the firm, the cooperation of Matt Gand the film establishing his bike skill with the daring ride with the young men)? The decision to go to help his father, his mother's attitude? The police? To Africa, the plan, following it? To the market-place, the man collecting, the explosions, the set-up, the helicopter, the dead bodies? Matt defiant against the police?

6. Matt and his character, the decision to go, in the desert, getting the gas, making the phone call? The encounter with Maggie (after the embassy)? The bike and the tripwire, Maggie and the jeep, going with her, on the ferry, the knife attack and the fight, rescuing the Berber, the Berbers and their help, the night, the attack? Ammunition? The phone calls from the wires, enlisting his-sister's aid? The rendezvous in the tomb, Stradling's presence, his death? The escape through the city? The)bike, going to the dam with the Berber boy? The plan, its execution, the danger, the rescue of the father, the waters of the dam, the helicopter? Maggie and the police? Gung-ho and pigheaded American hero?

7. Maggie, the tourist, the jeep, talking with Matt, following him, the ride with the jeep, sharing, the night, the tomb, the chase in the city, her martial arts? The truth? The helicopter, the reconciliation?

8. Mussa and the police, his leads, using Matt, the tactics, breaking contact, the end?

9. Stradling and his urging Matt to go, his change of heart about the industrial espionage, the pressures on him, the confrontation in the tomb, shot and arrested?

10. The Berbers, Africa, their help, their camp, ammunition, the young boy,.-his being shot, his blowing the dam?

Kroll as the villain, the East European and international mercenary? Ruthless? Henchmen?

11. Technology, solar systems, international power with such energy, use of mercenaries and terrorism, the police?

RIDING HIGH

US, 1950, 112 minutes, Black and white.
Bing Crosby, Colleen Gray, Charles Bickford, Raymond Walburn, James Gleason, Oliver Hardy, Frances Gifford, William Demarest, Ward Bond, Clarence Muse, Percy Kilbride, Harry Davenport, Margaret Hamilton, Douglass Dumbrille, Gene Lockhart.
Directed by Frank Capra.

Riding High is a pleasant Frank Capra film from the post-war period (when he made It's a Wonderful Life, State of the Union, Here Comes the Groom). The script by Robert Riskin (who wrote so many of his social-minded films in the '30s including Mr. Deeds Goes to Town and Mr. Smith Goes to Washington). He wrote the original screenplay for Broadway Bill in 1933. Comic writers Melville Shavelson and Jack Rose adapted it for the 1950s and to make it a vehicle for Bing Crosby. There are Johnny Burke and James Van Heusen songs.

The film is pleasant, focuses on the wealthy and criticises them (as in so many Capra films). It also has the tyrant changing heart. It focuses on racing. It also focuses on true love. The film gains a lot of its strength from the supporting cast.

1. An entertaining romantic comedy drama? Of the 1950s? Now?

2. Frank Capra and his film-making, warmth and optimism, criticism of the wealthy, having them converted to ordinary life and values? A remake of his original film?

3. Paramount production values: black and white photography, the stars, music? Action sequences, especially the race?

4. The focus on Dan Brooks: his being engaged to Margaret Higgins? Her high society ambitions? The clashes with J.L. Higgins? Alice's infatuation with him? His being a wanderer? His devotion to Broadway Bill? Training him? Support from Whitey? The various friends including Happy, Pop Jones? The racing atmosphere, training, double deals, betting? Alice supporting him? The humorous sequences where he clashed with the Higgins family? The build-up to the race? Pressures? Broadway Bill's success? His death? The young colt? Romance and the happy ending? Bing Crosby's pleasant style? Songs?

5. Margaret and her wealthy background, pretensions in society, demands on Dan, relationship with her father? The contrast with Alice and her devotion to Dan, leaving and helping him, their work together?

6. J. L. Higgins and his work, relentless, ambitions, never having a holiday? Ruling the meals? Control over his daughters? The rest of the family? The would-be sons-in-law? The clashes with Dan? The credibility of his final relenting and relaxing?

7. Whitey and the portrayal of black friend? Background? Helping with training?

8. The range of character actors and their contribution? A happy gallery? A rogues' gallery: Happy, Professor Pettigrew, the racing secretary, Lee, Pop Jones, Johnson, Eddie Howard, J.P. Chase? The world of finance, of racing, betting?

9. The film as a piece of Americana? Humour? A gallery of characters? Good and bad? The American dream and its drive? Relentlessness? Honesty, warmth? Capra's optimism?

RIDE, VAQUERO

US, 1953, 90 minutes, Colour.
Robert Taylor, Ava Gardner, Howard Keel, Anthony Quinn, Charlita.
Directed by John Farrow.

Ride, Vaquero is an interesting, if somewhat dated, western from M.G.M. of the early '50s. It teamed Robert Taylor and Ava Gardner (also appearing in such films as The Bribe, Knights of the Round Table) and gives Howard Keel one of several serious roles. He handles it well. Anthony Quinn, in early days as a star (though late in his character acting days) is a vigorous Mexican bandit. Kurt Kasznar has some religious lines - a bit overly done and Jack Elam. shows that he did this kind of western role for many decades. Music is by Bronislau Kaper, direction by John Farrow - who directed so many action adventures in the Paramount Studios in the '40s, so often with Alan Ladd. He was to move to some Cinemascope spectacles as The Sea Chase, Blood Alley and John Paul Jones.

1. An entertaining and interesting western? In the western tradition? Gunfighters, Mexicans, landowners? Clashes? Heroes? Law and lawlessness?

2. Colour photography, locations? Special effects? Battles? The musical score and its atmosphere?

3. The familiarity of the conventions - and audience acceptance? The background of the Mexicans and the Civil War, the bandits and their control of the towns, the sheriff and law and order? The ranchers and their property being destroyed? The gunfighter for sale? Bonds between Mexicans and Americans? Loyalties? Romance? The confrontation? Better than average, average?

4. The build-up of the atmosphere and plot for plausibility? The American heritage of the West?

5. The focus on Rio? Robert Taylor's screen presence - in the '50s? The background of his upbringing? Being brother to Jose Esqueda? The United States territory, the Civil War? The ranchers and the dispossessed local populations? Bandits? Rio as mysterious? His clash with King Cameron? The encounters with Cordelia? Cordelia's approaching him and his leaving? His deal with Cameron? Fighting against Esqueda? The final confrontation between Rio and Esqueda - and both dying? The irony of the gunfighter hero of the West?

6. Jose Esqueda and Anthony Quinn's style? The reason for his being a bandit, control? Clash with the ranchers? Behaviour in the village? Boisterous? Falling out with Rio? The growing up together, blood brothers? The sense of betrayal? His confidence in Rio - and their final confrontation?

7. The Camerons - the ranchers from the East, their house being burnt? Their dispossessing the local population? Determination to build again? Cameron and his strength, calling meetings, persuading the locals - and those who were afraid? Cordelia and her love for her husband, her eye for Rio, approaching him? Cameron's fight, his being shot? The final resolution?

8. Father Antonio - the role of the friars in the West, supporting the villagers, the link with Esqueda and the bandits? A device for the townspeople? The meeting? The pious words and preaching given to him?

9. The detailing of the people in the town, the sheriff and his weakness, the singers in the bar, the young settlers, the associates of Esqueda? Conventional types? issues of the opening up of the land, land rights? Possession and dispossession? The expansion of United States territory? The American heritage? - and the Cavalry coming in to save at the end?

RIDER ON THE RAIN

France/Italy, 1969, 119 minutes, Colour.
Marlene Jobert, Charles Bronson, Addie Cordy, Jill Ireland.
Directed by Rene Clement.

Rider On the Rain is a thriller by the French director Rene Clement, who has made so many classic thrillers. This one is both interesting and entertaining, although making no claims to originality. At times reminiscent of A Man And A Woman with romantic French colour photography and music, at other times like a Truffaut or a Hitchcock thriller, there is a graphically portrayed murder, bizarre touches, a strange atmosphere, although we know the world is the everyday one. The film keeps us interested because the killer causes no puzzles; it is rather the investigator of the killing who is mysterious. Charles Bronson in his European phase is the star.

1. How successful a film was this? Why? How did it manipulate audience feeling and identification?

2. How much did the film focus on Charles Bronson and his enigmatic personality? How important was this for the success of the film? How did it balance with the heroine's fright?

3. How much was the audience meant to identify with Melancholy? Especially a feminine audience? The initial ordinary life, curiosity, menaced by the murderer, fright in her home, the killing and the dumping of the body, and the consequent fright in trying to escape detection?

4. How real was this situation? Was it plausible and credible? Is it what an ordinary woman would have done? Why didn't she communicate with someone about the murder?

5. How well did the film fill-out the character of Melancholy in her relationship with her mother? What kind of woman was her mother, emotionally and loving to her daughter? In the story of her father's abandoning then? Her relationship with her husband, his going away on Ms flights, his lack of love for her, his affair with her friend etc.? Melancholy and her fear - why was she so fearful? Had she good reason to be?

6. How horrifying was the Rider on the Rain? His looks and his menacing? The situation in the house, the rape and the death and the horror? Was it a good example of death in self-defence? why?

7. How important was the Major and his enigmatic personality? How did we see him from Melancholy's point of view? How puzzling was he to her and to us? The fact that he knew so much? His persistence in following her? How well did she parry his investigations?

8. When you learnt the truth, did you feel that the Major had the right to do what he did? Confusing the two murders in melancholy's mind? Using her and her fears of death for his own purposes? Was this just? The warnings of the police to the Major? Was he too unscrupulous?

9. Why did she continue to hold out when it seemed he knew, the truth? What did she want to find out for herself? Her encounters with her mother, husband, the friend at the shop and the confrontation about the affair?

10. How impressed was she about seeing the murderess arrested on the beach? What effect did this have on Melancholy? Her going to Paris? The effect of this on her? The danger? Did the major have the right to allow her to suffer as she did?

11. Were you satisfied with the solution? Had you been satisfyingly tricked? Was the film satisfying in its suspense? Was the solution easily explained?

12. What value have thrillers like this besides entertainment? In their portrayal of persons in dangerous situations? In their insights into the way people react to danger and to fear?

THE RIDDLE OF THE SANDS

UK, 1978, 102 minutes, Colour.
Michael York, Jenny Agutter, Simon McCorkindale?, Alan Badel.
Directed by Tony Maylam.

By Jove a 1901 British espionage adventure that delayed World War One. Attractive Dutch and German locations serve for the maze of sands and currents in the Frisian Islands, where the Kaiser and a British traitor were planning an invasion of England. Michael York and Simon McCorkindale?, saying "blast" and "blighter" etc., tread the same heroic steps as Dirk Bogarde and Co. in the 50s in the John Buchan mould. They remind us of a world of uprightness, honour, chivalry and patriotism that may be far more perennial than the 70s might have thought (and a bit genteelly slow for action fans). They do make films like they used to!

1. An adventure story for a 70s audience? Its use of the old cinema traditions and the popular novels of late 19th. and early 20th. century? How enjoyable these old fashioned adventures?

2. The basic appeal of adventure films, daring heroes, plots, coincidences, action? Themes of honesty, patriotism? The neat cataloguing of good and bad, rights and wrongs? A lasting appeal? (The original novel by Erskine Childers was published in 1902 and considered one of the first spy novels).

3. The quality of the adventure, the hero's response to challenge, motivations and purpose?

4. The use of colour, Continental European locations, the focus on the sea, the old village? The pre-World War One atmosphere? Period, decor? The musical score and its use for romantic interludes as well as for melodrama and action? Editing for the pacing of the adventure?

5. Audience involvement via the structure: the introduction to Carruthers at the window smoking and his narrative, his comments about Davies? 1901, the Frisian Islands, the introduction to Davies and his adventures, the characters? The various episodes and the establishing of the riddle? Carruthers' involvement and his commentary? The satisfactory resolution and Carruthers' final observations especially the portentous tone about the Kaiser and Edward VII?

6. How engaging a British hero was Arthur Davies? His yacht, his manner, his awkwardness (despite Oxford!), his work on the yacht? The encounter with Clara and his infatuation with her - and his awkwardness? The introduction to Dollmann and his wife? he interrogation at the meal? The establishing of his manner, interests, charting the sea, his lack of imagination? The traditional British hero?

7. The contrast with Carruthers as hero? His boredom with London, his life at the Club.. the sequence of the arrival of the letter and his sending a telegram? His going for a yacht voyage, his arrival and his disgust with the ship, the walking, the accommodation, the meal? His meal on the Sunday morning and his decision to stay after listening to Davies' story?

8. Their adventures together and audience involvement in them, the yacht itself and sailing it, the atmosphere of the sea, the visit to spy on the barges and Davies' clash with the guard, their rowing through the fog to the island, Carruthers and his overhearing of the whole plot, the tensions at the meal with Dollmann and the other authorities, the train trip and the changing of identity, Carruthers stowing away, ruining the Naval exercise, asking the Kaiser to help him go free, escaping on Dollmann's yacht? The two working together, the bond of friendship and mutual support?

9. The focus on Carruthers and his intelligence, working out strategies and tactics?

10. Davies and his nautical skills and his contribution for Britain?

11. The importance of the climax - the spying at the island, the irony of everyone inviting them to dinner. the tensions at the dinner, the train trip, Carruthers changing, the Kaiser and his arrival, the troops and their presence on the barge, his sabotage, his escape and confrontation with Dollmann, the escape on Dollmann's yacht?

12. How convincing a villain was Dollmann? His Germanic presence, his skills, his origins in England and his mapping and charting the Wash? Carruthers knowing that he was not fully trusted by the Germans? His attempt to shoot Carruthers? Clara's reaction to her father's being a traitor yet wanting to save his life? His being put on the small yacht? The character of his wife and her presence, dislike of the sea, her drinking, her going with her husband? The Kaiser's callous decision to ram the yacht?

13. Clara as heroine - her visits to Davies, her liking for him, interrogation, invitations, shopping, presents? The dilemma about her father, saving his life, her love for Arthur?

14. The presentation of pre-World War one Germans, the Naval officer in the district and his warnings, the engineer and his sinister control of the situation and guidance of the Kaiser, the tensions of the train trip? The German sailors and their bashing Carruthers?

15. The importance of introducing the Kaiser into the film? His control of the expedition, the irony of his letting the rope go for Carruthers, his ramming of Dollmann? The comment about his meeting with Edward VIII?

16. A satisfying action adventure, British stiff-upper lip pace, the quality of the old traditional dialogue and vocabulary? The perennial satisfaction for audiences in this kind of action drama?

RICKSHAW BOY

China, 1982, 120 minutes, Colour.
Directed by Ling Zifeng.

Rickshaw Boy is based on a famous novel by Chinese author Lao She. It is set in the '20s and '30s in the city of Beijing - a time of social upheaval and change. The film focuses on a young camel-herd who goes to the city to try to make his fortune with his rickshaw. He is trapped in the social and economic situations. Tricked into marriage, he fails to make a success of his career and after falling into debt is forced to sell all his possessions. He is compassionate for a young girl who has to sell herself into prostitution and who ultimately hangs herself. The film is grim in its tone though commentators say the film tones down the pessimism of the novel.

Filmed in Panavision, the film is attractively produced and pictorially striking. However, the pace is slow and the action tends to meander. It is an interesting example of the Republic of China's cinema of the early 1980s - dramatising a famous novel and looking back at the past.

1. An interesting film? Entertaining? Insight into the history of China in the 20th century? Pre-revolution China? Insight into the Chinese mentality and people?

2. Production values: Panavision, colour photography, locations, pictorial beauty? The decor and style of the '20s and '30s? Intimate sequences? Action sequences? The musical score and its atmosphere?

3. The focus on Xinagzi, the young camel-herd? The initial focus on the military situation? Violence and death? His escape? His taking the camels? Selling them desperately? His money and the hopes for being a rickshaw boy? His return home and the welcome? The employer and his lazy attitude? The employer's daughter and her infatuation with Xinagzi, tricking him, her pretence of being pregnant, the marriage? The complications of married life, his wife's pressures? Dissatisfactions? Xinagzi and the rickshaws? The friendship with the young girl? The difficulty of his wife's pregnancy, trying to get the doctor, the oppression and the lack of money, her death? The friendship with the young girl and her having to go into prostitution? His grief at arriving too late when she had hanged herself? His having to sell his rickshaw, the creditors and his having to go and sell everything he owned? His prospects? A grim picture of an ordinary young man?

4. The portrait of the wife - her competence, relationship with her father, business sense, wanting a husband, her tricking Xinagzi, the marriage, married life, the real pregnancy, the agony of her death? Her father selling his business and disinheriting her? Xinagz1's hostility towards his father-in-law when encountering him?

5. The young girl and her hard life in the city, pathos, going to the brothel, the madam and her talk, her hanging herself?

6. The incidental characters - how well delineated? The camel buyer at the opening, the rickshaw boys in the city, the clients, the doctors, the creditors, the brothel keeper? Authentic characters for this film?

7. Insight into human nature? The pessimism of the oppression of the city, economic situation? The film's comment on pre-revolution China?

RICH, YOUNG AND PRETTY

US, 1951, 95 minutes, Colour.
Danielle Darrieux, Wendell Corey, Jane Powell, Fernando Lamas, Vic Damone, Una Merkel.
Directed by Norman Taurog.

Rich, Young and Pretty was an attractive Jane Powell vehicle of the early '50s. She has a strong supporting cast, especially with Danielle Darrieux in an unusual Hollywood appearance with plenty of opportunity for song and dance. Most of the cast have a chance for singing, including Wendell Corey, in a fairly sympathetic role. Vic Damone was introduced in this film and is an attractive partner for the heroine. There is support from such stars as Fernando Lamas and Una Merkel. The film wears better than many other musicals of the time. The songs and dances are attractive e.g. 'We Just Sit Around'. The attractions of Paris, of course, are to the fore. Direction is by Norman Taurog, veteran director of comedies and dramas of the '30s and '40s including some Judy Garland vehicles. At this time he began to direct Martin and Lewis comedies. He later directed a number of Elvis Presley vehicles.

1. An enjoyable and attractive musical?

2. The popularity of the M.G.M. musical? Colourful production values? Colour photography? The use of Texas, of Paris? The musical score and its insertion into the plot - in illustrating character as well as theatrical presentation? Choreography?

3. The conventions of the musical comedy: the establishing of the family and the problems, the locations romanticised, the falling in love, the mystery, the revelations and happy ending? How well used?

4. The Texas background: Jim Rogers and his abilities, wealth, international missions? Liz and the possibility of moving from Texas and going to Paris? The background of Jim's marriage with Marie and her escaping from Texas? Her life in Paris? A plausible plot - sufficient for the romantic comedy?

5. Jane Powell attractive as Liz? Strength, determination? Love for her father? For Bob? (Forgetting him in Paris!) The excitement of the trip, the attraction of Andre and the outings with him? The friendship with Marie and her not knowing she was her mother? With Paul? The importance of the Una Merkel character as the good humoured nanny? The excitement of Paris. the change of moods, falling out with Andre, the discovery of the truth, the reconciliation? The '50s American heroine?

6. Vic Damone in his film debut? Singing voice, screen presence? The comic touches - especially at the restaurant with so much food and his small salary? Songs, misunderstandings, final reconciliation?

7. Jim Rogers as the tough American, the self-made man, the flashbacks to his life in Paris, the attraction to Marie, the wedding? Life in Texas and the birth of Liz? His failing to realise that she was unhappy? His cutting her out of his life? Work in Paris, flight to London? On the town with Liz? Apprehensions about Marie? Their discussions, strategy for warning off Andre because of the French-American? marriage? The final reconciliation?

8. Marie and her performances in Paris, the attraction towards Jim, the wedding, the hopes in America, her inability to cope, her leaving without saying goodbye? Her success in Paris? Love for Paul? His helping her with the song and dance routines as well as with meeting Liz? The hospitality at the restaurant? The friendships? The revelation of the truth?

9. Paul as the dashing romantic helping Marie?


10. The background of Texas - Bob and the good Texas boy at home? The contrast with French sophistication?

11. The presentation of France with its sophistication, fashions, night life, romance? The Parisian theme and the finale?

12. The comedy sequences - with Una Merkel? With Hans Conried as the mitre d' of the restaurant?

13. An attractive entertainment? Echoing the accepted styles and values of the early '50s, Hollywood style?

RICH KIDS

US, 1979,
Trini Alvarado, Jeremy Levy, Kathryn Walker, John Lithgow, Terry Kiser, Paul Dooley.
Directed by Robert M. Young.

Rich Kids is directed by documentary and feature maker Robert M. Young under the auspices of Robert Altman's production company. This is an offbeat comic/sentimental look at two representative children, boy and girl, trying to cope with growing up and not untypical mixed up parents who live ordinarily by the usual double standards, are selfish, deceive, fall in and out of love and think they ought to do the right thing by their children. This film is wryly humorous and perceptive on the mess that we are prone to get ourselves into. So often the vulnerability is underestimated and emotional havoc is wrought on partly suspecting children - and one hopes the damage is not irreparable. Other features by Young include Allambrista and Short Eyes.

1. The focus and tone of the title? The ironies of the children presented -wealth, neglect? The focus on the kids themselves and their growing up? Parents? The contrast between rich kids and poorer kids in happiness, education, future? How well did the film observe? Could audiences identify with the characters, situations?

2. The production qualities: colour photography of New York, the atmosphere of the city, apartments. business, schools, recreation? The contribution of the songs, their being used dramatically throughout the film, the focus of the lyrics?

3. The framework of the teacher with the children? The audience being asked to identify with the education situation - the teacher and her role, the formation and education of the children? The teacher not knowing the backgrounds of the children? Family and background being so importance? The film's focusing on particular kids and generalising - how accurately?

4. Franny as the focus of the film? An attractive young girl, her age, her experience? Her parents and her father's deceit? Her knowledge of this, reaction? His promises? The broken communication with her parents? Their cover-up? Her experience at school, her friends? Reading the sex book? Her pretending to be asleep when her father came in and the effect of this on her? Her clinging to her parents, her perceiving the truth? Her worries? How well drawn her character, how credible? Typical of a young girl in these circumstances? Her strengths to cope with her difficulties?

5. The contrast with Jamie: his age, an attractive young lad, parents and their divorce? His relationship with his mother and her protectiveness? His stepfather and the psychologising? His father and his business, talk, false fronts, women? The contrast with his mother's apartment and the lifestyle of his father? The effect of the broken marriage on Jamie?

6. The friendship with Franny? Talking together, sharing experiences, predicting what would happen about Franny's parents and their taking her out to dinner to discuss their separation, its fulfilment? The sleep-over visits? The mimicking of adults relationships, sexuality? The innocence of children - the imitation of adults and the forming of behaviour patterns,?

7. The portrait of the parents - in themselves, their fights, strengths and weaknesses? Franny's parents and their talk, her father's deceit? The exasperation of her mother? The lawyer and the plans for the separation? The caution as regards Franny going out, phoning? How did Jandel’s parents influence him? His mother and her over-protectiveness? The distance of the stepfather? Jamie seeing through his parents? His real father and his women? The final hubbub - after the sleep-over, the authentic behaviour of the children compared with the raucousness of the parents?

8. Franny's parents and their separation, divorce? Her mother's care for Franny? Her father's deceitfulness? The couples meeting at the street corner and the ironies and embarrassment? Taking Franny out to dinner, her throwing up as predicted? Madelyn and the talk? Communication, lies?

9. The importance of showing children growing up, learning from each other, aping adult behaviour, their vulnerability? Their ability to cope? The parent generation reaction to the behaviour - especially sexuality e.g. the two children in the bath and the reaction?

10. The film's focus on parent reaction - the double standards for themselves, their imposition of standards on others? The hubbub in the apartment, the arguments? The irony of the film and its satiric criticism of double standards?

11. The final pursuit, the final night, the talking over of things - and the possibility for a future?

12. The future of such rich kids? The influence of their growing up on them and their attitudes, their parents and their squabbles, divorce? Education? Interior strengths helping kids to build on their previous difficulties? Franny and Jande as the symbolic boy and girl? The American setting - but its universal application? The insight films like this give as regards family relationships, sensitivity, vulnerability?

RICHARD III

UK, 1955, 161 minutes, Colour.
Laurence Olivier, John Gielgud, Ralph Richardson, Cedric Hardwicke, Claire Bloom, Alec Clunes, Pamela Brown.
Directed by Laurence Olivier.

Richard The Third, adapted from Shakespeare’s play by Laurence Olivier and directed by him, is one of the most enjoyable film versions of Shakespeare. It is considerably re-edited by Olivier and has excerpts from other works of the Bard. Attractively photographed in colour and Vistavision, the film boasts an expert English cast. The musical score by William Walton is both rousing and romantic and is integral to audience response.

The cinematic techniques that Olivier used for communicating Shakespeare are also very impressive e.g. the use of menacing shadows for Richard himself, the telling soliloquies in which Olivier looks straight at the audience to make us all accomplices in his plans. There is an interesting cinematic version of Shakespeare’s Nightmares Before the Battle. Many critics commented that the battle scenes themselves were too realistic for the conventions that had been used previously. All in all, the audience is caught into the intrigues of the Wars of the Roses, into the malevolent evil of Richard the Third's character, into the mystery of evil and the power play of the Middle Ages. As a tribute to Shakespeare’s dramatic genius as well as Olivier's skill in interpreting it for the 20th century, Richard the Third takes its place along with Olivier's excellent Henry The Fifth and his adaptation of Hamlet.

1. Laurence Olivier's insight into Shakespeare? Capacity for interpretation? Visualisation? Writing, directing, acting?

2. Richard III and Shakespeare's historical plays? Its place in the chronicle of English kings? The build-up to Henry VII and the Tudor dynasty? Henry VII as the grandfather of Queen Elizabeth and Shakespeare's offering of his work to her? The atmosphere of civil war in England contrasting with Elizabeth's peace? The expelling of evil, the restoration of order? The comparison of Richard III in history, drama, characterisation with the other historical plays?

3. The quality of the colour photography, the use of Vistavision processes? The costumes and decor, the atmosphere of the English Court? The uses of light and darkness, shadows? The special effects e.g. the ghost sequences? The editing for pace and for dramatic shock? The battle sequences? The contribution of William Walton's score?

4. Olivier's presentation of Shakespeare's text - pruning, visualising it? Portraying visual equivalents of the words? The settings for the drama, soliloquies, confrontations? The direct presentation of the soliloquies to the audience especially Richard taking the audience into his confidence (and making them accomplices)? Voice-over techniques? The ghost sequences? The adaptability of the set and fluidity of movement throughout the Court? When the Mayor and the people of London come to Richard, etc? The quality of Shakespeare's poetry and the eloquent delivery of the English cast?

5. The picture of England and its politics in the 15th century? The Plantagenet dynasty? Civil war? The actions in the Wars of the Roses? Changing loyalties? The role of the monarchy, the nobility, the Church? Power and king makers? Richard Ill as tyrant and the culmination of a dynasty in evil? The need for restoration and the place of the Tudors?

6. Olivier's interpretation of Richard? The introduction to the play and his confidential soliloquy, his visual appearance, his hunch, black hair, nose? His references to himself and his appearance? The symbolism of his shadow? His detachment from moral complicity in his evil deeds - Richard himself again? The historical background of Richard III - his place as younger son, his deformity (external and internal), his being a victim of the times, his wanting to prove himself, his vanity about his duplicity, his respect for Edward, seeming love for Clarence and his exploiting them both? The confrontation with Anne and defying her about the death of her husband.. the sexual ambiguity in attracting and to marry him? His spurning of the Queen's family? His using of Buckingham and then turning on him? His contriving Hasting's death after the manipulation of power? His self-assertion, e.g. making Buckingham kneel, his playfulness with the young princes and his harsh reaction to their staring at him? The achievement of the Crown and his glazed look of power? Buckingham and the use of Tyrrell? Dragging Anne into the Court? His plots and the culmination of his evil turning against him - the rush of messengers? The ghost sequence and his conscience? The list of his murders? The foul weather at Boswell Field. his involvement in the battle and his relentlessness. wanting a horse instead of his kingdom? The horror of his death throes? His being presented as a mediaeval devil figure - especially with the overtones of black and red? His intelligence, cleverness, power of manipulation, lack of human feeling, exploitation and use of people? Olivier's delivery and his interpretation of Richard?

7. The portrait of Edward IV - old, powerful, superstitious? Prophecies and their fulfilment? The place of the family and the Queen and her relatives? Mistress Shore? His desire to make peace before he died? Clarence and his place in the Court? The old age nobility of Edward's speeches - with overtones of fear and death? Clarence and his plain-spokenness, lack of shrewdness? His dream and the ugliness of his death?

8. The Queen's family, plots, the boys and their playfulness, heirs to the throne of England, the ugliness of their murder?

9. Buckingham as the cold and calculating politician his plotting against Hastings, manipulating the Council. using the Lord Mayor? The promises that Richard made to him? His being humiliated, hesitating about Richard. fleeing from him and dying as a traitor?

10. Hastings and his straightforwardness, lack of guile and foolishness? The liaison with Mistress Shore? His being isolated in the Council? Execution? Catesby and his loyalty? Ratcliff and Lovell and their place in the Council?

11. Lord Stanley and his being trapped in the Court, his messages to his son, his being vindicated as the father of Henry Tudor?

12. Anne as a grieving heroine the musical score to illustrate her grief, the encounter with Richard after the death, her taunting him and his offering to kill himself. the motives for her marrying Richard, his dragging her into the court, her death? Ambiguity of motive, love and sexuality?,

13. The visual impact of the film - the focus on the Crown of England? The visuals providing context for the acting and the poetry? The blend of poetry, melodrama, action, skilful characterisation - history, politics, poetic justice?

RICH AND STRANGE

UK, 1932, 83 minutes, Black and white.
Henry Kendall, Joan Barry, Percy Marmont, Elsie Randolph.
Directed by Alfred Hitchcock.

Rich and Strange is a strange Hitchcock film, especially in the light of his subsequent career. It has overtones of the comedies of the time and Hitchcock uses techniques familiar to him from the silent era, including captions. It is not a
crime or suspense film? It has echoes in some of the social comedy throughout Hitchcock's films from Mr. & Mrs. Smith to To Catch A Thief. The title comes from a quotation of Shakespeare from The Tempest about sea voyages and the effects being rich and strange. The film looks old now but is an interesting moralising fable. It is interesting in its being the work of the Catholic Hitchcock’s - the director and his wife being responsible for the screenplay and the production as well as the direction. They seem to be moralising - or are they envying the worldly life?

1. The place of this film in the Hitchcock canon? Hitchcock's silent career and the transition to sound? His work in comedy? The film as a fable? The echoes of social comedy throughout Hitchcock's thrillers?

2. The work of the British film industry in the early '30s, the brevity of the film, studio work. location photography? Black and white? Musical score? The use of the silent captions - and their comic effect?

3. The focus of the title and Shakespeare and The Tempest? The ruefulness and irony?

4. The comedy of the opening - a collage of the '30s rat-race? The effectiveness of the build-up of the man returning home from the office - and audiences identifying this? The comic touches and detail? The humour of Home Sweet Home? Establishing the characters. Freddy's problem? The return to Home Sweet Home at the end - and lessons learnt or not?

5. The 'what if ..' situation? Freddy's complaints? Emily's being satisfied at how? The sudden intervention of the money? The build-up to the trip - and the humorous captions about crossing the Channel,, crossing France, crossing the room?

6. The establishing of the trip, the humorous touches? Audience identification with this couple? Freddy's seasickness? Paris and the risque nightclubs? A British look at French musical comedy - and the ironic anti-puritan touches?

7. The ship at Marseilles, travelling to the exotic East? Freddy and his continued seasickness? Emily and her enjoying the voyage? The inevitability of the marriage break-up, the new attachments? The conventions of sex comedy and farce?

8. Freddy as the British type - dissatisfied with life, his seasickness, the attachment to the princess and infatuation (and her being a fraud)? The ports and his going off with the princess? The princess being sketches as the adventurous shipboard type? Her fickleness?

9. Emily as the British housewife? Gordon as the exotic British gentleman with the colonial background? Shipboard romance, their being thrown together, the romantic touches of night and the moon? Kissing? Emily and her having to make decisions? Gordon as the popular type - the possibility of a happy life for Emily?

10. The effect of the break-up on Freddy and Emily? Their return to each other, the reconciliation? Losing their money, the slow boat back to England?

11. The humour of the shipwreck? Their willingness to face death? Preparation for it? The effect of surviving? wandering the ship, the sinking of the ship, the rescue in the Chinese junk? The rescue of the cat - and the irony of seeing that the tasty meal was the cat?

12. The return home - home as the same or never the same again? Would they learn their lesson or had the appetite for adventure been whetted?

13. Hitchcock's flair for comedy, fable, domestic sequences? Was the film a satirical critique of the British - or in favour of a life of adventure?