GUNS AT BATASI

UK, 1964, 103 minutes, Black and White.
Richard Attenborough, Flora Robson, Mia Farrow, Jack Hawkins, John Leyton, Errol John, Cecil Parker, John Meillon.
Directed by John Guillermin.

Guns At Batasi is an adventure set in South Africa and reflecting the tensions and adventure of the racial pressures in that country. An interesting British cast acts very well - Mia Farrow was introduced in this film and it would seem had not found her acting feet too well. Direction is by John Guillermin who had directed many films in England, moved to France after this with Rapture, and then to America with such films as The Blue Max. He was to become a very popular director of action films e.g. House Of Cards and El Condor, and then in the '70s made such films as Towering Inferno, King Kong, Death On The Nile. This film is quite an entertaining South African adventure.

1. What was the purpose of this film? Military entertainment? An exposure of British traditions? Something on the army? A picture of modern African turmoil?

2. Where did audience sympathies lie? How much sympathy was there with Lauderdale?

3. How well was the picture of contemporary Africa caught? How real was it? Were the issues of modern uprisings well presented? The atmosphere of fear in uprisings?

4. What did the film present about British traditions? The role of the British army in overseas territories? The role of the modern British army outside of England? Did the film take a stand on this?

5. How sympathetic was the presentation of army life? What did the film show in favour of the array? What did it show against the array? What were your final impressions? Why?

6. How was the character of Lauderdale the central character of the film? Comment on Richard Attenborough's performance. From the first time we see him on the drill yard to his final marching off to a new assignment? How pedantic was he? How unimaginative? How much a product of army discipline? How did he show the virtues of army discipline? How did he show what is wrong with too much discipline? Did his character change and develop during the film?

7. Miss Barker-Wise: what kind of woman was she? Was she a real politician or was this a satire on politicians? How unreal was her experience of Africa? Her being duped? However, was she a sufficient counter-balance to Lauder~ dale's extreme positions? As regards the situation and crisis was she right or wrong? Why did she clash with Lauderdale? How was she disillusioned by her experience with Boniface?

8. Deal and the command of the troops in Africa? Was this presented realistically or not? The nature of Deal's decisions? His placing Abraham in charge? Was this a sensible decision? The irony of Deal's arrival when the trouble is over and Lauderdale is trying to cope with the crisis?

9. How interestingly were the black leaders presented: Abraham and his loyalty? Boniface - the traitor? How ironical was it that Abraham could be hounded and killed on one night and then there be a truce on the next? What comment does this make on changing African states?

10. Comment on the Sergeants' Mess and the personalities there: Digger, Dodger, Ben, Muscles? What particular aspects of military life did they represent? Their relationships among themselves? Their attitudes towards Lauderdale? The participation in the coping with the situation? The final attempt to blow up the guns?

11. How well did the film show the nature of the riots by contrasting and intercutting with the celebration of the Queen's Birthday? How ironic was this?

12. Did the sub-plot about Wilkes and Karen add anything to the film? Did it add human interest? Human interest in a time of crisis? Was this relationship explored in any depth?

13. How successful was Lauderdale's idea of blowing up the guns? Did it add to the suspense of the film? How was the peace and the truce an anti-climax?

14. How sympathetic did you feel towards Lauderdale when the army had to take notice of African complaints about his behaviour? How well did Lauderdale cope with this? His flinging the glass at the Queen? Was this only a momentary aberration? What future would Lauderdale have?

A GUN IN THE HOUSE

US, 1981, 100 minutes, Colour.
Sally Struthers, Millie Perkins, Jeffrey Tambor.
Directed by Ivan Nagy.

A Gun in the House is one of those social-minded American telemovies that were so popular in the '70s and '80s. They are designed for the widest possible audience, convey their message and moralising effectively through a popular story, TV style.

This film focuses on the use of weapons, their proliferation in ordinary homes. It raises questions about gun laws and gun control. It also highlights the growing menace during the '80s of violence in homes, burglaries and rapes. Each side of the issue is presented and audiences are asked to think over the issues as they respond emotionally. Ultimately, this film comes down on the side of not using weapons. However, it pulls few punches in its presentation of the terror of the ordinary housewife confronted by violent attackers. Sally Struthers is quite persuasive in the central role of the housewife.

1. An interesting telemovie? Social and moral issues and questions?

2. The American background, the ordinary city, homes, community? Action and violent sequences? The brutality - and audiences identifying with Emily's plight? The impact for the broad audience?

3. Gun issues: the United States, universal application? The availability of firearms, sales? Training? Criminals and their use of guns? Self-defence? Accidents? Weapons as deterrents for criminals? The pros and cons of the gun issue? The film's stance?

4. The prologue and the woman being attacked, raped? Victim, humiliation, shame? The two men, masked, violent and leering? The repercussions of this prologue later in the film? The woman and her unwillingness to help Emily? The interview with her?

5. The focus on Emily and her daughter, their not locking their home, friends and neighbours, ordinary routines of life? The community discussions of safety? The question of buying guns? The group and their being trained? The detailed focus on Emily and the training, firing, the power of the gun, the tomato-juice can and its splattering after the firing? The repercussions for the women? Emily and the discussions with her husband, buying the gun? Her relationship with her husband, his absence on flight rotation? Her fear, her daughter and her nerviness, the face at the window and her daughter crying?

6. The two men, the rape and their callousness, robbery? The masks? The older man's hold over the younger? Their prowling around the suburbs in their van? Their spying on Emily, falling in the mud? The wanting of revenge? The younger man warning Emily in the street? Entering the house, the daughter's fear, the drink and pouring it over Emily, humiliating her, her getting the gun, confronting them, their running away, the accidental shooting of the young man in the back?

7. The situation, the murder charge, the District Attorney and his severity, his interpretation of the facts against Emily? His interviews, especially with the friend who witnessed the encounter with the young man? The lawyer, taking on the case, his treatment of Emily, his being over-busy and trying to cope with all the cases?

8. Emily's arrest, the details of the arrest and the imprisonment, the humiliation? The bail? Emily and her husband deciding to investigate, the clues, air schedules, the visit to the woman at her home and the irony of her son being the criminal? Emily's interview with the rape victim and her unwillingness to help?

9. The irony of the mother with the air flight rotation information? The son and his coming again, Emily being ready for him, her fighting, holding on to him, her challenging him with the gun, throwing the gun away? The arrest?

10. The overall impact of the human drama, the vivid re-creation of the violent sequences and the menacing? The emotional moralising? Audiences left to raise questions for themselves?

GUNGA DIN

US, 1939, 117 minutes, Black and White.
Cary Grant, Victor Mc Laglen, Douglas Fairbanks Jr., Sam Jaffe, Joan Fontaine.
Directed by George Stevens.

Gunga Din is one of the most rousing adventure films of the 30s. Directed by George Stevens, an expert in romantic drama, large scale drama eg. Quality Street, Alice Adams Penny Serenade, The More the Merrier and into the 50s with A Place in the Sun and Giant, Stevens shows his ability to make rousing adventure. Cary Grant, Victor Mc Laglen and Douglas Fairbanks Jr. are very lively as the soldiers three and are very entertaining. A young Joan Fontaine appears now and again as a romantic lead. Sam Jaffe was memorable as the water carrier Gunga Din, who dies heroically. (Perhaps it was a bit unfair of Peter Sellers to parody this so effectively at the beginning of Blake Edwards The Party.)

Music is good, location and atmosphere especially of the Temple of Kali from its
deadly snakes to Cary Grant singing most irreverently in the middle of it. Audiences cannot help being involved. It was to be an influence in such later films as Soldiers Three and Sergeants Three where the theme was transferred to the American West as a vehicle for Frank Sinatra, Dean Martin and Sammy Davis Jr.

1. This film is considered a classic Hollywood adventure. Why? Entertainment value, production quality? The mystique of cinema adventure? Its influence on similar epics about India?

2. The impact of the action sequences. the fights? ordinary soldiers. heroism? The presentation of India and its conflicts at the time of Empire? A romantic view of India? A historical view? How plausible and credible this India?

3. The atmosphere of Rudyard Kipling.. his poetry, his view of Empire? A historical, poetical view of India?

4. The quality of the black and white photography, the re-creation of India, its style? The action sequences? The musical score and its rousing emphasis, especially on the Gunga Din theme? The gong of the credits? The historical note about the worship of Kall?

5. The sympathetic presentation of the British in India? Their work, sense of mission? Historical judgement on this now? Is this relevant to the picture of India of the film?

6. The comradeship between Cutter, Mc Chesney and Ballantyne? The overtones of the three musketeers, three for one and one for all? The bonds of friendship, their joy in being together, skill in mutual help in adventure? Ordinary men? Men's men and the hold that this can take - the spurning of women? The spurning of Ballantyne for thinking of getting married, going to the tea trade? The consequent tricks played? Adventurers and the search for gold? The impact of their first appearance fighting the Scots? Their capabilities on their first mission? The mutual help in the final crisis? The finale and their helping one another? The joie de vivre of this particular spirit?

7. How well did the film delineate their characters and their particular styles? The jokes. the fights, the rebukes etc.?

8. The contrast with the officers and their behaviour eg. the decisions about the fighting in India, behaviour at the dance? Higginbotham and his pompous self-righteousness? The humour of his drinking the punch?'

9. The place of women in this India? A seeming intrusion, eg. Ballantyne's kissing Emmy. the behaviour at the dance? The ridiculing of Ballantyne at the buying of the curtains? Emmy's arrival in the carriage and Ballantyne’s going off to war?

10. The use of the landscapes and the long shots for presenting the panorama of battle, the contrast with the vitality of the close-ups?

11. The focus of the title on Gunga Din himself? An Indian, a contrast with the British? The carrying of water, giving it to the troops working? The patronizing attitude that the British took to him? The important sequence of his practising the drill, explaining his bugle to Cutter? His information about the gold? His helping Cutter escape by means of the elephant? His return? His heroism at the end and the blowing of the bugle and his wounds? The message of his self-dedicated service? The final tribute? The point of the film through the
character of Din?

12. The presentation of the Indians: the cavalry working with the British? The contrast with the sect and their murders, the killing of people in the village? The initial confrontation with Ballantyne and the fight with the three? Their threats of Kali? Their ambushes? The place in the temple, the snakes, as fanatics? Their leader and his self-confidence, especially in his torture of the three and their eventual capturing him? The impact of his death?

13. The importance of Cutter's escape from jail and taking McChesney's elephant (and the contrasting humour with the elephant scenes), his decision then to stir up the worshippers of Kali by his singing in their temple and arresting them, his torture?

14. The suspense as the three were captured and waited for the army to go into the trap?

15. The final battle and its excitement, Din's death? Their return and their tribute?

16. What are the major ingredients for the success of this kind of adventure story? Their constant appeal?

GUNFIGHT AT THE OK CORRAL

US, 1957, 122 minutes, Colour.
Burt Lancaster, Kirk Douglas, Rhonda Fleming, Jo Van Fleet, John Ireland, Earl Holliman, Dennis Hopper.
Directed by John Sturges.

The Gunfight at the O.K. Corral is a classic presentation of the fight between Wyatt Earp and Doc Holliday and the Clantons. It has been the subject of many films as well as TV documentaries on the authenticity of the legend. Was Wyatt Earp a great hero or was he an exploiting gunman? Were the Clantons as bad as portrayed or victims? This film takes the classic presentation. The teaming of Burt Lancaster and Kirk Douglas was quite effective.

Directed by John Sturges, who had made many Westerns in the 50s including Bad Day at Black Rock, the same theme was taken up by Sturges in his 1967 Western The Hour of the Gun with James Garner, Jason Robards and Robert Ryan. A critical look at The O.K. Corral was presented in Frank Perry's Dock with Stacey Keach and Harris Yulin. The classic presentation of the gun-fight at The O.K. Corral was in John Ford's 1946 My Darling Clementine with Henry Fonda and Victor Mature confronting Walter Brennan and his sons. An important example of the myths of the West.

1. Did the film deserve its reputation as a big classic western? On what is the reputation based? Quality of film, legend?

2. The film as an example of Paramount films of the 50s, colour, locations, the stars, the song and the ballad treatment of a legend?

3. The film-makers' attitudes towards the West? Admiration for the characters,, heritage and traditions? A critical attitude towards the characters and their behaviour? The impact in the 50s, now?

4. The film's focus on Wyatt Earp as hero? What constituted Earp as a hero? The presentation of the ballad about him? The legend? The facts? His contribution to the West? His past as a gunfighter. his changing character, his toughness? His role as a lawman? Personal and family vengeance? His participation in the O.K. Corral? The relationship with Laura and its failure? How admirable a hero?

5. Wyatt Earp and his relationship with the law? His attitudes towards authority, his convictions about law and rights? His acceptance of the role of U.S. Marshal? His attitude towards the law justifying behaviour?

6. The contrast of Earp with Doc Holliday? Holliday as a failed character? his reputation as a doctor and his failure in the career, as a gambler, as a violent killer? The fact that he was mortally ill? His attitude towards deaths and the initial build-up of the first shooting? His fluctuating relationship with Kate? Love-hate? Jealousy of Ringo? His friendship with Earp and dependence on him? His participation in the gunfight because of loyalty to Earp?

7. Earp and Doc Holliday's escape from hanging? The mutual help that they gave each other? The mutual regard? Earp's disregarding people's reactions to his friendship with Doc Holliday?

8. How typical a character of the West was Kate? The bar-type? Fluctuating relationships? Devotion to Doc and jealousy? Taking Ringo on the rebound? Her final vigil with and devotion to Doc?

9. The atmosphere of gamblers, saloons, the Western types in towns etc.? An atmosphere of authenticity?

10. Laura and her role in the film? Her gambling and reputation, her being imprisoned? Earp's dependence on her? Growing love? The possibility of marriage? The effect of his leaving her on himself and Laura?

11. The importance for the film and its themes of the strong family ties within the Earps? The brothers and their families, their roles as law administrators? The friends of the Earps.. for example Charlie?

12. The importance for audience sympathy of Earp administering the law, on his missions of justice, arresting criminals, being helped by Doc?

13. Were the issues of the Earps and the Clantons clearly portrayed? The Clantons and their ranch way of life, cattle and Mexico, their influence in the town, justice and wealth?

14. Was it obvious that there would be a confrontation with the Earps? Who was right, wrong? The mutual violence leading to a showdown?

15. The importance of showing Doc dying prior to the gunfight? Kate's devotion to him? The quiet before the violence?

16. The people who participated in the gunfight? The reasons for their participation? The family backgrounds? The Earp wives and children, Ringo and his involvement and so on?

17. How well staged was the actual gunfight? How violent, exciting? Why did it enter the American heritage of legend?

18. The future of Earp and Doc Holliday? The final use of the ballad?

19. How well did the film explore the themes of the West and the ethos of the West?

GUMSHOE

UK, 1971, 84 minutes, Colour.
Albert Finney, Billie Whitelaw, Frank Finlay, Janice Rule,
Carolyn Seymour.
Directed by Stephen Frears.

Gumshoe was not a box-office success and yet it is a most entertaining film, well worth seeing. It is a parody of the stories and style of the private eye thrillers of the 40's, what we associate with Humphrey Bogart and The Big Sleep. But it is set in contemporary Liverpool which gives the film a mixture of reality and unreality. Dialogue, music, camera work are interesting to look at as a homage to the old Hollywood.

Albert Finney is very good as Eddie Ginley, The Gumshoe, who dreams of being Bogart and who gets involved in more than he can easily cope with. Billie Whitelaw is always excellent and Janice Rule makes a tellingly sinister villainess.

1. How successful a parody of the Hollywood gangster film was this? Comment on the style of the credits. Comment on the use of the musical score.

2. What did Eddie Ginley stand for? How ordinary a man was he? What were his ambitions? why? Did he think he could ever achieve them?

3. What was the point of his interview with the psychiatrist?

4. Why did he put the advertisement in the paper? Why did he like imitating Humphrey Bogart? (Did Albert Finney do this well?) How much of a dream world was the world he lived in? (e.g. the way he answered the phone)? How successful was he in his own world?

5. When did the film turn serious? Why didn't Eddie take the case seriously? when did he become involved?

6. How did he relate to each character - and why?
- to Ellen? Did he trust her?
- to William? Did he explain why he disliked him?
- to Alison?
- to his boss?
- to Mrs Blankerscoon? Why was he suspicious of her?

7. Was the film a good mystery? Did you suspect who was guilty?

8. Did Eddie handle the situations well?

9. Had he the right to use the fire brigade to trap the villains?

10. Did the murder of the fat diplomat change his attitude to them all? Why did he make his decision against them?

11. Did you expect John Straker to be the amateur he was?

12. What was the point of making this film? It did extremely poorly at the box-office despite excellent reviews - why?

GUARDIAN OF THE WILDERNESS

US, 1976, 112 minutes, Colour.
Denver Pyle, John Dehner, Ken Berry.
Directed by David O'Malley.

Guardian of the Wilderness is an American family film. It traces some of the American heritage in the history of California, especially the attempts to get Yosemite Valley declared a national park. The treatment resembles many of the Disney features - the atmosphere is extremely wholesome. The characters are pleasant, even very nice. The scenery is beautiful and there is an extensive use of Californian wildlife. The issues are presented straightforwardly - generally predictable rather than stimulating. There is an expected musical background, even with songs. Nevertheless, at the level at which it works and for the audience at which it aims, the film is pleasing family entertainment.

1. The popularity of this kind of family film? The parallel with Disney products? The quality of its wholesomeness in theme, characters, style? American earnestness, sentiment? The basic message for American audiences. especially in terms of conservation?

2. Colour photography, Utah and California locations, the beautiful scenery? The use of animals? The focus on the sequoias? The re-creation of the 19th. century: wilderness, mines, towns, State Congress, Washington? The musical score and the use of songs?

3. The screenplay and its predictability? Acceptable for the popular audience? Fulfilling expectations? Enjoyable, the use of stereotypes - how much challenge?

4. Californian history: the gold rushes and mining, the forests and logging, Yosemite Valley, the sequoias? The role of John Muir and Galen Clark? Research, visits to Sacramento, political lobbying, Abraham Lincoln and his decisions? In praise of the past - for support of conservation work in the present?

5. The communication of the conservation message: visual impact, research, political background, emotional response? Admiration for the effort? The necessity for the 20th. century?

6. The re-creation of frontier life - the mines and their danger, the men and their way of life, accidents, consumption from mine dust, the warning of the doctor, etc.?

7. Galen as the central character - a benign old man? His work in the mines, his illness, his decision to go into the wilderness? The visualising of his trek - going alone, travelling, the scenery, the animals? The device of his talking to himself and communicating with the audience? The raccoon, the bear? The experience of going down the rapids? Being chased by the mountain cat? The encounter with the Indian, friendship, communication despite lack of language? Building the house together? (The amount of goods and resources he seemed to acquire!) His managing? The earthquake and the shattering of the hut, being helped by the bear? The visits of John Muir - especially after he'd buried himself? The discussions with Muir. the saving of the trees? The clashes with the loggers? The Indian cure for his health and the invigoration of his mountain life and purpose in conservation?

8. Zach and his friendship, his visits. especially at the right moment and clashing with the loggers? His bringing Galen's daughter and grandchildren, the marriage? Their staying, enjoying the life in the wilderness? The children and their walking - trapped by the mountain cat? Their dog saving them? Being besieged in the hut by- the mountain cats? Being rescued by the Indian?

9. The loggers and their interests, harsh methods. fights? Galen confronting them with the dynamite?

10. The political background, the logging interests taking over the forests? Galen's visit to Sacramento and his bombarding the politicians with evidence? The animals? The visit to Washington, getting so many signatures? The accidental meeting with Lincoln and Lincoln's speeches about conservation and the future after the Civil War?

11. Pleasant characters, admirable characteristics, behaviour? Ideal types? Presented for family audience enjoyment and edification? The happy ending?

THE GROUNDSTAR CONSPIRACY

US, 1972, 95 minutes, Colour.
George Peppard, Michael Sarrazin, James Olson, Christine Belford, Cliff Potts.
Directed by Lamont Johnson.

The Groundstar Conspiracy - espionage action fans should be fairly pleased with this film - the tough George Peppard-style excitement, involving an obvious mystery with a twist, and filmed in beautiful Vancouver locations. Those who are pleased when their entertainment also has a message should find the proceedings interesting. They reflect the increasing lack of privacy in our lives in the name of public safety, of officials using and exploiting other men as if they were God, where might is right as long as you are on the right side. The film forces its points home successfully. Peppard is as usual; Michael Sarrazin is an effective victim.

1. Was this a good adventure film? A good spy film? or was it mainly routine? Why? Why do films like this continually entertain? Did this film have a value in its questions on human dignity?

2. How successful was the film visually - especially in the opening sabotage sequence, its use of Wells' memory?

3. What was the basic message of this film? The original title was 'The Plastic Man'. Would this have been more suitable? The emphasis on the man instead of the conspiracy? What attitude did the film take towards human life, the use of human life, the taking over of the state and using human lives even for the best of reasons? What stance does the audience take?

4. How effective a hero was Tuxan? Our attitudes towards him in suspecting his use of Wells, his bucking of Wells in every aspect, his doing of his job, his impersonal relentlessness, his lack of emotions? Could the audience feel any sympathy with Tuxan and his work? Did the audience side with Wells? Even when the truth became apparent?

5. The character of Wells? How did the audience identify with his search for his identity? The dramatic device of inserting snippets of his memory, especially the atmosphere of death in his memory? How important was the development of Wells' search, relationship with Nicole, hatred of Tuxan? How important was it when he discovered he was being used? Did it alter the fact when we discovered he had volunteered when desperate? Should he have volunteered?

6. How important were the criminals - Mosley and Kitchen? Conventional villains? How exciting were the sequences involving them? Was this part of the film's success?

7. Was it clear that Senator Stanton was a villain? What comment on American politics did this make? Was it credible? The whole conspiracy? What motivated the conspiracy?


8. The impact of the final sequences and Wells' relentlessness on Tuxan? What was the final emotional impact of the film?

9. How well did the film combine action and conventions and the anguish and pressures of modern computerisation, mechanisation, police state?

THE GRISSOM GANG

US, 1971, 128 minutes, Colour,
Kim Darby, Scott Wilson, Tony Musante, Robert Lansing, Connie Stevens.
Directed by Robert Aldrich.

The Grissom Gang was given almost non-release. Director Robert Aldrich's attempt to re-create and probe mid western gangsterism of the '30's is a partially interesting film. Over two hours long, it is patchy in characterisation, strong in expected melodrama. But it has its moments as psychopathic killer Slim Grissom (frequently over-played by Scott Wilson) is changed and partly humanised by his love for kidnapped heiress Barbara Blandish (Kim Darby). Period re-creation is good and the two final shootouts alarmingly well done. These gangs are now history and films like this make one wonder about their lasting impact on modern American society and attitudes. For those interested in this genre.

1. Does this seem an original kind of film or does it seem derivative of so many of the '30's Depression gangster films? Why? Even if it is derivative, does this detract from the success of the film?

2. How important was the re-creation of the 130's period for the film? The music, Rudy Vallee's singing, the cars, clothes and styles, rooms' and buildings' decor? Did this add to the impact of this film?

3. The film is very violent. Does the film exploit its style and violence for sensational box-office? Or is it an accurate enough representation of the violence of the times? What does the film say of violence and the American tradition? The effect of the Depression and people in need turning petty criminal and exploiting violence? Is this a message of the film or part of its background?

4. How central was Barbara Blandish for the film? Her place in society as presented at the opening of the film? Her wealth, her style, her snobbery, her fighting with her boyfriend? And then in being captured by petty criminals? What impact did this have on the audience? Identifying with Barbara and her imprisonment and lack of freedom?

5. What did the film show of petty criminals trying to be better than they were, suddenly involved in murder and not able to handle it? Was this convincingly done?

6. The importance of John for the film - as a hiding place for Barbara, for the petty criminals to get rid of her, for the Grissoms to capture her?

7. What were your impressions of the Grissom gang? Did they have any attractive features at all? Why were they repellent? They were petty criminals, thinking they were better than they were. Why were they so arrogant? Proud? How mad and fanatical were they? What motivated them for money and achievement? Their relationship to the Depression?

8. How interesting was the central character of Slim Grissom? How repulsive and mad was he? How did the film keep our interest in him? What motivated him? His being pushed by his mother? His relationship with other criminals, especially Eddie?

9. How well did the film communicate Barbara and her terror in being captured? The claustrophobia of being locked away? Her lack of communication with Slim? His fascination with her and playing with her as a toy? How frightening was this?

10. How horrible was Ma Grissom? Why?

11. The character of Fat? What did he add to the film? Did he humanize it in any way?

12. Eddie Hagen as a typical smart criminal? His self-opinion? His over-reaching himself? Was he in any way sympathetic? Why?

13. Why could such amateurs and petty criminals be so successful in Kansas of the '30's. Did the film make this credible? What does it say about American society of the Middle West at the time? That they could support such criminals?

14. Was Mr. Blanding any better than Ma Grissom? His paying the money and yet his hostility to the criminals and to Barbara? How repellent was he? Why? As a figure of the establishment? Was it credible why the Grissoms were against the establishment?

15. How did the film trace the gradual effect of Slim's looking after Barbara, on her? Why did she acquiesce to his suggestions? Did she feel sorry for him? Was it a human relationship between the two? The room that he set up in the club and its glossy and baroque effect? What comment was being made on Slim by this?

16. How intelligently was the police presented in the film? Dave Fenner and his investigations? Did this character give the audience a chance to get some objectivity on what was happening?

17. The importance of Anna Borg for the plot development? The pathetic nature of her response to a career in Hollywood? How moving? The irony of her being killed? As an example of the world in which the Grissoms moved and which they controlled?

18. Your reaction to the city shoot-up and the deaths? Were these credible?

19. The presentation of the siege of the Grissoms: as a parody of silent films and the cops, yet deadly in deaths? Was this the only way to kill criminals?

20. The presentation of death in the film? How callous and cheap?

21. The final confrontation of the police with Slim? The reality of their making love and it effect on him? Why was he prepared to die for Barbara? Were you shocked at Barbara's father being so unforgiving? How has this episode transformed Barbara?

22. Was this a helpful presentation of a rough period of America's history? Did it give insight into the people of the time? Did it have a serious purpose in the making or was it merely to capitalise on film trends of the early '70's. Why?

GRIFFIN AND PHOENIX

US, 1976, 96 minutes, Colour.
Peter Falk, Jill Clayburgh, Dorothy Tristan, Sally Kirkland.
Directed by Daryl Duke.

Griffin and Phoenix is a contrived story, even to the character's names, but one which deals with a subject that defies contrivance - death. Made for U.S. television audiences, one senses a homely, "acceptable' tone, the film is able to involve a middle-aged audience and have it empathize with Sarah and Jeff, who both have only months to live. "What does it profit a man . . ."? What is living, happiness, love . . . ? Via a story of sentiment, we are asked to ask these questions. What gives the film its value and the strong performances of Peter Falk and Jill Clayburgh who can communicate both the fears and the laughter of a man and a woman who must die.

1. The overall impact of the film? Audience interest and involvement in the plot? The attractiveness of the stars? Response to the themes of life, love and death?

2. Was it evident the film was a telemovie? In its style, use of close-ups and focus on persons? In its exploration of issues for a how audience? Was it evident why the telemovie was so successful that it was shown in theatres?

3. The importance of colour, the New Mexico locations, Seattle locations, California and its atmosphere?

4. Contributions of the songs, especially the title song? The musical score? The symbolism of the kites? A contemporary story which most audiences could identify with? Characters that the audience could identify with and so experience the themes?

5. The importance of the title; the symbolic significance of the names in terns of fable, heraldry, immortality? The irony of these names for people who were to die?

6. How well did the film introduce us to Griffin? The background to his ordinary life, his family and his relationships with his sons, his wife? Their house, crashes? The nature of their holiday and its being revealed as an attempt to heal the marriage separation? Griffin's hopes in view of his physical condition? The obtuseness of his wife, his children? The satire on American holiday-makers wanting mod cons, T.V.? His wife's and children's treatment of him, and driving along the highway and putting up notices to walk the dog etc.? His decision to lose the caravan and the family? Could the audience sympathise with his wanting to go and leave them all alone? The comic aspects and the tragic aspects of leaving his family? The contribution of Peter Falk to the character of Griffin?

7. The film's giving us information about his physical condition, a listening sympathy and understanding for him? His getting a house in California and his living by himself? The pathos of the visit from his brother who understood the truth, giving him the money? Griffin's facing up to death, acceptance and non-acceptance of the reality of his own death? The repercussions of his life and behaviour? what was he to do with his life with only 12 months to live? Were his decisions and behaviour credible?

8. The device of the lectures as an introduction to Phoenix? The flashbacks to her tests, emotional reaction, the rebellious reaction to the news, going to so many doctors? The desperation, her phoning friends and wanting contact with them? Her death laugh and inability to accept? Her presence at the lectures? Her easily being distracted by Griffin?

9. How did the film show the growing bonds between the two, the sense of fun after the lecture, their meeting at the cafe and coming across the street? The party and joining in the fun? Doing things together, doing mischievous things together? The carnival and her sending the note? His not recognising her in the other wig? The humour of their going to the pictures and creeping in without paying, their running away? At what level did they know each other, how did this grow? The importance of not knowing the truth about each other's death? The audience knowing?

10. The growing emotional involvement, liking and loving? The importance of the confrontation when Phoenix discovered the books about illness? Her reaction? The revelation of the truth and the shared perspective of death? This as a means of evaluating what they did and what they were to do for the short time of their lives? The love affair and its value, morality, validity? Their bargaining with each other? The importance of Griffin visiting his home and seeing his children and his wife, their indifference? His final breaking with them and his return to Phoenix?

11. The importance of the lyrical and happy scenes in this framework; the painting on the Tank stand and being pursued by the police, the ironic use of the obliterating of the painting at the end? Hopping on the freight train? Gliding?

12. The gradual development of pain in each? Their notes to each other? Their hiding the truth from each other? Hope and hopelessness?

13. The introduction of the kites as high-flying symbols? Theme of play? The happiness of Griffin and his kite. The irony of his concealing of pain? Phoenix and her pain at night and waking up in terror? Their playing and being seen on the beach with children, with the old couple looking at them? The humour and the humanity of their being invited to the party, their dancing, the speeches and the irony of old age that they would never reach?

14. The growth in communication between the two, the effect of this bond and Phoenix's not wanting Griffin to see her in pain? Audience reaction at the moment of her disappearance?


15. Should Griffin have gone to the hospital and seen her in pain? The pathos and realism of this sequence? The effect on each?

16. The humour of the visit to the cemetery, how plausible was the message on her tomb-stone? Its leading to a reaction in Griffin and the picture of him breaking all the windows of the cars? The importance of visualising of this frustration? The film ending with this?

17. How valuable an exploration in ordinary characters of the vital thews of life and death, love, what is worthwhile in life, values? The irony of their names being painted over and their disappearing forever?

IL GRIDO (THE CRY)

Italy, 1957, 116 minutes, Black and White.
Steve Cochran, Alida Valli, Betsy Blair, Dorian Gray, Lyn Shaw.
Directed by Michelangelo Antonioni.

Il Grido is an early Michelangelo Antonioni film. very sombre, it traces the story of a worker in North Italy as he moves away from home, across the top of Italy and the Po Valley and then returns. It is a bleak journey and ultimately one of despair. Quite well made, but grimly conceived, the film indicates the themes and Antonioni was to explore in the 60s and 70s. It precedes his famous trilogy. Antonioni was to move to England for Blow up in the mid 60s, to America for Zabriskie Point, 1970, then to China for his long documentary and finally internationally for his very fine film The Passenger. Antonioni uses the American adventure actor Steve Cochrane in the central role and also uses Betsy Blair, who at this time was making films on the Continent instead of America. Interesting in itself, essential viewing for a study of Antonioni's films.

1. The meaning of the title, its focus? Whose cry, whose shout? In reality? The cry as a symbol?

2. The vision of Italy of Michelangelo Antonioni? Landscapes, society? The individual within his landscapes and society and environment? Separation from it, emotion in it? Alienation from it? The difficulty of communication within it? The oppression of environment? How well were these themes visualized in black and white photography, settings, atmosphere? Particular sequences?

3. The black and white photography, the portrayal of the Po valley, the town of Goriano, the emphasis on the road, the winter landscapes, the fog, the towns throughout the valley? The authentic atmosphere of the valley and the river, the hardship and the poverty? How symbolic was the valley, the journey through the valley? The journey and the return?

4. The patterns in the structure for audience involvement and understanding? The patterns in the journey and the return? Aldo going as far as he could go? Returning to deal with his past? Returning to his death? The episodic nature of the film; the links? The focus on Aldo, the fact that he travelled with Rosina?

5. How credible was Aldo as hero of this film? An Italian as portrayed by an American? His strengths of character, the kind of man he was in himself? His place in Goriano, his work? The initial relationship with Irma and its lasting seven years? The portrayal of him at the start, the height? The irony of this at the end? His initial discovery of his world breaking up, his inability to cope? Irma and her treatment of him, his being left with Rosina? The encounter with so many women and the effect they had on him; mothering, wife, sexual relationship? The sequences with Irma, Rosina, his mother, Elvia, Edera, Virginia, Andreina? what did these women have in common? How different were they?

6. Antonioni’s exploration of the nature of men and of women, their interrelationships, their dependence, support and hurt? Permanence and transience? Love, marriage, affair? What did Aldo yearn for in his relationships?

7. What happened to Aldo throughout the film? Within himself, in his relationship with others, in his self-respect, search for work, care for Rosina? Why did it end in death?

8. The importance of the initial sequences and the clash with Irma, the landscapes in which it took place, the revelation of the character of Irma? Her strengths, her weaknesses? The bond between the two, the reason for her breaking the bond? The way of telling Aldo, the places, her pursuing him? The importance of the baby, marriage?

9. How also was the film a study of a child, a lost child in a landscape, with an adult? What happened to her throughout the film? Her being left alone at the end?

10. The portrayal of work, man's need to work, Aldo and his difficulty in working; the boxing, travelling along the roads, trucks, the dredges, the mud homes?

11. Elvia as a character, her background, her family, her bond with Aldo? The possibility of happiness? The importance of the sequence of the dance? What happened to each of them? Why did he go on?

12. The contrast with Edera, the atmosphere of the dance, the seduction? Similarities and differences between the two women and their effect on Aldo? Why could he not stay?

13. The character of Virginia, her father? Strengths and weaknesses in themselves? Aldo's interest, Rosina? The bond between the two? The sequences with the father and the reminding of ageing and its problems?

14. The character of Andreina, the casual relationship, the setting, illness? The bond of love and yet its not being permanent?

15. How did the audience share in Aldo's return along his journey, encountering the women again, the changed perspective?

16. How political a film; the background of Italian politics, the administration of the Po valley, society? Aldo's stances? The critique of the establishment?

17. The gradual leading to the death, the height and the irony of the beginning, the cry and the visual effect of Aldo's fall? The motivation for his death? Rosina?

18. How much insight into human nature does a film like this afford? The particular views of Antonioni? Italian views? Universal views?