GRAND HOTEL

US, 1932, 115 minutes, Black and White.
Greta Garbo, John Barrymore, Joan Crawford, Wallace Beery, Jean Hersholt, Lewis Stone, Lionel Barrymore.
Directed by Edmund Goulding.

Grand Hotel won the Oscar for the Best Film of 1932, although its director Edmund Goulding was not a winner. Grand Hotel was based on a very popular novel by Vicki Baum and set a pattern for popular entertainment over many decades. A situation is taken, e.g. a hotel or a ship or a plane etc., and many characters assembled. Their lives and backgrounds are sketched in, interesting episodes are presented to highlight their characters and, of course, there is much interaction between the characters.

The hotel was a very good situation for this kind of film. It was very well done and is still enjoyable today. The star cast was also expert and provided Greta Garbo with the occasion for saying that she did want to be alone.
John Barrymore plays with his accustomed suavity and Joan Crawford, early in her career, shows signs of the tough heart-of-gold American girl that she was often to play. Wallace Beery and Lewis Stone are amongst the others in an outstanding cast. Edmund Goulding was a good director over many decades and made such striking films as The Dawn Patrol, the Bette Davis vehicles like Dark Victory, The Great Lie and The Old Maid. He also made The Razor's Edge.

1. Why was this a classic of the 30s? What did you enjoy most about the film? Performance, photography, atmosphere?

2. was it obvious that this was an early sound film? The use of sound? The acting styles and their similarity to silent films? Did this detract from the film at all?

3. Your response to the prologue to the film and its explanation of its style? How has this influenced films over the ensuing decades? Why are omnibus films so appealing to audiences?

4. Why was the audience interested in the doings at the Grand Hotel? Audience response to the Hotel and its life. to the characters and their predicaments? Audience interest or curiosity?

5. It was said that nothing happens at Grand Hotel. How ironic was this comment? How plausible were the events at Grand Hotel? Was this important for this film? How did the hotel serve as a microcosm of the world and the variety of people and problems? As representing the world of the 20s and 30s? The Berline setting and German background? Could the audience identify with particular characters?

6. Who was the central character? with whom could the audience identify most? which character served as a focus for the whole film?

7. The ballerina: the personality and style of Greta Garbo, the myth of her wanting to be alone, as a moody and depressed person, as a skilful ballerina, her life transformed by the Count and his love, the change in her mood and attitude to life, the fact that she did not know of his death, what future did she have?

8. The Count: a gentleman and kind, yet a poor thief, his robbing of Mr. Kringelein and his returning the money, his transforming the life of the ballerina, the irony and pathos of his murder, the fact that he too was alone?

9. Preysing: his obsession with money and his career, his deceit, his deals, the fact that he was a boorish man, his attitude towards Kringelein, his attitude towards Flaemmchen, the ugliness of his life and the brutality of his murder, his wanting to cover up?

10. Flaemmchen: how attractive a woman, Joan Crawford's personality, audience sympathy for her, her role as a secretary, on the make, her attitude towards the Count, her going along with Preysing, her revulsion at the murder, her attitude towards Mr. Kringelein, her support of him?

11. Mr. Kringelein: how interesting and enjoyable a character, his role in the office of Preysing, the class distinctions, his having his money and spending it, his ambitions, eat, drink and be merry, his enjoying himself, friendship of the Count, the gambling? The reality of his sickness and dying, his being robbed and finding the money again? His response to the murder? His future in Paris with Flaemmchen?

12. Did the porter and his anxiety over the baby add to the atmosphere of the film?

13. How well did the film develop interaction between characters, the atmosphere of the hotel and its style, the sombre stories, the humour, the strong emphasis on class distinctions, the heavy emphasis on money?

GRACE KELLY

US, 1983, 100 minutes, Colour.
Cheryl Ladd, Lloyd Bridges, Diane Ladd, Alejandro Rey, Ian Mc Shane, Salome Jens.
Directed by Anthony Page.

Grace Kelly is a pleasant romantic memoir of the star. Designed for a television audience, it stars Cheryl Ladd who made her name with Charlie's Angels. She does a pleasing interpretation of Grace Kelly. There is a good supporting cast in significant roles including Lloyd Bridges as Jack Kelly, Diane Ladd as Grace's mother, Ian Mc Shane as Prince Rainier. The film sketches her background in Philadelphia, her early modelling career and stage success, re-stages a number of sequences from her films, shows her romantic entanglement with fashion designer Oleg Cassini and the courtship of Prince Rainier.

The film culminates with the wedding and includes intercut sequences from filmed coverage of the actual event. The film does not give a great amount of insight into the character of Grace Kelly or her background but sketches in the Philadelphia origins, the working-class-made-millionaire ethos of her family and her meteoric rise to cinema stardom and an Oscar for her performance in The Country Girl. If it seems like a fairy tale, in fact it was. Grace Kelly was apprehensive about the film being made but gave permission shortly before she died in the car accident.

1. An enjoyable memoir? Memory, nostalgia? A fairy tale? Audiences knowing the climax and waiting for the build-up?

2. A telemovie for the home audience, the light touch, a sketch of a life and career, a build-up to the romantic climax? Criticisms that the film was too bland?

3. Aspects of image and reality? Re-creating a period? Philadelphia, New York in the '50s, Hollywood, Europe? Monaco? A re-creating of a '50s world? Fashion, styles, the musical score?

4. The background of the Kellys and bricks, Jack Kelly at Oxford and his rowing and disqualification, his hard attitude towards life, the American dream, work, earnt wealth? The Catholic background of the Kellys - especially in relationship to Cassini and his divorces? The expectations on Grace, the picture of family life, toughness, lack of expressions of affection, the bonds between the members of the family? Grace growing up within this family? Her visits, the Christmas celebrations, the engagement?

5. Jack Kelly and his strength, unemotional, his scorn for acting and modelling, criticisms of Grace, expectations on her, comparisons, sceptical about her career, his criticism of her trip to Africa, the final acceptance of her success, the Oscar, meeting Prince Rainier, supporting Grace and his presence at the wedding? Her mother and her support, quality of relationship with her? The dinner with Cassini and the talk about Catholicism? Her presence at the marriage? A picture of Irish American Catholics?

6. Grace's stage training, nervousness, criticisms that she was cold and aloof? Modelling and advertising - and the family watching the commercials? Her performance in the play and support from Mady Christians, Raymond Massey? Her agent and the chances? The possibility of films? Making High Noon and the re-creation of the scene with Gary Cooper? (And the irony that Lloyd Bridges had appeared in that film?) The trip to Africa, the romantic gossip about Gable? The scene from Mogambo? Her relationship to Gable, the press covering her return from Africa? Hitchcock and the scene from Rear Window, from To Catch a Thief? Her visit to Cannes? Her plea to perform in The Country Girl, Bing Crosby's antagonism, her re-creating the part? Crosby's acceptance? Her winning the Oscar? Her speech? The voice-over work for Green Fire? The photos in the palace at Monaco? The re-creation of the sequence from The Swan? The press conference? Rainier's attitude towards her career? Grace Kelly's success as glamour, star, actress? Short time, 11 films? Her type?

7. Rita Gam as friend, sharing, talking, the life of starlets, train, etc.?

8. The world of Oleg Cassini and its fascination, dates, his courting her. re-meeting her in Cannes, enjoyment of his company? The dinner and Mrs. Kelly's talk about Catholicism and the breaking off of the romance?

9. Prince Rainier and his background, protocol, his being late for meting Grace and the photography crew, his charm, the visit, talking? Coming to America and proposing? The issues and consequences? The blend of America and Europe? Rainier and his English, English education? The press conference and his comments about her career? Protocol? The preparation for the marriage, the sequence with the two in the church -and the stress on the religious background? (As lived through their married life for a quarter of a century?)

10. The voyage, the wedding: the newsreel material and the acted material? The climax to the film?

11. Audience knowledge of her subsequent life. being Princess, her international status, her children. her untarnished reputation. the tragedy of her death? The film as a glimpse and a tribute?

DRAGON SEED

US, 1944, 145 minutes, Black and White.
Katharine Hepburn, Walter Huston, Turhan Bey, Aline Mc Mahon, Akim Tamiroff, Hurd Hatfield.
Directed by Jack Conway and Harold S. Bucquet.

The Good Earth and Dragon Seed are two M.G.M. film versions of Pearl Buck novels. The first is superior to the second. It boasts a superb performance by Luise Rainer as the wife and yet another characterisation by Paul Muni. It traces the history of a Chinese family over two generations and the rise and decline of the hero coupled with the patience of his accepting wife. It reflects some of the atmosphere of China in the early decades of this century. The second film takes us into the period of Japanese invasions. The characterisations are not so strong, although the acting is good. It is a bit difficult to accept Katharine Hepburn as a Chinese heroine. Walter Huston and Aline Mc Mahon are her parents. There is more action in the latter film. There is more subtlety in the former. Both are interesting as some kind of illustration of Chinese life in the 20th. century, prior to the Communist Revolution.

1. An M.G.M. classic of the 40s? Its reputation and impact in its time? Later?

2. M.G.M. production values, black and white photography, sets and locations, the stars, the score, special effects? The film was criticised at the time for the American actors portraying the Chinese and a criticism of their inauthenticity. How valid is this?

3. The film and its impact during World War Two? Its propaganda role, relevance? How universal is its message, transcending the 40s and World War Two? The themes of war and its bitter realities, impact on people who had not experienced it? The peaceful opening of the film and the war being absent and unknown? The introduction of the talk and the slides in the town? The gradual build-up to the invasion, the experience of the bombings, the presence of the Japanese and their harshness, destructiveness? Maintaining ordinary life under war and invasion conditions? The need for guerrilla warfare, modernisation in warfare? The impact of the war on disruption of families, deaths, involvement of families in war activities, ordinary people involved in killing and even slaughtering the invaders? The end and the final banquet - ends and mans? The importance for the war effort of the 40s? Now?

4. The traditions of China and audience interest in China? How well did the film indicate the family traditions, society, work, lack of sophistication, lack of westernisation? The Chinese traditions as being good and different? Family traditions and styles, respect? Friendliness and love? Work and simplicity, family life? Relationships and marriage? Good manners and circumlocutions, decorum? The hierarchy of the family? This continuing although changing in the 20th. century? As illustrated Jade's reading, machines, warfare? The impossibility of changing "progress"?

5. The Ling Tan family? The parents and their personalities, their love, bantering, wisdom, likes and dislikes? Property, work? Living in the country? Their sons, their wives, hopes for grandchildren? The bonds of family relationships and city cousins? The suspicions of the city? Their experience of war, rumours, hearing of the invasions, the first experience of the bomb and its crater? Their courage in continuing to survive during the invasion? Mutual support, their being changed, experiencing suffering, being involved in heroism?

6. Jade and her husband? Jade being in the city, her husband at work, the possibility of jealousy? His buying her the book? Their talking together, opening their hearts, love, the conception of the child? Jade and her attitude towards changes? Her husband following her? The importance of their leaving, the birth of the child, their return? Seeing the invasion, being involved in the transportation of the cannon and all its difficulties, endurance? Jade and the family becoming involved in guerrilla warfare? The espionage, the build-up to the final banquet and Jade's confrontation of the enemy? Jade as the symbol of resistance during the war? The importance of the woman's role in this emerging world?

7. The presentation of the city relations, the old city cousin and his moving to the country? Wu Lien and his shop, his collaboration with the Japanese and the students destroying it? Collaboration, pain and suffering?

8. The portrait of the Ling Tan families - the sons and their involvement in the war, guns? The wife and child fleeing and the mother leaving her child her lure on her oppressors, rape and death? The motivation for being involved in guerrilla resistance?

9. The picture of the Japanese invaders ~ in the light of the 40s? Arrogance, demands, meals, wine, shops. collaboration? The build-up to the final banquet and death?

10. The conventions of a war drama and battle sequences? Espionage and guerrilla warfare?

11. The presentation of traditional values, vision of society, hopes, ordinary living and their threat and the need for defence?

THE GOOD, THE BAD AND THE UGLY

Italy, 1967, 134 minutes, Colour.
Clint Eastwood, Eli Wallach, Lee Van Cleef.
Directed by Sergio Leone.

The Good, the Bad and the Ugly was director Sergio Leone's most successful Clint Eastwood spaghetti Western (after a Fistful of Dollars and a Few Dollars More). It was larger in scale and scope, more spectacular and with Ennio Morricone's famous score. It was more substantial in theme although played largely with tongue in cheek. Clint Eastwood went on from here to acting and directorial success. Leone later became respectable, making the stolid once Upon a Time in the West (1969), the effective A Fistful of Dynamite (1972).

1. Was this just another Sergio Leone- Clint Eastwood spaghetti Western? If not, how much significance was there in the film? How much is read into this film?

2. The film is famous for its music. How did it contribute to the drama - its comic touches, its excitement, its climaxes, its irony?

3. How does Sergio Leone parody as well as use typical Western devices? How successful is this method? - situations, characters, profiles, the landscapes, towns, dinginess, etc? How effectively were the good, the bad and the ugly introduced? - comment on each. Did the attitudes and character of each come across? What kind of person was each? Was the 'good', good?

4. How ironic and callous was the film? - e.g. the good and the ugly: the hangings and each making the other suffer in the desert (the effect of the desert)? Was the film too cruel and violent?

5. The film had a Civil War background and, at times, used this effectively and importantly. What did it contribute? Was there the possibility of some kind of comment on the selfish individualism of the three and the wider social comment on the war? How? They used the Civil War for-their own ends?

6. How effective were the sequences of the war? - at the river, the soldiers, their fear and camp life, the alcoholic commander, the bridge; the towns and the bombings; the Civil War prisons and conditions.. the singing of the songs (the film-makers went to some expense to present the War)?

7. The inter-relationship between the three: suspicions, greed, cunning, violence (too inhuman?)? Their using of one another? The final search for the grave, the shoot-out and the final irony of the hanging? How successful a Western climax was this?

8. What comment on the West did this film make?

GOOD NEIGHBOUR SAM

US, 1964, 111 minutes, Colour.
Jack Lemmon, Romy Schneider, Dorothy Provine, Edward G. Robinson, Michael Connors.
Directed by David Swift.

Good Neighbour Sam is one of those domestic comedies with innuendo that began to be popular in the mid-60s. Jack Lemmon made a habit of appearing in a number of them. Under the Yum Yum Tree was a similar film of its kind. This film has humorous characterisations, funny lines and situations and rather unusual casting to make it stand out from others in the genre.

1. How enjoyable a comedy?

2. The focus of the title? An indication of comedy, touches of irony, indication of themes?

3. The comedy as a piece of Americana? The portrayal of the American family, business life, American morality, preoccupation with money? How American was the plot? The portrayal of characters? A comment on the American way of life?

4. How successful was the use of farce, farcical situations and mistaken identity, comedy of modern manners? which aspects illustrated this best?

5. The portrayal of Sam: a typical Jack Lemmon character, his qualities as a husband, his role in the family, love for his wife, attitude towards his children, friendliness to his neighbours and being victimized by them, his role at work? The average American Sam?

6. The portrayal of Min, his wife? The ordinary American suburban wife, her love for Sam and her children? Her attitude towards her marriage? Her relationship with Janet and helping her? The growing confusion and her ability to cope with this? Her inability? How much character or was she merely a part of the plot?

7. The role of Janet? As a friend, the nature of her marriage and its break-up, as a focus for the money, her role in the farce? The aspect of her being exotic because of her European background? The glamour compared with the American ordinariness?

8. The contrast with Irene and Bill and the picture of greedy relations hovering around for money? The ironic comment on greedy Americans?

9. The comedy in the portrayal of the investigator and being parked outside the house, his infra-red photos? The irony of his interpretations and his blackmail?

10. The picture of Howard as the playboy American husband, involved in the farce? His detachment, his love for Janet, the happy ending?

11. How typical for American comedy was the happy ending? Was it necessary? In the light of the farce and the crises?

12. The satire on big business? The hypocrisy opposed by the businessman? His own dinner? The discussion of morality and immorality? The advertising campaign? The chorus background of the car ad. that went wrong? The satire on 'how to succeed in business'?

13. How well did the film use the popular ingredients of comedy for successful entertainment and successful social satire?

GOOD GUYS WEAR BLACK

US, 1977, 95 minutes, Colour.
Chuck Norris, Anne Archer, Jams Franciscus, Lloyd Haynes, Dana Andrews, Jim Backus.
Directed by Ted Post.

Good Guys Wear Black is one of several action vehicles for world karate champion Chuck Norris. It is the best of them. Others include A Force Of One and The Octagon. This film has a good supporting cast of veteran Hollywood stars. It is directed by Ted Post, a veteran of many telemovies as well as action features including Clint Eastwood's Magnum Force. Post also directed a film on the Vietnam war, Go Tell The Spartans, with Burt Lancaster. The Vietnam them of this film can be linked with the other feature. The material is quite average - but well done in its way.

1. Enjoyable action adventure? An American presentation of the martial arts? A vehicle for Chuck Norris? The blending in of contemporary American issues of the '70s: the Vietnam war and negotiations, Washington administration, deals and cover-ups, exposure? A popular action adventure comment on American politics?

2. The title and its ironies - traditions of who wears black and who wears white? In the United States of the '70s who were the good guys?

3. The film's use of the Vietnam situation - as an occasion for action adventure? Or for deeper comment through the action adventure? The introduction with the negotiations and their style? Conrad Morgan and his important role, strong stands, negotiation, manipulation? Edgar Harolds and his assistance? The Vietnamese and the tension in Paris? The transition to Vietnam and the background of the negotiations, prisoners who could not be released? Conditions for peace and the sacrifice of some men? The ambush and the deaths? The cover-up? Morgan and his philosophies of expediency and control? Harolds and his conscience and drinking? Harolds' collapse, giving clues to Margaret for investigation? The build-up to the exposure of Morgan on the eve of his achieving political success? The confrontation?

4. The visualisation of Vietnam, the mission, the mystery ambush, the deaths? Booker and his leadership, survival? The ugliness of this kind of American political expediency of its own citizens?

5. Booker as hero: Chuck Norris and his personality and style, martial arts techniques? His lecturing, test driving? The encounter with Margaret and her provoking him? The build-up of information? The deaths? His travelling around to forestall the deaths? The skiing accidents and discovering the assassin? The action sequences concerning the deaths? Audience interest, involving and emotion?

6. Margaret as heroine - her arrival, prodding Booker, accompanying him, the tension and friendship, the discovery of the truth, the pathos of her death?

7. The picturing of the assassins and the deaths? The build-up to Booker confronting them - and the martial arts fights?

8. The sketch of Harolds, his drinking, his political work, relationship with Morgan? His giving information to Margaret? His presence at the final confrontation with Morgan?

9. The value and validity of the pressures on Morgan? His arrogance? The necessity of this kind of exposure - in the light of Watergate?

10. The integrity of the hero? His being tricked - as was the American public? The transition to a new era of openness of government? The philosophies of expediency and double-think? Political point made by a popular action vehicle?

THE GOOD EARTH

US, 1937, 125 minutes, Black and White.
Paul Muni, Luise Rayner, Walter Connolly.
Directed by Sidney Franklin.

The Good Earth and Dragon Seed are two M.G.M. film versions of Pearl Buck novels. The first is superior to the second. It boasts a superb performance by Luise Rainer as the wife and yet another characterisation by Paul Muni. It traces the history of a Chinese family over two generations and the rise and decline of the hero coupled with the patience of his accepting wife. It reflects some of the atmosphere of China in the early decades of this century. The second film takes us into the period of Japanese invasions. The characterisations are not so strong, although the acting is good. It is a bit difficult to accept Katharine Hepburn as a Chinese heroine. Walter Huston and Aline Mc Mahon are her parents. There is more action in the latter film. There is more subtlety in the former. Both are interesting as some kind of illustration of Chinese life in the 20th. century, prior to the Communist Revolution.

1. The impact of the film? Entertainment? Portrait of society, human nature? International appeal? Prestige? The work of Pearl Buck’ and her portraits of China? The award-winning background of the writing? Transition to theatre? Adaptation to screen? Comparisons with later films as Dragonseed?

2. The re-creation of China in Hollywood: location photography, sets and decor. make-up? The use of sepia tone for tint? Musical score?

3. The impact of the stars and their reputations? Louise Rayner and her Oscars? Insight into China for American audiences? American attitudes towards China at the time? Subsequent attitudes?

4. The screenplay and its presentation of episodes as well as the development of the relationship? The background of the wedding day, the success of Wang. the storm and Wang's wealth. the family and famine, the transition to the city, the experience of deprivation. revolution, the return home and its ironies, Wang tiring of O- Lan. the sons growing up, the modernisation of China, the locust plague. O-Lan's death? The elements of family saga? The family representing the people of China? The blend of insight into human nature, politics, society, social change?

5. The portrait of Wang - Paul Muni and his screen presence, skill in interpretation? The waking up on his wedding day, youth, enthusiasm, home situation, laughter, the customs and the visits? Feeding the ox? The visit to the great house and the discovery of his wife? Her slave status? Giving her a peach? His joy, the party? His response to O-Lan? The status of the Chinese husband? His growing relationship with his wife? The influence of his father with his memories? The importance of his friend? The birth of the child? The saving of the crops and the melodrama of death and birth? His joy with the man-child? His skill in increasing his possessions? The buying of the land? The contrast with his lazy uncle? The impact of his prospering? His return to the great house? The suddenness of the famine? Eating earth, the hostility of the neighbours, the death of the ox? The denunciation by his uncle? The decision to leave for the city and follow the train of migrants? The impact of seeing the train? The inability to get work in the city? The death of the neighbour and his taking the place? Begging? His reaction against the stealing of the meat? His being caught up in the revolution and not understanding it? O- Lan and the pearls and the jewels? His giving her the pearls - and later wanting them? His acquiring land? Employing his friend? The buying of the great house and the change in his lifestyle? His infatuation with Lotus? The sons growing up? The well-educated son, the son infatuated by Lotus? His disowning him? His ignoring of O-Lan? The coming of the locusts and his following his son's advice? The desperate saving of the crops? The wedding celebration, O-Lan's dying and the pearls? A portrait of an ordinary man, a man of honour, ambition, able to be corrupted, forgetting his past, betraying his love, receiving the fidelity of his wife?

6. Luise Rainer’s presence and portrait of O-Lan? Her work as a slave, her freedom, the eating of the peach, cooking at the wedding, her shyness, serving her father-in-law, her husband? Her pregnancy and the work in the fields? Giving birth to the child? Presenting the child at the great house? Not wanting slaves? Her refusal to sell the land? Her understanding of the famine and her revulsion of slavery? Her taking charge in the city, the father-in-law and the child begging? Her being resourceful? Being caught in the crowds, the pearls, being saved from execution? Success on return from the city? The children growing up? The retarded daughter? The rejection by Wang and his devotion to Lotus? Experiencing the pain and living with it? Her concern for her sons? The plague? Her dying and her fidelity to her husband? Her dying with peace and joy?

7. The old father and the traditions, cantankerous, symbolising old China? His living through the fortunes of his son and daughter-in-law? His support of O-Lan? in his old days? The uncle and his laziness, pressures and denunciations? His wife?

8. The sons and their origins, experience in the city, the older brother and his learning and application of it during the crisis? The younger brother and his infatuation with Lotus? His being caught and rejected by his father? The retarded daughter?

9. Wang's friend and his working for Wang, their clashes, his being hurt by Wang? The final reconciliation?

10. Life on the farm: the house itself, meals, hospitality, crops, storms, famines, starvation and eating of the earth, the locusts and their effect? The detailed scene of work in the fields? The special effects for the crops growing, the attack of the locusts?

11. The contrast with life in the city, the train ride, begging, slavery, work, the stealing of mat, the revolution, the executions?

12. An entertaining saga? Sympathies and involvement? Understanding another culture?

GOODBYE, NORMA JEAN

US/Australia, 1975, 95 minutes, Colour.
Misty Rowe, Terence Locke, Patch Mackenzie, Preston Hanson, Marty Zagon.
Directed by Larry Buchanan.

Australian investment has gone into this Hollywood-nostalgia offering, purporting to give us 'how she happened' and not the legend of Marilyn Monroe. Dates and names have been changed, which makes one wonder how authentic are the facts. What is offered, however, is a lurid story of an exploited but driven and ambitious young blonde who learns to use people as much as they have used her to get to the top. Not particularly well-acted (except by Misty Rowe who does her best while looking more like Lynn Redgrave than MM). Conventional Hollywood ugliness is shown in a story that would put prospective Marilyn Monroe's off stardom forever.

1. The significance and tone of the title? The appeal? The interest in Marilyn Monroe?

2. The quality of this film? A serious piece of film-making, shoddy filmmaking, exploitive filmmaking?

3. The use of wide-screen, colour, music, Los Angeles and Hollywood sets? An authentic atmosphere for the film?

4. What is the nature of the mystique of Marilyn Monroe? Her impact in her time? Her life, her death? Sex appeal? The memory of Marilyn Monroe, the 50s? How well did the film communicate and explain the mystique?

5. How much insight into the person, personality, career and style of Marilyn Monroe? The social background, the personal relationships etc.?

6. The initial picture of her home life, her foster parents and their fighting, their hostility and puritanism, the hypocrisy? The effect on her?

7. The emphasis on sexuality? Her own awareness of this? Her innocent using of it, eg, hitch-hiking, the policeman? The shock of her being raped? The effect on her as regards sexuality, attraction towards men, exploiting herself?

8. The picturing of her at work, during the war, her attitude towards men, the change that gradually came about? What detail was offered for this section of her life, eg. the beauty contest for war workers?

9. The significance of her relationship with the photographer? The jobs that he got her? His belief in her? His exploiting her? Was his character well developed? The fact that it was he who said "Goodbye, Norma Jean"?

10. The importance of dreams and ambitions for Norma Jean? The reality of her dreams, American dreams, Hollywood stardom as an American dream? Her subordinating all her drives towards this dream? To become a star?

11. Comment on the amount of suffering in her life? From her background, the memories of her mother, eg. in the dream sequence about her mother? Her suffering in her work, people exploiting her?

12. The importance of producers and their exploiting Norma Jean, their using her? The fact that they would not accept her unless she succumbed sexually? Her work in pornographic movies? Sexy photos? The covers for lurid magazines etc.? How did the film comment on this effect on her life?

13. The importance of the patronage of the ageing film star? His belief in her, support of her, references, finally transforming her? The importance of his father-figure image? What did this indicate about her need for a father?

14. The importance of the lesbian agent? An exploitive aspect of the film? The truth value in this? The effect on Norma Jean?

15. Comment on the transformation of Norma Jean into Marilyn Monroe? The ability of Misty Rowe to impersonate Marilyn Monroe? The achievement of ambitions? The hardening of her personality and character? As "Goodbye, Norma Jean"?

16. The insight into Hollywood and its personalities. The producer who finally accepted her? The ugliness of this artificial Hollywood world, careers and struggles, people being used and discarded? Was it worthwhile to dream to be a star? Was it worthwhile achieving stardom?

GOODBYE MY LADY

US, 1956, 95 minutes, Black and White.
Brandon de Wilde, Walter Brennan, Phil Harris, Sidney Poitier, William Hopper, Louise Beavers.
Directed by William Wellman.

Goodbye My Lady is a pleasing film of a boy and his dog set in the southern states of the U.S.A. It has a genial performance by Walter Brennan, doing his 'old man' routine very well, as Uncle Jesse. Brandon de Wilde, who made such an impression in Member of the Wedding and Shane, is good as the orphan boy. There is support from Phil Harris and Sidney Poitier in an early role, foreshadowing the kind of role he was to play especially in the '60s. Direction is by William Wellman, noted for his westerns and action films. There is a very pleasing score of guitar and harmonica and fine black and white photography by William Clothier. The film is a welcome blend of family entertainment and sentiment, American style.

1. An entertaining film? For what audience? American audience, universal audience? Families?

2. The popularity of films about boys and their dogs? The conventions of the family setting, the finding of the dog and training it, the crisis in having to let it go? The bond between boy and dog? Audience interest in, identification with such a plot?

3. Black and white photography, the locations and the atmosphere of the South? The score and the blend of guitar and harmonica?

4. Audience involvement in the plot - the introduction to Claude and his Uncle Jesse? Their situation in the South, home, relationship, orphan? The sounds in the night., the discovery of the strange dog? Jesse's homespun philosophy, his inability to read? His love for the boy? Mr. Cash and his interest in the family, help for Claude? Uncle Jesse and the saw and pretending that it wouldn't work? The finding of the dog, Claude gaining its confidence? Training it? Gates and his advice? The setting of the dog to hunt, his killing the chicken, his pointing the birds at long distances? Mr. Cash's amazement? The crowds coming and offering food? The repercussions for Jesse and Claude? The discovery of the truth, Claude's crisis and his final decision? His reward. his help for his uncle. the taking over of Mr. Cash's dog? A credible story. pleasing, values?

5. The film's focus on Claude - his background, capacity for reading, his nickname -Skeeter? His bond with Jesse? His gaining of the dog's confidence, the long sequences in training it, feeding it? Mr. Cash and his dog? The discussion with Gates - and the inter-racial themes? The success of the dog? Calling it 'Lady'? The discovery of the truth, Claude's coping with it? Having to grow up (symbolised by the black coffee), his handing over of the dog, taking it the truck? How would this experience stand by him?

6. Uncle Jesse as a man of the South, his suspicion of Yankees? The friendship with Cash? His love for the boy, standing by him, the bets? His discussion with the visitor from the North to retrieve the dog? A genial portrait of a man?

7. Mr. Cash and his place in the town, his shop, his pride in his dog, calling it after Millard Fillmore? His losing of the bets? His communication of the truth? Standing by Claude? Giving him the dog at the end?

8. Sidney Poitier's style as Gates - genial character, information about the African dog. help for Claude? Sympathetic racial themes?

9. Audience interest in the dog itself - its strange behaviour, its special capacities, the bond between Claude and Lady? The discovery of the background, its real name, its value?

10. How well did the film blend sentiment and feeling and themes of a boy's growing up and making decisions? A satisfying resolution?

GOODBYE, MR CHIPS

UK, 1969, 147 minutes, Colour.
Peter O'Toole, Petula Clark, Michael Redgrave, George Baker, Michael Bryant, Jack Hedley, Sian Phillips.
Directed by Herbert Ross.

Peter O'Toole is one of the more vigorous dramatic actors. His restrained, deliberate portrayal of the dedicated and somewhat humourless Mr. Chips is outstanding. He does not shout, but speaks hesitantly and precisely as he changes from a stiff young man to a kind retired teacher. Petula Clark is good too as his actress wife who mellows him. Indeed the focus of the film is on the couple whereas it might have been more effective had we seen more of Chips in his dealings with the boys. The music and songs are negligible, almost better ignored. Production values are symbolised by Pompeii scenes - pastel haze and vast monuments - too big for this modest story. Michael Redgrave, Michael Bryant and Sian Phillips (Mrs. O'Toole), as the theatrical Ursula, strongly support the stars in a film where the value is in the performances.

1. The reputation of this story, the novel, the film classic of the 30s? Appropriate for a musical version? The successful blending of the original with the music?

2. How satisfying for contemporary audiences, the impact of the cast, the musical direction, the songs, Panavision and colour?

3. How appropriate was the blending of the isolated and lonely Mr. Chips with the world of colour Panavision? Did the blending of the story with music work or not? As a musical, the function of the songs, the function of the music, the relationship with character and situation? The quality of the songs?

4. What is the appeal of the basic story for audience identification and interest? Popularity? The sentiment, the elements of cliche, the freshness? The atmosphere and expectations of school in the early twentieth century, school manners and behaviour, restrictions? The school man and his loneliness, the surprise of his falling in love and the freshness of his wife? The theme of transformation, relationship and lack of relationship with boys and masters? The change, ambition, disappointment? The experience of Socco? The achievement and looking back over many years? Audience identification with persons, themes of human endeavour, experience, optimism?

5. The importance of the atmosphere of the 20s and 30s, how did the film communicate the period, the attention to detail in costume and atmosphere? The transition to the war and the atmosphere of World War II, the school, planes and warfare and bombs? The transition to the modern period? The effect for audience identification with the older generation, younger?

6. Brookfield School as an environment for the characters and the situations? The look of the school, the buildings, English tradition, classrooms and the conduct of classes, the masters and their communication with each other, the various houses, the headmaster and his wife, sports events, concerts etc.? The school days song and the collage of boys returning to school and glimpses of their personalities and different types? The school song as it recurred during the film? Insight into the British public school tradition? The atmosphere of education and growth, development and maturity? The ethos of school? The transition to war? The generations? The appeal to all because of school and experience of school?

7. Peter O'Toole's skill at portraying Mr. Chips at various stages of life and development? Critics were unanimous in praising him? Why? How did he understand and communicate the complex character of Mr. Chips? The strengths and weaknesses of his character? The failure of his initial teaching, his dryness and stuffiness, inability to communicate? His strict administration of justice against the wishes of boys and headmaster and masters? His disregard of sport as important? His integrity and sense of values? The highlighting

of his loneliness and the boys' disliking of him? His lack of communication in the common room? Peter O'Toole's skill at illustrating the shyness, the reserve, the theatre and the encounter with Katherine? How did he show the change and the effect of the change and yet it not being a different person? The importance of the songs in the communication of the character of Mr. Chips? See him at school, at the theatre his awkwardness at the meal? The film's preparation for the encounter with Katherine by presenting her at length on the stage. the contrast of different worlds parties. songs, the meal, her warmth compared with his coldness and aloofness?

8. The importance of Pompeii as a place and a setting for uniting them? The old and the new? Study and holiday? The importance of the song and the visualizing of this. aerial shots and movement? The sun and the brightness and the atmosphere of romance? The communication between the two? Their sharing even sandwiches? The credibility of their marriage? How did each meet the need of the other?

9. The world of the headmaster and his attitude towards Chips? Max Staefel and his continued support of Chips? The world of the staff common-room? Staefel as telling Chips the truth? The contrast of Katherine's world especially with the parties the atmosphere of Ursula and her tizziness and theatre world, scandals, superficial people and Chips not being at home? How was this highlighted when Chips went to the party and was awkward at it and yet Katherine was throwing it for him? The invasion by Ursula and her friends of the schools and the comedy ensuing? The contrast with Chips in the sequences when he went to find Katherine and was united with her, the domestic scenes within Ursula's mad atmosphere? How well did the film show the tension between the two worlds and the possibility of communication?

10. The people's amazement at the school? The school song and Katherine's participation? Her changing the atmosphere of the school, the feminine touch? Chips being content, growing older and more satisfied, with friends? Symbolized with the concert? The background to hopes for headmastership, disappointment, final achievement?

11. Katherine's running away and being hurt by Lord? His hostility? The meetings and the attacks on Chips? The blackmail of the money? Ursula's ploy in getting Lord S? The humour of this?

12. The build-up to Katherine's death? Her place at the school, her love for Chips, the irony of the headmastership her generosity and the concert, subjective identification of the audience with the falling bomb, her song? The pathos of her death? The way in which the news of her death was communicated, the boys with the letters the tension between the atmosphere of jokes, Chips' sadness and yet going about his duties the boys' discovery? How did this play on the audience's emotions?

13. The atmosphere of retirement, Chips and his life being transformed by Katherine and the school? The benefit of marriage, communication breaking out of loneliness?

14. What did the songs achieve: 'Fill the World with Love', 'Where Did My Childhood Go?', 'London is London’s 'And The Sky Smiled', 'Apollo'.. 'When I Am Older'. 'Walk Through the World’s 'what shall I Do With Today?', 'What a Lot Of Flowers', 'School Days'. 'You and I 'When I Was Younger'? The places in which they occurred, the photographic treatment.. choreography, visual symbols especially flowers and scenery?

15. How satisfying an entertainment, human document?