DOLPHIN TALE

US, 2011, 113 minutes, Colour.
Harry Connick Jr, Ashley Judd, Nathan Gamble, Kris Kristofferson, Cozi Zuehlsdorff, Morgan Freeman, Austin Stowell, Frances Sternhagen.
Directed by Charles Martin Smith.

This is an enjoyable story, based on actual events. It could also be called Dolphin Tail, the focus of the drama in the film.

This is one of those films that can be recommended to parents and families. Not only is it designed to be suitable for all ages (though apparently it has a PG rating because of the treatment of the dolphin in trying to attach its prosthetic tale), it actually is encouraging for children to get an interest in life, something which engages their energies beyond sitting in front of a screen or playing video games, as the young boy’s mother tells his teacher, engaging with ‘something real’. With its focus on dolphins and caring for them as well as being creative with them, it entertains as well as inspires.

The setting is Florida, an aquarium that also serves as a hospital for injured sea creatures. Harry Connick Jr is the genial director. Morgan Freeman appears as a designer and maker of prosthetic limbs for wounded veterans who is asked to try to create a tail for the dolphin, Winter, who was caught in a crab trap and whose tail had to be amputated. At the centre of the film, besides Winter, is Sawyer, an 11 year old boy, played very well and unassumingly by Nathan Gamble. Children can identify with film easily - and parents will approve of him. He freed Winter and the dolphin responds better to him than many others. His mother here is played by Ashley Judd. And there is Kris Kristofferson as a rugged but genial grandfather. In her first film, Cozi Zuehlsdorff is full of verve as Connick’s daughter.

Besides the rehabilitation of Winter and the blossoming of Sawyer, there are some sub-plots (not a romantic one that we might have anticipated). There is another with a wounded veteran affected bitterly by his injuries but being inspired to choose something more for his life. But, as in this kind of story, the centre is stuck for funding and has to be sold to make way for a hotel. But...
Filmed in quite unobtrusive 3D, which is especially effective for some underwater sequences, the film is a pleasing entertainment.

1. The appeal of the film? Dolphins? Children? Family?

2. The film based on a true story, the dolphin itself and the loss of its tail and the scientific reconstruction?

3. The Florida settings, families, school, the aquarium? The detail? The musical score?

4. Sawyer and his age, his relationship with his mother, the absent father, a quiet boy, at school, introspective, his seeing the dolphin, freeing it from the trap, the effect on him? His bike, visits to the aquarium, getting in quietly, watching the treatment of the dolphin, Clay Haskett and his daughter? His friendship with Hazel? With the staff, with Reed? His rapport with the dolphin, calming the dolphin, communication?

5. His return home, his mother’s reaction, noting his energy, on the computer, his research, the information? His not going to school? The reaction of the teacher? His mother siding with the teacher? Discovering the aquarium with her son, meeting the people, his work, the energy? Telling the teacher that this was important, that he was out of the house, dealing with something real? The teacher’s later concession and giving him a pass?

6. Sawyer and Hazel, together, the story of their absent parents? Hazel as a strong-minded young girl, her initiatives?

7. Reed, the grandfather, Clay and his career, his knowledge? As a character?

8. The meeting of the board, the need for money, the selling of the aquarium, Clay and his being upset? The reaction of the children?

9. Sawyer’s family, his aunt and uncle and their visits, Kyle and his injuries, the background of American military involvement, injuries? The ward for rehabilitation, the building of limbs? Lorraine and Sawyer and their visit, Kyle not wanting to see them?

10. The encounter with Dr Mc Carthy, his work, the limbs, his inventiveness, the technology? The discussion about the dolphin?

11. Dr Mc Carthy’s visit, Clay’s reaction? The awkwardness? Studying the dolphin, Dr McCarthy? and the solution for the skin, the mechanical tail?

12. The failure, disappointment, the dolphin rejecting the tail?

13. The decision to raise money, the children and their idea, the preparation for the celebration, the approach to the media, the television coverage, the appeal, people giving money? The attendance? The visit of the mother and the disabled daughter and her seeing the dolphin?

14. The owner of the aquarium, enjoying himself, with his grandchildren, the change of heart? Keeping the aquarium open?

15. Sawyer and his realisation that the skin was a problem, like a seatbelt, restraining the dolphin, taking it away, freeing the dolphin?

16. The dolphin itself, audience identifying with it, its problem, the tail, the attempts to swim, refusing food, languishing? The tail, the experiments, the final success, performance?

17. The film as inspirational and uplifting, especially for children, the sense of humanity, the environment, the sense of achievement? And an involvement in the real world rather than the virtual world?

A KISS IN THE DARK

US, 1949, 89 minutes, Black and white.
David Niven, Jane Wyman, Victor Moore, Wayne Morris, Broderick Crawford, Maria Ouspenskaya.
Directed by Delmer Daves.

A Kiss in the Dark is a light (very light) romantic comedy. The plot doesn’t really make all that much sense – but the combination of David Niven and Jane Wyman is excellent. They play very well off each other. Victor Moore gives yet another quite endearing performance as a bumbling manager of an apartment block. Wayne Morris is the burly insurance agent. Broderick Crawford, not very successfully, gives a comic performance as a night worker who wants to sleep during the day. Veteran dignified actress Maria Ouspenskaya appears in her final film.

The film was directed by Delmer Daves, writer and director of Warner Bros melodramas and dramas in the 1940s. However, after Broken Arrow in 1950, amongst his many films of the 1950s were some fine westerns including Jubal, 3:10 to Yuma, The Last Wagon, Cowboy. His last seven films in the 1960s were all romantic melodramas, Susan Slade, A Summer Place, Battle of the Villa Fiorita.

1. A pleasant romantic? The light touch?

2. The New York setting, the world of apartment blocks, of classical pianists, of photo modelling? The combination? The musical score?

3. The introduction to Eric Phillips, David Niven and his suave manner, his stage fright, fearing his career was at an end, his twenty-one years of concerts, his performance, the fans? His being pampered and controlled by his manager? The butler? Peter Danilo managing his affairs, buying the apartment block? His encounter with Mr Willoughby, the discussion, the arrest? His going to the apartment block?

4. Jane Wyman as Polly, posing for the photographer, his listening to the music? Her bumping into Eric while vacuuming? The two clicking? Her place in the apartment block, talking to Eric, persuading him to do more?

5. The situation at the block, the confrontation with Eric, his meeting the tenants? The meeting on the roof? The promises? The contrast with Mr Botts, his night work, his wanting to sleep during the day? His tantrums? The knockout? Eric and the practising next door, Mr Botts’ desperation – and his finally leaving? His crankiness towards all the residents?

6. Polly, the relationship with Bruce, his insurance work? The suggestion about insuring Eric’s hands? The focus on his hands? The end, Bruce and the contract, telling Eric that Polly had started it? the falling out? At the railway station, signing the contract, Eric’s strong hands because of his playing? The KO to Bruce, the KO to Mr Danilo?

7. Polly and her determining to humanise Eric? The discussions, the outings, music? With the kids, his lecture on music, the failure of the lean-to, his being caught in the animal trap? His exasperation? Polly and her theory of humanising him? Her theory of propinquity? Eric and his disappointment with Polly? Danilo not giving the news about the phone calls?

8. Mr Willoughby, Eric’s exasperation, sacking him? Reinstating him? His trapping Polly and Eric in the room until the last moment?

9. The background of musical concerts, the practice, the insurance, the finance, performances and fans?

10. The visit to Madame Karina, her wise advice?

11. The happy ending, everything resolved?

THE TRIGGER EFFECT

US, 1996, 94 minutes, Colour.
Kyle Mac Lachlan, Elisabeth Shue, Dermot Mulroney, Richard T. Jones, Bill Smitrovich, Michael Rooker.
Directed by David Koepp.

The Trigger Effect is a mixture of realistic drama and reflection on human behaviour, especially anger and what this leads to.

The film opens with a series, a trigger effect, of people being angry with each other, for example people talking in a cinema, people bumping into each other, people being rude. This puts the main characters into a bad mood – and then the electricity fails.

The film traces the drama of what might happen in this ordinary situation, without the possibilities of explanations of why and when the electricity would be restored.

The central family, the mother and father played by Kyle Mac Lachlan and Elisabeth Shue, have a sick daughter. The doctor is unable to come or prescribe over the phone. The husband goes to the pharmacy and creates a scene, later returning to steal the medicine needed for the child. There are images of looting, social disorder. When there is an intruder in the house, someone who is working on repairs of the house, he goes outside and is shot by a neighbour. Then there are lies for the police as to what happened. When a friend comes to stay with them, there are further tensions. They all decide to leave and go to the in-laws. There is more trouble on the way, people wanting petrol, their discovery of a car by the roadside and someone whom they fear is going to kill them and who takes their car. They then harass an African American man and his daughter, trying to get help for the friend who has been shot.

Eventually, rather in a low-key way, the lights come on again and people have to reassess what has happened to them, how they have acted, and why.

The film was not popular – people probably expecting more of a melodrama rather than an invitation to reflect on human nature. The film was written and directed by David Koepp, a prolific writer of many successful films including Jurassic Park, Carlito’s Way, The Paper, Mission: Impossible, The Lost World: Jurassic Park, Spider-Man?.

1. The impact of the film? As drama? As message film? Exploration of human nature and bad behaviour? The film not being popular at the box office?

2. The title, the opening sequences, the chain of people being rude to each other? The consequences? The lights going out – and the trigger effect of how people behaved?

3. The suburban setting, the town, the movies, the shops, the pharmacies, the shopping malls? The ordinary homes, the streets? The contrast with the open road? The small towns and diners? The isolated homes? Contributing to atmosphere? The musical score?

4. The introduction to Matthew and Annie, in the cinema, the two men talking, the confrontation in looks, their moving? The issue of whether Matthew should have been more assertive or not? Their returning home, the sick baby, the babysitter and her couldn’t-care-less attitude? The setup of the family? The visit of Joe, the past, relationship with each of them?

5. The lights going out? The ordinary consequences? Trying to find out what happened, the phone out, no television? The isolation? The neighbours and their discussions? The meetings and how to protect the neighbourhood and everybody being protective? Putting cars at the end of the road – other people’s cars? The generator and preserving the power? People not being neighbourly? While mouthing the words?

6. Matthew, the baby, Annie and her reaction? Phoning the doctor? Going to the pharmacist, creating a scene, the attitude of the pharmacist and the law, Matthew being insulting? His return, seeing the people looting, his taking the medicine, being encouraged by the customer? Being pursued? His coming home, the baby better – but the surprise for Annie and himself in his behaviour?

7. The ordinary sequences, by the fire, the candles, coping? Annie and the attraction towards Joe? Echoes of the past?

8. The intruder in the house, the repairs, the workman, going out into the street, the neighbour, the gun, the man with the knife? The shooting? The death? Steph and his wanting to cover up, putting the unregistered gun in the intruder’s hand? The police? The interrogation, the lies to preserve reputations?

9. The decision to go to the in-laws? The cars? Driving? The scene at the diner, Gary and his appeal for everyone for petrol? His look, people assuming he was sinister? The confrontation with Raymond, Raymond’s refusal? The occupied toilet – and his child? Gary and his running out of petrol, Matthew and Annie passing him, stopping, discovering him in the back of the car asleep? His plea? The pulling of the guns? The background of Matthew and Joe going to the shop, the advice from the man selling the guns, Annie putting the gun in the pool, retrieving it? The gun and Gary, his shooting Joe? His taking the car, declaring all he wanted was a lift?

10. Matthew and Annie, Joe and his wound, Matthew’s decision to walk, his finding the house, intruding, Raymond and his suspicions? Matthew getting to the house, like and intruder? Raymond’s little girl? Raymond eventually believing him, going in the car, the ambulance, the rescue?

11. The return home? The electricity coming on – everything quietly returning to normal? Yet everybody thinking about what they had done, interactions with others? Steph across the street and his having shot the man? The future – and the moral lesson from this kind of allegory?

THE FIVE THOUSAND FINGERS OF DOCTOR T

US, 1953, 88 Minutes, Colour.
Hans Conried, Tommy Rettig, Peter Lind Hayes, Mary Healy.
Directed by Roy Rowland.

The Five Thousand Fingers of Doctor T is an unusual musical fantasy, produced by Stanley Kramer in the early 50s before he became a director. Written by children's storyteller, Dr. Seuss, it has a charm which is still popular - even though the atmosphere and style are somewhat dated and the action is held up a little by some of the songs. Peter Lind- Hayes and Mary Healy were a husband and wife team from radio who did not appear in many films. Tommy Rettig as Bart, the hero, was in many films at this time and popular on television in the Lassie series. Comedian Hans Conreid was the intimidating Dr. T. All in all a pleasing fantasy comedy.

1. The reputation of this musical fantasy? Its delighting audiences in the 50s, now? what are its main entertainment ingredients?

2. The quality of imagination brought to the film? The quality of fantasy, dreams, a boy's dream? The response of the child audience, bogs? The response of adults? The use of colour, the importance of the sets? The humorous aspects of fantasy and dream? Fear, joy? Threats, punishment, crises and the boy as emerging as hero from the crises?

3. The contribution of the musical score: the theme song of 'Happy Fingers', the romantic songs, the humorous songs, especially those of Dr. T and when he was getting dressed for the climax of his Institute? The importance of the choreography e.g. the opening catching dance routine, the prison sequence? The importance of the long orchestrated section with the musical instruments in the dungeon? The variety of music?

4. The impact of the opening with Bart's dream and the chasing and the catching? The transition to his waking up? The tone of the average American family and the little boy playing the piano? The technique of Bart talking to the audience? The introduction to Mrs. Collins as a widow her wanting her son to play the piano, her singing the 'Happy Fingers' song to him? The presence of Dr. Terwilliker? His ambitions as a piano tutor, his disregard of other instruments? The presence of Mr. Zabladowski, the plumber, the hero of the film for adults? The presence of Bart's dog? How well were these ingredients presented to be taken up to Bart's dreams? Basic situations, characters, relationships, the importance of the piano?

5. The bulk of the film as dream and fantasy? The presence of the fantasy Dr. T. and his tyranny, the presentation of the huge piano, his conducting Bart, his Institute and his ambitions, his hypnotising Mrs. Collins? Bart's mother and her presence in the dream as enemy, yet hypnotised and imprisoned? Her dress, her work as a clerk? The fact that she was to marry Dr. T? Dr. T. and his costumes, his rooms, the money kept hidden and his shovelling it away etc? Mr. Zabladowski and his presence in the Institute, the importance of the sinks and their being finished for the health inspection for the opening? The relationships of the three adults? The various henchmen, especially the soldiers, the twins, the dungeon? Mr. Zabladowski and his helping Bart, his being entertained and bewitched by Dr. T., the order for his destruction? Bart and his relating to Mr. Zabladowski, seeing him as a father, the song about fishing? The build-up then to the confrontation?

6. The importance of the chases and their effect? The device of chases for building up tension and suspense? The various rooms, the staircases, the signs of 'In' and 'Out', 'up' and 'Down', the ladder leading nowhere and Bart parachuting with his t-shirt? The presence of the big soldiers and their continual chasing, the twins on roller skates and the eventual cutting of their beard? The impact of the dungeon sequence - the lift with the lift driver singing the songs and describing the punishments, the various people imprisoned in the dungeons and the long musical sequence? The potions and Mr. Zabladowski and Bart in the cage trying to devise a means of absorbing sound, their split-second success?

7. The build-up to the boys arriving for the piano-playing, Mrs. Collins as clerk, Bart and his going to number one position, his bringing out the mixture and absorbing the sound, overturning the tables on Dr. T., Dr. T. giving in,, Bart conducting and the build-up to the explosion?

8. The happy ending and the wish-fulfilment on Bart's part of his mother and Mr. Zabladowski going off together?

9. How well did the film use the basic experience of dreams, dreams as being part of oneself, the father-figures in dreams, the villains, mother-figures? The view of ourselves in dreams? Dreams and wish-fulfilment? Bart at the end going out to play baseball and with his dog? A comment on the dream and the reality?

FIFTY FIRST DATES

US, 2004, 99 minutes, Colour.
Adam Sandler, Drew Barrymore, Rob Schneider, Sean Astin, Dan Aykroyd.
Directed by Peter Segal

Uh-oh, Groundhog Day territory. However, this slapstick romance uses the time repetition quite nicely even if strains credibility. In Groundhog Day, Bill Murray wakes to the same day, day after day, and learns more about people and what went on in the town. Here, Drew Barrymore has lost her long-term memory and wakes up, day after day, remembering nothing of the day before.

That helps explain the title - with even more than 50 first dates.

Adam Sandler is presented as the Lothario of Hawaii in the opening credits. That is soon forgotten and we see him as a nice man with a walrus and a penguin as friends as he works at the zoo and dreams of building his boat and sailing to Alaska. He also has a local friend, Rob Schneider acting up and liable to Hawaian authorities extraditing him for over-caricature of the islanders.

Then he notices Lucy and falls in love with her. The challenge is to get her to fall in love with him afresh every day. Can her do it? Of course - with the help of her father and her body-building, naive steroid-taking brother (Sean Astin post-Rings), doctor Dan Aykroyd and a video.

Adam Sandler is back to his nice gawky type. Drew Barrymore is quite charming. The romance is nice - but a critic friend said he preferred the initial slapstick with walruses and vomit etc rather than the romantic mush. You can take your pick.

1. A popular romantic comedy? The title?

2. The blend of slapstick and romantic comedy?

3. The Hawaiian settings, the island, the houses, the Sea World?

4. Mental illness, accidents? The institution, the people with short-term memory - even to ten seconds?

5. The prologue and Henry Roth, fantasy or real, the Lothario, the range of women and their testimonies? His meeting Lucy and his absolute change?

6. The real Henry, at work, with the penguin, the walrus, with Ula and his friendship? With his assistant? The children? The comic sequences and the walrus vomiting_?

7. Breakfast, the meeting with Lucy, staring at her, the toothpick and its effect? The information about her? The discovery about her memory? His being infatuated, going to the café every day, the staff having bets and his failing to attract Lucy? The gradual success? The dates, the variety of his tactics at breakfast, the toughs, the assault, his being tied up?

8. Lucy's father, Doug, at home, the visualising of the accident on the road? The father and Doug approving of Henry's routines? The breakfast, the same food, the same preamble, paintings, the birthday cake, the discussions about the video of The Sixth Sense? Her going to sleep and not remembering? The father and his care? Doug, support, the background of his bodybuilding, the urine test and the steroids, his sexual dreams_?

9. The institution and the doctor, the explanations, Tom and his ten-second memory?

10. Sue and company at the diner, their friendship, support?

11. Making the video, losing the video experience, the information? Repeating it each day?

12. Lucy, her character, charm, the background of her being a teacher, the breakfast, her friendship with Sue and the staff? The effect of seeing the video? Seeing it every day?

13. Henry, being nicer, waking up, the explanation, the change, the decision of Lucy to move away, burning the journal, the separation? Her overhearing Henry about his dreams of going to Alaska?

14. Henry and the boat, the trips, the failure, his hopes?

15. Ula, Rob Schneider and his slapstick comedy, his children, a slob, yet the jokes and the firm friendship?

16. The assistant, the jokes, the walrus? Doug and his attraction to her?

17. The visit to the institution, the studio, Lucy and her drawings of Henry, her dreams? The finale with the boat, their daughter, her being reminded of what had happened by the video every day?

18. The final credits and the sketches?

THE THIEF OF BAGHDAD

UK, 1940 101 minutes, Colour.
Conrad Veidt, Sabu, June Duprez, John Justin, Rex Ingram, Miles Malleson.
Directed by Tim Whelan, Michael Powell, Edward Berger.

One of the masterpieces produced by Alexander Korda for London Films. This Hungarian entrepreneur, producer and director, had a skill for presenting lavish entertainments of high quality in the thirties from Charles Laughton in The Private Life Of Henry VIII and Rembrandt through adventures like The 'Four Feathers and The Drum to vehicles for Laurence Olivier, Vivien Leigh and Merle Oberon.

The Thief of Baghdad had already been a silent action adventure with Douglas Fairbanks, and a great success. Korda put a great deal of lavish production into this film, filmed it over a two-year period in England and had to move it for completion in the United States because of the outbreak of World War II. His brothers were associated in production and design as well as the celebrated designer William Cameron Menzies. Screenplay was written by comedian and character actor Miles Malleson, who portrays the Sultan in the film. Three directors participated in the film. The special effects, colour photography and costumes are excellent and there is a vivid score by Miklos Rozsa who worked in with many of Korda's films and moved to Hollywood where he had a successful career at M.G.M., especially for its epics. He was still composing in the eighties.

The film is also a vehicle for Sabu who appeared in Elephant Boy and The Drum. German actor Conrad Veidt is excellent as the evil Jaffar. American black actor Rex Ingram enjoys himself as the Djinni. All in all The Thief of Baghdad remains excellent entertainment and is breathtaking at times with its special effects. (There was a modest re-make by Clive Donner in the late seventies starring Peter Ustinov and Roddy McDowall).

1. An entertaining and. enjoyable action adventure9 The appeal of the exotic story and the Thousand And One Nights and Arabian Adventures? The basic plot? The characters? The importance of the special effects?

2. The quality of the British production? Colour photography, sets, decor? (Oscars for these).

3. The old Arabian ad-venture story - the popular ingredients of evil ruler, handsome young prince, princess to be won9 The thief? The fairy-tale aspects? Audiences identifying with these old legends and basic stories of right and wrong good versus evil, heroism and quests?

4. The quality of the screen play? air of mystery, adventure, humour? The opening mystery, the flashbacks, the build-up to the drama with its ironies especially with the blindness of the hero and the cruelty of the villain?

5. The introduction to the young king - blind, unhappy in love? The flashbacks to his story - his ruling his kingdom, the clash with Jaffar, his going out amongst his people, the Oracle and his discovery of his being thought of as a tyrant, his imprisonment, escape, the cruelty of Jaffar in making him blind? His encounter with the beautiful princess? Their love and their separation,? Jaffar and the storm and the 'King's regaining his sight? His imprisonment with the princess? His being rescued by the thief? A noble hero, the romantic scenes, friendship with Abu, clashes with Jaffar? Final romantic ending? The princess and her beauty, the procession and men forbidden to look at her, her father's love for her yet his infatuation with toys? Her 'he encounter with the young king in the garden? Her trance, unwillingness to marry Jaffar? Her about to be executed? rescue? A romantic heroine?

7. Abu the thief - Sabu and his Indian charm? His feeling in Baghdad imprisonment, helping the king, being turned into a dog, escaping? On the sea? On the seashore? The encounter with the Djinni, tricking him back into the bottle? the quest for the all-seeing eye and the fights with the spider? The fulfilment of his wishes? The encounter with the old man and his becoming a prince? The magic carpet, the bow and arrow? The happy ending? An exuberant young hero? his use of magic,

8. Conrad Veidt's evil as Jaffar? His evil rule, his use of magic, his imprisonment of the king, his ambitions to marry the sultan's daughter and take over Basra? His tempting the sultan with the horse? His exercise of evil power, the storm, the blindness of the king, the hold over the princess? The final confrontation, his riding into the air for the final battle? Abu responsible for his death? Innocence conquering evil?

9. The supporting characters, the sultan and his foolishness, love for his daughter, playing with the horse, the doll and her slaying him? The members of the Court?

10. The Djinni and his being imprisoned, released, tricked by Abu, tricking Abu fulfilling his wishes, being set free?

11. The special effects - the Court, the transformation of people into animals, storms at sea, the horse, the Dervish, the all-seeing eye kingdom, the flying horse, the flying carpet, audience delight in this world of magic and make-believe?

12. Fairy-tales, dreams and fantasies? The importance of having this kind of fantasy and dream?

THIEF

US, 1981, 123 minutes, Colour.
James Caan, Tuesday Weld, Willie Nelson, James Belushi, Robert Prosky.
Directed by Michael Mann.

Thief has ambitions to be a classic gangster thriller. It does not always achieve these ambitions. Written and directed by television director Michael Mann (The Jericho Mile), the film is very interestingly photographed with fine use of experimental techniques for suggesting atmosphere, colour, light and darkness etc. The screenplay seems, at times, pretentious, and the film is long.

However, the film tries to portray very strongly the portrait of Frank, a thief from his young days, who has spent a long time in prison, is a professional, is employed by master criminals but who eventually wants to lead his own life and build a family. James Caan is quite effective in the role and has good support from Tuesday Weld as his wife and especially by Robert Prosky as the suave but villainous gangster. There is an engaging guest performance by Willie Nelson as an old criminal. Mann alleges that he investigated the Chicago criminal scene thoroughly and there is a great attention to detail - of jobs, homes, way of life. However, with its length and the serious approach, it would alienate the popular audience. However, it will probably take its place as a genre film of some importance.

1. Entertainment value of the film? The purpose? The portrait of a character? A character in a world of immorality, amorality, law and justice? A portrait of the contemporary '80s criminal world?

2. The importance of the style - its arty tones, the quality of the photography, the capturing of Chicago atmosphere, the day and night contrasts? The emphasis on technical effects? The special effects especially for the violence and the finale? The documentary attention to detail e.g. of the safe cracking? Patterns, the various tableaux for effects?

3. The contribution of the musical score and its effectiveness and mood? (As played by Tangerine Dream)? Volume, tempo, the contrast with the silences?

4. The accuracy and impact of the documentary style: robberies, the streets and homes of Chicago, the bar, the final robbery, the finale and the massacre? Sufficient background for understanding this world and Frank?

5. The bluntness of the title? The indication of a moral viewpoint or lack of it? The viewpoint for the audience as regards Frank, the criminal world, robbery? The professionalism of the thief, his skill? Working with partners, loyalties? Syndicate leaders using professional thieves? Owning them? Being betrayed? Frank's analogy of his work with Labor Rules?

6. The importance of the long introduction and seeing Frank at work, skill, persistence, success? The dark and wet streets of Chicago symbolising his night work? The audience getting to know him, understand him? Like him? Seeing him in action and then hearing his story - the long conversation with Jessie? His prison background, thieving jobs, experience in prison, homosexual experience, survival? The shaping of his attitudes and making up for the life he had missed? His collage picturing all the elements that he wanted in his life? His feelings and the brutalising of his feelings? His marriage and its failure? The warm sequences with Okla as his father-figure - the discussions in prison, discussing his work and techniques, the friendship with Jessie? His court order for Okla's transference to hospital? Okla's illness and death and its effect on him? The bond with Jessie in the bar, the outings, talking? His explaining his way of life to her? Build-up to marriage? Questions of children? Adopting the baby and building a new life? His work and continuing professionalism? His being employed by Leo? The Californian interlude? The possibility of moving to independence and the way of life he would have liked?

7. The world of the thief: the buildings, safes, jewels robbed? The world of cars? His car-selling and mechanical skills? Barry and his contacts? The bar and his friends, telephone? The relationship with Barry? Barry's death and its effect on him?

8. The confrontation about money? The confrontation with the manager of the plating firm? The encounter with thugs? With the police wanting leads? The confrontation on the waterfront and his being covered by a rife? The meeting with Leo and their getting to know one another? Leo's smooth proposal and jobs? Frank's checking things out, supervising? His being tailed by police surveillance? His growing involvement with Leo and yet his wanting independence?

9. The portrait of Leo as the smooth gangster boss? As a person, ingratiating smile, cold cruelty, violence? The power that Leo held over him -especially with getting the child for adoption? The house? The importance of the financial deals and Leo managing his money? Frank's turning on him? The violence in the factory and Leo's speech against Frank? The breaking point and Frank's decision to destroy Leo? Stalking him in his house? Murders? The destruction of the house?

10. The contrast with Okla and his friendship, father-figure role, death? Frank's relationship with Jessie and its warmth, capacity for talking honestly, happy sequences at how, the child and the decision about his name in the restaurant? The beach sequences and their lyrical joy? The final confrontation with Jessie and her not being able to understand his rejection? Sending her off to safety, out of his life?

11. The possibilities facing Frank? Final job and independence and the fulfilling of the images in his collage? The hold that Leo had over him for more jobs? Leo's manipulation of his money? Frank's decision for independence, demands of money? Leo and his henchmen and their brutalising of Frank? Frank's decision to reject his total way of life -sending wife and child away, the exploding of his house, the explosion in the bar, destroying the car saleyard (after the discovery of Barry's death), leaving his collage? The destruction of Leo and his enemies?

12. Frank's final walk - to where and to what? Could he resume the traces of his past life? The pessimism of the ending?

13. The audience involved in the world of the thief? The integrity of the thief within his own amoral standards? The comparison on standards with big business and organised crime? The place of the individual in contemporary society? The individual in contemporary American society? The use of violence - and its graphic portrayal? The role of law, justice? Who administers justice?

THEY ONLY KILL THEIR MASTERS

US, 1972, 98 minutes, Colour.
James Garner, Katherine Ross, Hal Holbrook, Harry Guardino, June Allyson, Peter Lawford, Tom Ewell, Ann Rutherford, Christopher Connolly.
Directed by James Goldstone.

They Only Kill Their Masters: Curiosity sustains the murder mystery and makes it an ever-popular entertainment form. After you quickly realize the dog did not do it in this film you are kept guessing until the end and realize you missed the few clues given earlier. This is a typical lightweight mystery, set in a typical Californian town, featuring James Garner in his typical deadpan, humorously serious policeman role. If you like the ingredients, you will be satisfied. Several old (old-looking and sometimes fat as well) 40s and 50s stars like Peter Lawford, Tom Ewell, June Allyson, Edmond O'Brien and Ann Rutherford appear - Katherine Ross provides modern glamour. Undemanding.

1. Why are murder mysteries popular? The story, the characters, the puzzle? Why do audiences like to get involved? How successful a murder mystery was this? Did it get audiences involved? How?

2. Critics complained of the sordid atmosphere. How sordid was the atmosphere -especially the Watkins couple? However, murder is sordid. Therefore this must be presented as well? How valid is this?

3. How did the film make its impact? Its use of mystery and clues? of 'red herrings'? What of its use of old stars for making an impact on audiences? The value of having so many stars? The strength of their cameo roles to make the film stronger in impact?

4. How was the focus on the dog in the title misleading? The irony of the dog saving the woman? What emphasis was placed on the dogs in the film? How well were they used?

5. Comment on the value of the clues - the photos, the burning of the house etc. ? The suspicions of various people? Were the clues fair?

6. How important was the town for the film? The name of Eden Landing? And its overtones? The small-town atmosphere. the shops. the police, the vet, everybody knowing each other's business etc.? Murders within the framework of this atmosphere?

7. How enjoyable were the police and their investigations? The 'folksy' atmosphere of the office etc.? The wisecracks etc.?

8. The emphasis on animals and the vet? The tone that this gave to the film? How attractive a figure was Abel Marsh? As a hero for the film? James Garner's style? The laconic hero? His ingenuity in solving the murder? Audience identification with him? As typical Arnerican hero? His strengths and weaknesses?

9. Was Kate an attractive heroine? Was the romance credible? Suspicion of her as the murderess?

10. Comment on the rather bizarre characters of Mrs. Watkins, of Mr. Watkins, of Lee Campbell. How did these contrast with the ordinary atmosphere of the town? Overtones of decadence? The sordid atmosphere of murder? was there enough explanation of Dr. Watkins defending his wife? Why did she commit the murder? Was there any insight into her character?

11. How did the dialogue with its wit and precision help the enjoyment of the film? Was it merely an entertaining story? or do such films give insight into motivation and character of people?

THEY LIVE BY NIGHT

US, 1949, 95 minutes, Black and white.
Farley Granger, Cathy O'Donnell, Howard de Silva.
Directed by Nicholas Ray.

They Live By Night is based on the Depression novel, Thieves Like Us, remade under that title by Altman in 1973 with Keith Carradine and Shelley Duvall in the central roles. The film bears resemblance to Fritz Lang's You Only Live Once with Henry Fonda and Sylvia Sidney, which in turn was influential on Arthur Penn's Bonnie and Clyde. They Live By Night is also reminiscent of the basic Romeo and Juliet theme and with its attention on criminals reminds audiences of West Side Story.

This film was Nicholas Ray's directing debut. It made an impact and he began a successful career, ranging from dark melodramas to Samuel Bronston spectaculars like The King of Kings. Ray made an autobiographical film with Wim Wenders, Lightning over Water (1981), just before he died. Ray also appeared in small roles as an actor e.g. Wenders' The American Friend and the film version of Hair. The film is an impressionistic love story with Farley Granger and Cathy O'Donnell sympathetic in the central roles. It is also a Depression gangster robbery thriller - and is interesting in comparison with the many later films on this theme. Though seeming dated now, the film is an interesting, offbeat piece of Americana.

1. The reputation of the novel? The film and its remake? The influence of Fritz Lang? The Bonnie and Clyde Story? Nicholas Ray's style? Comparisons with Robert Altman's treatment in the '70s?

2. The work of Nicholas Ray, his reputation? The blend of the film noir and lyrical tragic romance?

3. Black and white photography, period, the importance of camera work and light and darkness? The atmosphere of the '30s? The musical score? A piece of Americana in feeling and theme?

4. The significance of the introduction about the boy and the girl and their never having been properly introduced to the world? The importance of the boy/girl theme? The basic love story? The emphasis on the innocence of the couple? Innocence moving to experience? The boy and the girl as victims of their times? Of others? The inevitability of pain and disaster?

5. The atmosphere of the '30s: the Depression, affluence and poverty, the pressures of society? The blame for the effect on innocent victims? The American dream and wealth? Crime and easy money? Crime and revenge? Criminals taking chances? Prison? The police? The desire to survive? The toughness needed for this? The romanticising of toughness?

6. The opening with the group escaping from prison? Intimations of violence, especially with Chicamaw? Chicamaw and his companion as violent men? Chicamaw and his reputation, his worry about newspaper reports, his one eye? His hold over the boy and his companion? Hiding out? Plans for further crime? The importance of the brother and Mattie and her husband? The quietness in hiding out? The risk of discovery by the police? The boy mending the car? The brother and his drinking? The girl and her help? The interaction amongst the group? The pressures? How well delineated each character? Mattie and the deals about her husband? The plan of the robbery? Mattie’s husband not being released? The importance of the dialogue focussing on the phrase 'thieves like us'?

7. The boy and his being with the group, the escape, the farmer as hostage? His encounter with the girl and the attraction? Working together, talking? Gradually falling in love? His ease in telling the girl his story? Sixteen and the killing? The experience of prison? A nice boy victimised and never having had a chance? Attitude towards the law? His participation in the robberies? His buying of the ring and his trying to get rid of the ring-seller at the time of the robbery? Tenderness, the dance, the meals, the proposal? The marriage ceremony and its squalor but their transforming it? Their dreams and going to Mexico? The child? His involvement in the robberies, driving, the accident? The decision to go to Mattie? Their not knowing they were being betrayed? His wanting to leave the girl, writing the note, the tragic death?

8. Chicamaw and his hard line, the robbing of the banks, the cars and the getaways. the accident, the shooting of the police? The news of his death? The atmosphere of American crime and violence?

9. Mattie and her toughness, disappointment about her husband, the couple going to the motel, her decision to betray them to the police, her worry about her conscience. talking to the boy about the girl? The police and the justification of her information?

10. What was the audience left with - the entertainment and insight of crime robbery, the Romeo and Juliet tragic story, American style?

THEY CALL ME MR TIBBS

US, 1970, 107 minutes, Colour.
Sidney Poitier, Martin Landau, Barbara Mc Nair, Anthony Zerbe, Beverley Todd, Jeff Corey.
Directed by Gordon Douglas.

They Call Me Mr. Tibbs is a commercial sequel to the successful Oscar-winning In The Heat of the Night. Sidney Poitier repeats his role of upright detective, Virgil Tibbs. This film is an ordinary, quite interesting murder mystery. It has been criticised as not being crusadingly pro-Negro, as if St. Sidney Poitier, now in a white heaven, had forgotten his earthly cause. On the other hand, the film shows an integrated American society, the type of society hoped for, and in some more peaceful and wealthy areas, a reality. The criticism that the film is not race conscious seems unnecessary. on the other hand, the film is socially conscious along the lines of Peter Yates' Bullitt and Gordon Douglas' The Detective; that is, police work shown against a sordid background of crime and urban injustice. While not as good as the films just mentioned (it has a car chase and a garage shoot-out), it raises a number of questions.

1. What impact did the immediate sordid murder make on you? Did you see that there was reason for showing it when you discovered who did the murder?

2. Do you think there are many types like the owner of the flats in today's big cities? Did you realise why he was so eager to implicate Logan Sharpe in the murder? What did Sharpe's political campaign have to do with it?

3. What impression did Logan Sharpe make on you - his sermon, sincerity, politics? Did he seem a potential murderer? After his confession of his relationship, did he seem to you a potential murderer?

4. Did the film present an interesting view of the way a police force works?

5. How did Virgil Tibbs' friendship with Logan Sharpe affect his investigation of the crime? Should Tibbs have been put on the case?

6. The Tibbs family - did you like these scenes, were they real - e.g. son at T.V. and the noise, Tibbs helping his daughter with gymnastics?

7. Were the scenes of confrontation of Tibbs and his son well done - the smoking. the refusal to pick up things. what did they reveal of Tibbs' character?

8. Comment on the character of the owner of the flats - his luxury,' negro girlfriend. drug-peddling.

9. Comment on the car-chase and the shooting in the garage after the foot-chase. Why were these exciting?

10. What social comment about San Francisco and its housing was the film making? Did you understand the purpose of Sharpe's campaign?

11. Were you surprised to find out who the real murderer was? Why did he do it? What should Tibbs have done when Sharpe put the problem of his arrest in the context of the campaign?

12. Why did Sharpe commit suicide? To make a martyr of himself? Was it merely an easy way to end the film?