CARRIE

US, 1952, 118 minutes, Black and white.
Laurence Olivier, Jennifer Jones, Miriam Hopkins, Eddie Albert, Basil Ruysdael, Mary Murphy.
Directed by William Wyler.

Carrie is based on a novel by Theodore Dreiser, Carrie Nation. Dreiser was also the author of An American Tragedy which had just been filmed as A Place in the Sun.

Dreiser was exploring American morals and mores in the late 19th century. Jennifer Jones portrays Carrie Meeber, a young woman with high hopes who goes to Chicago. She meets Charles Druitt, (*??) played by Eddie Albert, who sets her up in a job and in his apartment. She also encounters George Hurstwood, a married man (Laurence Olivier) who is infatuated by her and eventually follows her to New York, hoping to make a new life after embezzling money from his restaurant. However, tragedy ensues – although Carrie survives and achieves all her ambitions.

Dreiser offers a wry comment on the American dream.

Laurence Olivier received great critical praise for this performance. Jennifer Jones is very good as Carrie. Miriam Hopkins portrays Olivier’s wife.

The film was directed by William Wyler, one of the most successful directors in Hollywood. He won Oscars for Mrs Miniver, The Best Years of Our Lives, Ben Hur. He directed many stars to Oscars as well. In the 1950s he made such films as Detective Story and The Heiress. He followed Carrie with Roman Holiday, The Desperate Hours and Friendly Persuasion.

1. What was the main impact of this film? Based on a classic, was it a classic? The type of treatment given by production? The seriousness of the tone? The stars and the quality of their performances? Was this an important film? An important human and humane film?

2. What were the main features of the early fifties style: the serious¬ness of the treatment, the heaviness of approach, the emphasis on dramatics, the questioning of daring themes yet a restrained manner, the black and white photography, the heavy music, the Chicago and New York locations (on the Hollywood lot), the tenement background etc? What did these contribute to the film? How different would it be today?

3. What insight into America and its society did this story give? American society and its struggle for survival, the quality of society, the place of love, lies and deception, weakness, the status of respect¬ability, the measuring yard of success? what judgment was being made on these facets of American history and society?

4. How important was the structure of the film and what did it contribute to impact: the movement to the city of an innocent country girl, the background of ambitions and realism? The gentility of George and his helping Carrie, the intertwining of their lives, the changes in respectability, the power of Carrie over George, George's decline, Carrie helping George in contrast to the beginning?

5. How well was the character of Carrie portrayed? The qualities of Jennifer Jones's performance? How sympathetic a character for the audience, the country girl and her simplicity, the naivety of her ambitions, the helplessness of her being involved with Charley, her need for work, relationship with her sister, a victim of Charley? How free was she in her relationship with Charley? The question of responsibility and respectability? Money? How easy was she in her moral change? The impact of George, his courtesy, the growth of love, this changing her? Her disillusionment in his not telling the truth about his marriage? Why did she not realize he would suppress the truth in other situations? The impact of the elopement? The reasons for her being hard on George? Her support of him in Hew York? Her acting and her career? The wisdom of her decision to leave George, her misunderstanding the situation? Carrie at the end as she had grown up? The pain of growing up: the prospects of success for the future? What insight into a woman growing up in the world and American society did this character give?

6. How well was George portrayed? The qualities of Laurence Olivier’s performance? An Englishman acting as an American? The initial dignity and style of George, his educated background, as well as being self-made? His concern and courtesy for Carrie? Friendship with Charley? The importance of his home-life and the hostility of his wife, his relationship with his children? How did Carrie fulfil a need in him? Did he love her? How desperate did he become? His giving up of reputation, his taking the money, his eloping? Was this daring aspect of his life consistent with his character? the impact of New York, repaying the money, not being able to work, the change in relationship with Carrie? The pathos of his seeing his son and not identifying himself? That he was so misunderstood by Carrie when she left him? What impact did seeing him down and out in the shelter have on audiences? The pathos of his asking for the handout at the end? Why did he walk away? Would Carrie find him again? What insight into a man, his strengths and weaknesses, need for love and success did Olivier’s performance give?

7. How did the film contrast brash Charley with George? Style, showmanship, naivety? Charley as seducing Carrie (paralleling George's seduction) yet not as socially acceptable? If George was hurt, so was Charley, Charley as instrumental in telling Carrie the truth?

8. The importance of the portrayal of George's wife: at home, her hostility, money questions? The scene in the restaurant, George’s attack on her and her fear? Her callous attitude towards him in getting the money and the deal about the divorce? What comment on respectable marriages did this
make?

9. How well did the film explore the theme of truth and reality? The harsh¬ness of truth and the fears of reality?

10. Insights into love and relationship and the demands that they make?

11. The film's comment on human weakness, the sadness of people's lives and the inevitability of sadness?

12. How good an American film was this? A humane American film, with an understanding of America?

CATHY'S CHILD.

Australia, 1979, 90 minutes, Colour.
Michelle Fawdon, Alan Cassell, Bryan Brown, Willie Fennell, Arthur Dignam.
Directed by Donald Crombie.

Cathy’s Child is based on an actual story, novelised by journalist Dick Wordley who is portrayed by Alan Cassell in this film. The film focuses on a mother whose child is taken back to Greece and who wants to recover her child. Michelle Forden won the best actress award (beating Judy Davis in My Brilliant Career) at the Australian Film Institute Awards of 1979. She is very persuasive in this part – she was a singer who appeared as Mary Magdalene in Jesus Christ, Superstar. She appeared in television series from the 1970s and continued for almost four decades. She did not make very many films for the cinemas. However, she was seen in Unfinished Business, Travelling North.

The film has Australian settings as well as Greek settings.

Bryan Brown is effective, as always, as the plain-spoken Australian who helps Cathy to recover her child. Character actors including comedian Willie Fennell appear, Fennell as the Australian Consul.

The film was directed by Donald Crombie who had begun in the film industry making documentaries in the 1960s and then into the 70s with Who Killed Jenny Langby and Do I Have To Kill My Child. His first feature film was Caddie, followed by The Irishman, then Cathy’s Child followed by The Killing of Angel Street and Kitty and the Bagman. He kept working in the industry making films as well as a lot of episodes for television.

1. An interesting and enjoyable film? Social observation? Didactic for an Australian audience?

2. The film as based on fact, the main protagonists being technical advisors? How authentic did the film seem?

3. The presentation of Sydney, the way of life in its inner suburbs, offices, newspapers, streets, airport? Sydney in its day-to-day living? Its beauty? The comparison with Greece and Cathy’s home? The visit to Greece and the presentation of Athens, the homes, the scenery and monuments?

4. Colour photography, semi-documentary realism in Australia and in Greece? The film’s attention to detail? Editing for pacing and the forward movement of the story and Cathy’s anguish? The contribution of the score, Greek atmosphere? The final song and its lyrics?

5. The importance of the social concern of the film, aspects of justice, bureaucracy, government? The oppression of migrants? A service such as an evening newspaper's hotline in achieving justice? The film's tribute, the newspaper people and their social concern and achievement?

6. The importance of presenting the plight of migrants in Australia? Language difficulties, traditions, way of life? The pressures of Australian society for assimilation? The lack of comprehension for migrants of European origin? Officialdom and the lack of help? The injustice in the repercussion for migrants and especially their children? How much empathy did Cathy’s experience draw from the audience?

7. The quick sketching of the portrait of Cathy at home, waking up, her love for Irene, the friend minding Irene, Newtown, her going to the factory to work?

8. The comparison with Dick Wordly waking up, the motel, his drinking, telephone to his wife, concern about his children, coming late to work? The portrait of a talented but seedy newspaper reporter?

9. The introductions to the offices of the Sydney Sun, hot line office? Paul Nicholson and his attitude, his experience, his background, bereavement, and his concern? his being a newspaper man eager for a story, his human feelings? How credible the portrayal of the hotline office?

10. Cathy at work and the humdrum nature of the factory work, her desperation in going to the Sydney office, the security card, her timidity, of going up, her phone call, finding her way up, and the beginning of the solution of her problems?

11. How attractive a character was Cathy Bakas? As a Maltese migrant Australian, her marriage to her husband and his deserting her and his infidelity? The impact of his cruelty to her, and his violence, in her not calling help? Her love for children and the experience of his taking her child? Her explanation of how many people she had asked for help, the information given, the lack of consideration, misleading information? Not adapting advice to the needs and understanding of the migrant wife? Her desperation and the way she conveyed this? The feeling that nobody would help her, trying to find the right channels and her way of doing things properly? The various parts and elements of the story and their making sense? The credibility of her personality in persuading Wordly and Nicholson of her story? Their testing it out? Michelle Fawdon’s performance and its authenticity, her range of moods, desperation, love, and concern? Her accent? The importance of her performance for persuading the audience to believe in her and care for her?

12. The picture of government, bureaucracy, the minister and his interviews and general talk, his later support of Cathy and the poses as he helped her towards Greece? The various departments and their co-operation? The various channels and their help and lack of help? The ambassador in Greece and his service? The ambiguous presentation of government and bureaucracy?

13. Why did Dick Wordly so respond to Cathy Bakas? As a newspaper man, the cause, the attraction to her, his rehabilitation? The earnestness of his efforts, seeing him at work at the paper, with officials, his angers, discussions with Paul Nichols, discussing the issues with Cathy at meals?

14. Cathy and her development as a person in seeking for her child? The working with Dick, the attraction towards him? Irene and leaving her at the convent? Her fears, John Bakas’ friends and their attacks? His mistress? Her continued sense of anguish, hopelessness? Her love for her child and this preoccupation? The language barriers? her limited understanding of things? Her experience of the Greek community as a Maltese? Her experience of John Bakas’ violence, taking the furniture etc.? The importance of the phone call to Greece and her reaction to John Bakas's family?

15. The background of the Greek network, their attitudes in Sydney and the communications about her? Lila as John's mistress, looking after Maris in Athens? The going to Greece and meeting the Bakas family, their help and cooperation, their attitude towards John? The happiness in the end with the exchange of photographs, the gift of rings?

16. The background of the Sydney Sun? Keeping the headlines going, keeping the story alive? The T.V. coverage, the minister and the Greek granting of the passport? The efforts to obtain the money for the fare, the threats that it would not come off? The eager anticipation? Cathy’s preparation? Dicks achievement?

17. The contrast with the Greek world, Athens? The Ambassador and newspapers, the arrival, knocking at the door of Lila’s and seeing Maris, her shouting out? the observers in the street? The family and their support? The court and the handing over the child?

18. The impact of the return of the reporters at the airport? Everyone being happy, the picnic and Dick’s going off? The human achievement for Cathy?

19. An enjoyable feature film, semi-documentary? The human interest of the story and audience empathy? The authenticity, the facts? A reflection of Australian society of the seventies especially as regards migrants?

CONFLAGRATION

Japan, 1958, 108 minutes, Black and white.
Directed by Kon Ichikawa.

Conflagration is one of the classic films made by writer-director Kon Ichikawa. He began directing films in 1946, continuing till 2006 and his death in 2008 at the age of ninety-two.

This film is based on a story by Yukio Mishima – the subject of Paul Shrader’s biographical portrait as well as the author of a number of novels which have been filmed. In fact there are twenty-seven film versions of Mishima novels – the English-speaking The Sailor Who Fell From Grace With The Sea is an exception with all the others made in Japan.

The film is set in the Temple of the Golden Pavilion. It focuses on a young monk who has burnt down the temple and the flashbacks give his life story, the indications of why he did such a thing. Many of the characters in his background are disreputable, including the head of the temple as well as the monk’s own mother. He was rebelling against the hypocrisies of society – a theme very dear to Mishima.

Ichikawa made The Burmese Harp a few years earlier – the film that is considered his classic and a perspective on World War Two and a critique of war.

1. The significance and tone of the title, the focus of the themes? The initial information about the
conflagration and its setting the tone of the flashback? The fire as fact and symbol?

2. The contribution of black and white photography, the use of wide screen, light and darkness, interiors and
Exteriors, the contrast between the old world and the new, the religious background of Japan, the sequences showing the war and the contrast with the post-war situation? The atmosphere of twentieth century Japan and its social changes especially with the focus of the war? The conflagration as a symbol of this change in fact and in attitude?

3. The blend of realism with stylized sequences? The scene of the action from the viewpoint of Mizoguebi? His sanity, his perspective on life, Japan, religion, behaviour?

4. The structural device of the use of the American detective story and police interrogation style especially
in the initial and final sequences contrasting with the flashbacks and the presentation of the Japanese way of life? The importance of Mizoguchi’s not speaking during the interrogation and our learning why not?

5. The device of having flashbacks within flashbacks? How well did the film make its transitions for the various time structures? The importance of memory? The information about the past given in dialogue and in visuals? The split focus on Mizoguchi - objectively and subjectively?


6. His background - the importance of his father and his role in the priesthood. the shrine, all that his father meant to him - the quality of his memories, his encounters with his father on the cliff of the sea. his father's death and funeral? The contrast with his mother and his antagonism towards her? Her continued reappearances her work in the temple. the pressures even at the end as regards her reputation? The temple as a symbol and a vision? The background of his memories for example the sailor and his attack with the knife, the sequences of his stammering and his violent reaction?

7. The importance of the chief priest in the plot, the facts of his behaviour, Mizoguchi’s interpretation, the
interpretation and judgement of the film makers? His friendship with Mizoguchi’s father, his receiving him to the temple? His fidelity to the memory of his friend? The contrast with the manager who was worried about finances for example in his outburst against the chief priest and his complaints about his son not being received? The chief priest and the way of life at the temple during the war - ritual, religious attitudes, prayer and contemplation?

8. The importance of the suggestions of war, the passing of the years, the various Times? The importance of
Mizoguchi’s mother’s visit and the background of the war?

9. Why did Mizoguchi and his mother clash? His not wanting her, his great hopes at the temple and his religious ambitions, her working? Her comments on her pride and her attempts to draw near to her son? His moving away from her? The pathos of her suicide for her reputation?

10. The film's presentation of religious spirit and values in the temple and an the way of life in Japan prior and during the war? The beggars and their coming and the chief priest in treatment of him? The chief priests pre-occupation with finding a successor?

11. How well did the film present the jolting transition to the post-war period? The presentation of the tourists and their coming to the temple, the American soldier and the Japanese girl and her worry about abortion and Mizoguchi’s attacking her? Cigarettes, money? The chief priest and his growing preoccupation with worldliness and possessions his interest in the cigarettes? His taking on a mistress the telephone calls, his preoccupation with her birth? The change in Japan as symbolised in the chief priest? The scenes of his speaking out of his conscience yet his inability to change eventually? The effect on Mizoguchi, on the manager and his adaptation? to the changes?

12. The film's comment on the change of values and worldliness?

13. Mizoguchi and his loneliness, the bond with his friend and then the revelation that he had died, the encounter with the cripple and his cynical attitudes and illustrating this especially in getting the girl whom he considered stuck-up to help him? The significance of their talks together, confusing Mizoguchi’s mind? How much did he understand?

14. The importance of the story of the cat and the killing of the cat – symbolism, influence on Mizoguchi’s eventual attitudes?

15. The build-up to the burning of the temple? Mizoguchi and loneliness, his dissatisfaction and dissolution with the chief priest, his not being the successor in the temple, his mother, his friend's death, the cynicism of the cripple, the subjugation of the girl? The gradual pressure to madness, the quality of his sanity? The preservation of his father's memory and visit and values? The importance of his standards and his decision cleanse by burning? The visualising of the burning and its dramatic impact at this stage of the film?

16. The contrast with the collage after the burning and his trial? The arrest, his not speaking, the immersion
into realism and reality? His inability to accept this?

17. The build-up to the ride on the train, the inevitability of his death and its pathos?

18. The apocalyptic tones of the title, the burning, the judgement and the cleansing, the need for destruction of a world and the building of a new one, symbol and madness? What was achieved by the apocalypse?

THE CASTAWAY COWBOY

US, 1974, 91 minutes, Colour.
James Garner, Vera Miles, Robert Culp, Eric Shea, Gregory Sierra.
Directed by Vincent Mc Eveety.

The Castaway Cowboy is the second film that James Garner made for the Disney studios in the early 1970s. The other one was One Little Indian. This film is about cattle ranching in Hawaii in the 19th century. The film was made on the island of Kaui(*?) which provides the setting for the plot.

James Garner portrays a cowboy adrift in Hawaii. Vera Miles plays a rancher who is looking after her son. The cattle run loose, the cowboy suggests that they ranch and organise themselves for the cattle industry. A jealous banker is the villain – played by Robert Culp.

The film is amusing – and has a clash between the ways of the cowboy from the mainland with the way of the farmers and the workers in Hawaii.

The film was directed by Disney regular, Vincent Mc Eveety.

1. Was this a good Disney adventure? The characteristics of Disney adventures? The qualities of this film? Comedy, excitement?

2. How enjoyable was the film: characters, the incidents, the humour, the excitement, the cowboy atmosphere?

3. Comment on the use of Hawaii as a setting. The 19th century background? These people and their relaxed attitudes, the difference of the setting, the 19th century? What did this add to the film?

4. How strong was the cowboy atmosphere of the film? The use of the western conventions, their being transferred and transformed in Hawaii?

5. How attractive a hero was Costain? James Garner's style, his heroism the laconic way of acting and talking, the Texas cowboy, his skill with the cattle, his father figure role for Booden, his love for Mrs Mc Evoy, his deciding to stay? Did audiences expect him to act like this? Were they satisfied when he did?

6. How attractive a character was Mrs Mc Evoy? As a mother, widow, her work on the farm, the threat of the cattle, her engaging Costain, her relationship with Bryson, her being victimised by him, her love for Booden, her relationship with Costain and the happy ending?

7. Booden: could children in the audience identify easily with him, his life in Hawaii, his finding Costain, his needing a father-figure, his rejection of Bryson, his learning to be a cowboy, his work with the cattle, the happy ending?

8, How much of a villain was Bryson? His assistant? Did audiences expect this? The nature of his double dealing? The villainy with the cattle? The importance of the final fight?

9. The importance of the cattle, as a menace, to be rounded-up? The Hawaiians and the humour of their learning, thrills as well as the spills?

10. How satisfying was the rounding up of the cattle? The impact of the stampede, the pulling down of the houses etc.?

11. Was the happy ending the best ending for the film? What values did the film presuppose and in its audience? What attitudes do Disney adventure films leave? As regards right and wrong, heroism? How successful an adventure was this?

THE CAREY TREATMENT (A CASE OF MURDER)

US, 1972, 101 minutes, Colour.
James Coburn, Jennifer O’Neill?, Pat Hingle, Steve Aubrey, Elizabeth Allan, Dan O’ Herlihy.
Directed by Blake Edwards.

The Carey Treatment is based on a novel by Michael Crichton (who also wrote the medical novel Coma, drawing on his own medical background – which also extended to the television series Chicago Hope). The novel was adapted by veteran screenwriter, Harriet Frank Jr. It was directed by Blake Edwards who had emerged on the film directing scene in the 1950s, made quite a mark in the 1960s with a range of films including Breakfast at Tiffany’s, The Pink Panther and its sequels, Days of Wine and Roses and The Great Race. However, the 1970s were not strong for Edwards. After this film he made The Tamarind Seed with Julie Andrews and a couple of other Pink Panther films. However, he revived again with 10 in 1979 and continued through the 1980s with such films as SOB and Victor/Victoria.

James Coburn portrays a doctor who goes to a troubled hospital. The administration is under suspicion because of an alleged abortion gone wrong. However, the doctor investigates the accusations against his friend, a doctor in the hospital (James Hong) and uncovers a whole range of medical as well as criminal problems. The film probably plays better in later decades than it did at the time – and is for those who enjoy the genre of doctor-turned-detective.

1. Was this an entertaining murder thriller? Why? Was it an interesting thriller with its hospital background? Was there some satire and comment on hospitals in this film?

2. Peter Carey: was he a good hero? An independent type? A Right wing type? His friends and his relationship to them?

3. This Boston hospital as an image of American way of life? The power struggles, the cover-ups of inadequacy and ineffectiveness, the criminal actions going on underneath the surface, the resistance to being opened up?

4. Georgia Hightower: was she an attractive heroine, sympathetic? The reason for her liaison with Peter Carey? Did they love each other?

5. J.D. Randall: as a person, as the head of the hospital? What values did he stand for? What aspects of his personality were repellent?

6. Karen, as a sympathetic character?

7. The drug situation: was the film anti-drugs, trying to make moral issues out of addiction, murder, the length to which people will go for drugs, their degradation?

8. David Tao: as a person, as a doctor? His stand on abortions? Did you agree with him? The action that his fellow practitioners took against him on this point?

9. The murder itself, did it provide interest for the film? How?

10. The involvement of the police and their investigations? Peter Carey's individual investigations? The girl and the man from the sauna?

11. The threats in the hospital?

12. The presentation of rich Boston life? Randall and his home life? Was there any comment being made on this by the film?

13. The film dealt with integrity and compromises with integrity. How?

14. Were the final choices that had to be made? Were they well made, or with compromise? What should have been done? Is this symbolic or what happens in society? American society?

15. The film was criticised for its low tone. This would indicate the medical ethics background, abortion, drugs, murders, violence, especially the deaths, motor bikes? Why?

16. Was this a worthwhile film? Did it raise worthwhile questions for discussion?.

NIGHT OF THE DEMON (CURSE OF THE DEMON)

UK, 1957, 95 minutes, Black and white.
Dana Andrews, Peggy Cummins, Niall Mac Ginnis, Athene Seyler, Liam Redmond, Maurice Denham.
Directed by Jacques Tourneur.

The Curse of the Demon/The Night of the Demon is an excellent small horror thriller with an emphasis on the supernatural. Made in the late fifties, it was ahead of its time and would have found its place in the trends of the seventies.

Directed by Jacques Tourneur, who had worked with Val Lewton in the forties in such films as Cat People, the Leopard Man and I Walked With a Zombie. The film, set in England, has contemporary atmosphere as well as an eerie opening towards the influence of evil and the Devil. The special effects used for the actual appearance of the demon are quite effective especially with his destruction of the villain played by Niall Mac Ginnis and a train crash.

Dana Andrews and Peggy Cummins were rather ordinary in the leads but there was a strong English supporting cast to give the film value, with Athene Seyler as MacGinnis' sister. Not only is the plot effective and the suspense taut, but the exploration of the supernatural and the playing of God and Evil is interesting and effective.

1. Audience interest in horror stories? The appeal of horror - the visualising of the unknown, evil? Shocks and fright, fear, mystery? How successful a horror film was this?

2. Audience interest in Satanism, witches, the Devil himself? The age-old images of evil, antiquity and folklore? Their seemingly remote, seeing them in modern contexts? The credibility of Satan in the contemporary world? The use of Stonehenge and its history and its mystery, Runic letters and their power, the drawings of the Devil and witchcraft from early times and the Middle Ages?

3. The title of the film and audience response to it, the actual visualising of the devil at the beginning, the suggestion of fire and his reappearance at the end? The technical success of the visualising of the Devil? Contribution to the plot, the effect on the audience? Its linking with traditional drawings and appearances?

4. The atmosphere of the opening with Karswell and his Satanism, yet his being the modern English gentleman with an agreeable mother? Harrington and the sense of urgency in his driving? The fear just prior to his death, the appearance of the Devil himself and Harrington's death? The background of Devil-worship, the publicity and the investigation and the diabolical revenge?

5. The film's presentation of Karswell as magician? the scenes with the children and his playfulness yet the transition to his creating the storm? His presence and appearance, especially his beard? The encounters with John and Joanna? His passing the runic letters in the British Museum? The atmosphere of magic, the seance? His friendship with his mother yet his gradual threat to her and the audience seeing how sinister he was? The incident with the cat attacking John in his house? His getting away scot free at the end - the comic touches in his evading getting the letters from John? His relying on his power, wealth? And yet the fragility of his power and his foolishly taking the letters? The Devil not being faithful to his own and taking him?

6. The contrast with the ordinary world? psychologists, conventions about hypnotism, the investigation? The plane and John attempting to sleep, Joanna and her writing? Their encounters, talk? And the transition because of the Harrington connection? John and his rationalism but his curiosity, going to the British Museum, the encounter with Karswell, the prophecy about his death, the pages missing from his diary and the similarities of his experience with that of Harrington? The séance and Harrington's voice?

7. The background of the police and their interrogations, presence - the ordinary world of law, order and investigation?

8. Joanna as heroine, as niece to Harrington, in love with John? Her help, her presence at Karswell's party, arranging the séance, her finally being captured and luring John to the train? The happy ending?

9. The very British touch of having Mrs Karswell - her genial presence, her knowledge of what her son was doing, her ignorance? At the party and the ice cream? At the seance and her urgency in wanting to help? Finally at home and her wanting to be rid of the evil?

10. The importance of the visit to the criminal's family, their witchcraft background, signing the document, the build-up to the criminal's coming to the convention, the hypnosis, his experiencing the night of the Demon and his suicide? This sequence in the atmosphere of Karswell's magic, the experience of the seance (and the ironic humour of the personalities at the seance?)

11. The build-up of suspense, fear, John in the woods, searching Karswell's house and being attacked, being chased by the Devil's ball of fire? The build-up of time, trying to get the letters across to Karswell?

12. The build-up of the ending and the appearance of Satan, his killing of Karswell and its being linked with the trains and death on the railway lines?

13. The possibility and plausibility of such a story? The value of imagining this kind of story?

THE CONVERSATION

US, 1974, 113 minutes, Colour.
Gene Hackman, Robert Duvall, Frederic Forrest, Cindy Williams.
Directed by Francis Ford Coppola.

The Conversation was acclaimed by critics and received awards at Film Festivals but was singularly unpopular at the box office. People may have been frightened by its theme or put off by its difficulty. However, it is an excellent film and will probably be constantly re-released for film societies and for discussion.

Francis Ford Coppola became an important person in movies with The Godfather and its sequel. He was one of those directors helped to fame by Roger Corman who backed his 1963 horror thriller Dementia 13. Coppola made such films as You're A Big Boy Now, The Rain People and Finian's Rainbow, as well as writing such films as This Property is Condemned, Is Paris Burning?, Patton, The Great Gatsby. He is a versatile and sensitive artist.

The Conversation was a personal project dealing with bugging and the modern invasion of privacy, the industry of surveillance. The film gains interest and evokes disgust at this invasion of privacy and highlights the dehumanising effect of not being involved with real people, as well as the danger of over-involvement and misinterpretation. Gene Hackman, a good actor anywhere, gives an excellent performance in a film which has been called an aural equivalent of Blow Up. Supporting performances, music and the technical background of the surveillance industry make the film very worthwhile.

1. The film received critical acclaim. Why? Is it deserving of such praise? It did very poorly at the box office. Can you see why? Why would people not like it? How topical is the film? How realistic in its presentation of a modern topic - surveillance? Are people afraid of this topic and its implications? Its reflection of the early seventies in America? How frightening was this?

2. The film was a detailed study of the use of sound and recording. How well was this portrayed and explored visually? The showing of the mechanisms and techniques to experiment with and to tape sound? Of putting sounds together? A technological poem exploring the possibilities of sound? How did the music contribute to the atmosphere of the film? And to Harry Caul's drama? The dramatic impact of the music?

3. One of the principal themes was that of privacy. How strong was the theme in the film? What was the judgement of the film-makers about a man's privacy? What rights have people to privacy? When can this privacy be invaded? Without a person's will? How is privacy invaded? How can it be invaded? The example in the film itself? The ending, with Harry's being invaded?

4. What is your reaction to the science and industry of surveillance? Is this a good thing? Has it its uses in the modern world? For politics etc.? Or is it just an invasion of privacy on a grand scale? The film's detailing of the technology of surveillance? The convention? Harry Caul's initial experiment with the three sources recording the conversation etc.?

5. What kind of people are Involved in surveillance? How emotional can they be? What is the result of such detachment? What happens when they become involved in the life of the people they bug? The result on Harry? Why did it happen to him in this case? His previous avoidance of emotional involvement?

6. What did the film have to say regarding judgements made on such evidence of surveillance? The fact that Harry misinterpreted this evidence? That evidence can be interpreted many ways? The evil consequences of judgements made? The emotional involvement and effect on such judgements?

7. What judgment did the film make about technological advances? The background of the convention and the details of the people there? Of the gadgetry? The parody of the sales talk regarding the gadgets? The gathering at Harry's office afterwards? The technological espionage that is possible? The using of people, e.g. the lust for espionage purposes? Espionage and the invasion of privacy?

8. How well did the film explore Harry Caul's personality? The qualities of Gene Hackman's performance? The intricacies of his mind and his life? His background and previous successes? His total involvement in his work? His emotional upheaval and reliance on pick-ups? The importance of his being a Catholic? The sequence of his going to confession? The symbolising of this as a use of privacy and surveillance? The trivial nature of his confession? The concealing of his true self from this seeming invasion of privacy? What was the result of Harry letting his emotions become involved? His relationship with his assistant? His abuse of him and the assistant wanting to leave him? Could Harry keep friends? The crisis that the investigation of the conversation had on him? What was left of him at the end?

9. Could the audience identify with Harry? To what extent? Could the audience identify with the couple whose privacy was invaded?

10. What was your impression of the couple? Of their conversation? Did your impressions change as you heard the conversation over and over again? Varying snippets? Trying to hear more clearly what was not heard previously? What was your interpretation of the conversation? Did this change? Were you emotionally involved with the couple? Why?

11. How did Harry's visits to the director's office alter your interpretations of the conversation and your emotional involvement? Did you like the director's assistant? your impressions of the director himself? Were they hostile? Did you fear for the couple?

12. What really happened as regards the director's death? What was in Harry's imagination and dreams? How well filmed were Harry's fantasies, dreams, fears; why was Harry so paralysed in the hotel room? How strong was his emotional involvement? Why could he not act? His revulsion at the plastic and blood in the toilet? His reaction to the couple after the director's death? What had happened to him? What had happened to you?

13. How much effect did the surveillance have on Harry himself? What happened to him when his privacy was invaded? His fear, his obsession, his ripping up his house, his invasion of privacy? What judgement was made on him?

14. At the end Harry was left by himself playing his saxophone. Alone in a private hell. What impact did this final image of the film have? Did it sum up the themes of the film?

THE COMIC

US, 1968, 90 minutes, Colour.
Dick Van Dyke, Michelle Lee, Cornel Wilde, Mickey Rooney.
Directed by Carl Reiner.

The Comic received very good reviews when released but was not popular with cinema audiences. Perhaps they guessed that the title was ironic and that the film would not be as funny as they hoped. Perhaps audiences would not accept Dick Van Dyke in such a role. (Although, with his later revealing that he was an alcoholic, audiences gave great support to his television movie. The Morning After, in which he played an alcoholic.)

However, The Comic is a film well worth seeing. It is one of those films which takes us behind the scenes of show business, which criticises the old Hollywood world and its sense of unreality. It deals with people with problems and probe these very effectively. But it also pays tribute to the enjoyment for world audiences which Hollywood gave. It has a sequence of imitations of silent comedies (starring the Van Dyke character which makes convincing the character as a great screen comic) which are very funny indeed.

But the main impression is the pathos of the situations and the characters. Billy Bright, the comic, is not really an attractive character and yet he should have been. His wife is attractive and is made to suffer. A fellow comic, play very well by Mickey Rooney, highlights the problems of ageing and losing popularity.

The film was directed by comedian Carl Reiner, who also directed the black comedy Where's Poppa? The Comic can be highly recommended for discussion on life and growing old, careers, reputation.

1. How much irony was there in the title? Was this effective irony? How did the title give the tone to the film?

2. Was the film effective in its use of varying styles - of silent comedy, of modern comedy, of modern drama? Was it Successful in its structure ~ in it flashbacks, in its use of the words of Billy Bright, in the continual reference to his funeral?

3. What was the effect of having so many of Billy Bright's silent films? How genuinely funny were these? What kind of comic character was Billy Bright front these films? Mere they authentic enough to give value to the rest of the film and Billy Bright's career?

4. What kind of person was Billy Bright? In himself, as a man? As a movie star of the silent days? What kind of a career did he have? How self-mads was he? How selfish and self-centred was he? Consider his comments on what was happening and the reality in the film before our eyes? How realistic s outlook on others did he have? How pathetic a person was he? His relationship to Mary, to Cockeye, to Frank Powers? His eye for women? The shallow ness of his affections? His decline into old age - was he sympathetic in t old age? His selfishness with Cockeye? His going on the T.V. programmes? His commercials? Was his death a sad thing?

5. How interesting was the picture of Hollywood in its silent days and the type of films that it made? How did. people's private lives contrast with the comic stories on the screen? Is there some significance in this?

6. What kind of person was Mary Gibson - was she a genuine kind of person? Genuinely in love with Billy? A good mother? The impact of the wedding sequence and his filming at their honeymoon? Her trying to communicate with Billy on his return front Mexico and her failure? Her disappointment in the adultery case? Was she right to divorce him? To marry Frank Powers? How much grief was there at his funeral?

7. What kind of person was Frank Powers - as a man, as a director? Was he the right person for Mary to marry?

8. The importance of Cockeye in the film? How good a comic was he in the films? How sincere a friend to Billy? Why was he just as much a has-been artist as Billy? Was he sympathetic in his old age? In his friendship with Billy in old age?

9. How did the film show life in Hollywood in the twenties and the styles of life, fast and flashy?

10. How do the styles of the twenties compare with the styles of the sixties? The comment of Billy and the younger generation in the T.V. programme?


11. What impact did the television programme have? How did it present Billy? Sympathetically? Why did he play to the gallery? Was the appeal to producers by the compere too sentimental? Was this a humiliation for him?

12. What did you think of the commercials? Should he have made them? Did he still act well? Comically? Were the commercials a humiliation for him? Just something to do?

13. What was the impact of the finale as Silly watched his own films? The significance and symbolism of "Forget Me Not"? The memories that this evoked? The look on Billy Bright's face as he watched himself? How pathetic, how sad a summing-up of his life?

14. Did Dick Van Dyke give an effective performance as Billy? Did he submerge his own personality in that of Billy? The effect of Billy's son coming to see him, as played by Dick Van Dyke? Was this successful?

15. What insight into human nature did this film give?

THE COMEDIANS

US, 1967, 150 minutes, Colour.
Richard Burton, Alec Guinness, Elizabeth Taylor, Peter Ustinov, Paul Ford, Lilian Gish, Raymond St. Jacques. Directed, by Peter Glenville.

The Comedians is based on Graham Greene's mid-60's novel, and he himself wrote the screenplay. The film is rather long and, with the stars, a bit too romantic. Nevertheless, it has the usual Greens ingredients of odd and seedy characters who wear comedians' masks to cover their real selves and who, in varying degrees, have the truth revealed to them.

Smith, Brown and Jones are the names of the comedians. Brown is Richard Burton doing one of his cynical soul-searching performances with typical Greene remarks about having lost faith in faith. Alec Guinness is good as the braggard Jones who is ultimately unmasked as a humbled, repentant man. Paul Ford's Smith is more a common man eccentric's role, more that of the ordinary comedian. Lilian Gish is effective as Mrs. Smith. Peter Ustinov gives a fine, sober performance as the Ambassador, and Elizabeth Taylor is her usual self as his wife.

Haiti is the setting (although filmed in Africa) and the outspoken criticisms of Papa Doc and his regime, meant that the film and all concerned with it were banned from Haiti.

Director is Peter Glenville who directed such films as Summer and Smoke (1961), Term of Trail (1963) and Becket (1964). Anything by Graham Greene is worth discussing.

1. Why did Graham Greene call his novel "The Comedians"? Is it just a name for people who professionally make us laugh? Or has it more to do with people who show insight into the foibles of human nature and its littleness as did the writers of classic comedies? which meaning is closer to what the film presented?

2. The significance of the major characters being called Brown, Jones and Smith?

3. Was the film about Haiti?

4. The first impressions of the film - traditional Christian chants, welcome to Haiti, superstition and the Tontons Macoute? What kind of world does the Haiti of the film represent? Is it often found throughout the world?

5. - Brown - what kind of man, a typical Greene hero? How? Imprisoned in his hotel and his knowledge and experience of Haiti, living in a pas*- of decayed grandeur, involved in the politics and danger of the present - deaths, bodies in pools, curfews, prisons, using influence, relationships with the local people. Brown's cynicism?
- Jones - a brash phony immersed in a world of harsh reality of prison and torture where his bragging and supposed bravery mean nothing, a smooth talker who says very little?
- Smith (and Mrs. Smith)- the eccentric do-gooders of this world, very American, naive, expecting goodness everywhere and shocked by its absence?

6. Why did Martha and Brown have their affair? What did it mean to either of them? How much love was there?

7. The Ambassador - as a person, his love for his wife and son (her love for her son), trying to exist dutifully in Haiti?

8. The world in which these comedians act - how vividly portrayed - murders, religious funerals, arrests and torture, Duvalierville and empty promises, depression; the people, revolution; Their lives of poverty, begging, the cock-fights; the voodoo superstitions and the religious support; Dr. Maggio and doing good; the need for Intrigue?

9. Why did the ironic Brown get involved? why did Jones get involved? Why did Martha and the Ambassador get involved when it meant political defeat?

10. How successful was the suspense in the film - change of cars, yet the humour of Jones as the washerwoman?

11. How important was the final conversation of Brown and Jones? Why did Jones need to confess? How religious was this? why did Brown absolve him, even when he said he had no faith in faith? Who was the Christ figure?

12. The irony of the ending - Haiti, revolution and the jet escaping back into the world?

13. What insights into human nature and life did the film offer?

COMPLICITY

UK, 1999, 99 minutes, Colour.
Jonny Lee Miller, Keeley Hawes, Brian Cox, Paul Higgins, Rachel Sterling, Bill Patterson.
Directed by Gavin Millar.

Complicity is a complex melodrama based on a novel by Iain Banks. Jonny Lee Miller is a journalist who becomes involved in a series of brutal killings, becoming a suspect, pursued by policeman Brian Cox. The film has flashbacks to the childhood days of the journalist and his range of friends. The friends have grown up, he is emotionally tangled with one, another who has fought in the Gulf War has bought himself a castle in Scotland and has retired there.

It is difficult for the journalist to know whether he is being set up or whether he has an actual contact in the intelligence services. As he pursues the investigation, with the friend from the Gulf War, it soon emerges that it is the friend who has an outraged sense of justice, especially as regards the Gulf War and as regards the treatment of the environment and is wreaking vengeance. It all moves to a very melodramatic and confrontational conclusion.

1. An interesting thriller? The writings of Iain Banks and their popularity? The transferral of a complex novel to ninety minutes of screen time?

2. The Scottish locations, their beauty, sinister aspects? The Scottish towns and cities? The musical score?

3. The title, Andy's comments about everyone's involvement in injustice, abuses, the complicity of everyone?

4. Cameron, his personality, age and experience, work as a journalist? His voice-over and perspective?

5. The focus on the deaths, their brutality? The phone voice, the conspiracy, the links, the newspaper headlines? The claim to be from National Intelligence? Cameron, his work at the paper, his investigations, the clashes with his bosses, his being put on research? His continued interest in the murders, the personalities who were killed and trying to find the links? His greater involvement, the further phone calls, his being at the scene of crimes? His becoming a suspect, the confrontation by the police, the interrogations, in the cells? His behaviour towards his friends, the sexual relationship and its kinkiness with Yvonne, the memories of the death of Claire, William and his affluence, Andy and his experience of the Gulf War, retirement, his house and the people who lived there?

6. The insertion of the flashbacks, the group of youngsters and their bonds, children and their life, their relationships, the build-up to the sequence of the assault, Andy as victim, Cameron and his fear, his trying to help Andy, hitting the man who assaulted him?

7. Cameron and Yvonne, her marriage to William, the sexual relationship? The memories of Claire, her drug-taking? The memories of Andy, his being supported by Cameron, the best of friends?

8. The investigation, the arrest, the interviews, his being sacked from the paper, his going to the island of Jersey, finding the body, the further interrogations?

9. The inspector, his pursuit, the arrest, the interrogations, torture? Cameron trying to think, his continually going back to his past, his realisation that the murderer was Andy?

10. Going to Andy's house, meeting his friends, their discussions? The fire, the identification of the teeth? Andy and his framing Cameron? The car breakdown, Andy's confrontation with him, the explanation? Andy's death? The story and the truth, Cameron's escape?

11. The funeral, Cameron's relationship with his friends, the change of attitude, his work and the future?