COUNT THREE AND PRAY

US, 1955, 92 minutes, Colour.
Van Heflin, Joanne Woodward, Phil Carey, Raymond Burr.
Directed by George Sherman.

US, 1955, 102 minutes, Colour.
Van Heflin, Joanne Woodward, Philip Carey, Raymond Burr, Alison Hayes.
Directed by George Sherman.

Count Three and Pray is now memorable for the introduction of Joanne Woodward. Two years later she was to win an Academy Award for The Three Faces of Eve. The next year she married Paul Newman, appeared with him in many films including being directed by him in Oscar-nominated Rachel Rachel. Van Heflin is good as a Civil War fighter, violent man and womaniser who repents and comes to the town as the new pastor. He tries to rebuild the church with the help of Joanne Woodward, a latter-day Tammy. The opposition comes from Raymond Burr.

The film is humorous as well as serious and was directed by George Sherman, a veteran director of many genre movies, but especially westerns such as The Treasure of Pancho Villa, Chief Crazy Horse, Dawn at Socorro. Between 1948 and 1958 he directed thirty-three feature films. His last film was Big Jake in 1971 with John Wayne.

1. What were the ironic implications of the title?

2. Was this an enjoyable film? Why?

3. What were the principal ingredients of the film? How typical a western was this?

4. What impact did this have as a "religious" film? Was it really religious? How?

5. The film received good reviews. What were its principal qualities?

6. Comment on the setting of the film and its impact: the civil war, the song, the return from the war, North versus South, forgetting hatreds; the nature of the town itself, the people in the town, the ordinary people, the rich people, the decaying gentry, the newly rich; the power struggle in the town between Yancy and the gentry.

7. What was the nature of love and hatred in this film? Comment on how much hatred there was in the town . What were the origins of the hatred - towards Luke Fargo, towards Georgina, towards Yancy, towards the gentry?

8. What kind of man was Luke Fargo - was his past typical of a man in the West? His decision to fight for the North in the war? The impact of the war on him and his decision to become a preacher? His return, his friendships, the reaction of the people in the town, the reaction of Lissie? His determination to become a preacher, his decisions especially about gambling, fighting, Selma? Why did he succeed? what motivated him? Was he trying to buy friendship or was he trying to get people to church? Why was there such opposition to him? Why was he blind to Lissie’s feelings for him?

9. Lissie: how spirited a performance was this from Joanne Woodward? How convincing was she? What motivated her? How was she a contrast in behaviour and beliefs to Luke? How did her comments keep him down to earth? How was she a kind of chorus in the action of the film? Why did she fall in love with him? Was the ending convincing?

10. Yancy - was he a typical brutal villain? What motivated him? Class differences in a new world? Why was he so cruel to Georgina? when she whipped the man, in humiliating her, in marrying her?

11. What did Georgina stand for? the old gentry and pride, her decaying mother? Her infatuation with Luke? Her turning against him? Why did he not respond to her in sympathy? What was the ultimate humiliation?

12. Comment on the friendship of the ordinary people in the town, with Luke - especially in building the church, in burying past hostilities, in their testimony to the bishop?

13. The role of Selma in the film – supporting Luke, frightening the worshippers, testimony to the bishop, advice to Lissie?

14. Was Luke Fargo a man of principle? Why did his principles clash with others’?

15. How enjoyable was the trial from the bishop? Especially his interview with Lissie? Was the triumph of truth convincing?

16. How optimistic and humane is a film like this? Why?

CHECKERED FLAG (CRASH. CROSS COUNTRY WRECKERS)

US, 1977, 95 minutes, Colour.
Joe Don Baker, Susan Sarandon, Larry Hagman, Alan Vint, Parnelli Jones.
Directed by Alan Gibson.

Checkered Flag (Crash, Cross-Country? Wreckers) is another of the many popular drive-in actioners involving racing cars. This time it is off-road racing – and, though the setting is the US, was filmed in the Philippines. Joe Don Baker, action hero at this time (especially for his Walking Tall films as Buford Pusser) is a natural as Walkaway Madden. It is a surprise to see Susan Sarandon in this film. Larry Hagman also appears, doing a variation on his Dallas J.R. character. Driver Parnelli Jones appears as himself.

The film was directed by Alan Gibson who went more upmarket in succeeding years with the television film of A Woman Called Golda with Ingrid Bergman and Judy Davis as Golda Meir, a remake of Witness for the Prosecution with Deborah Kerr.

1. Significance and tone of the title, audience expectations? The original American title was "Crash". For what audience was the film made? For what effect? How successful?

2. Audience interest in and response to the world of cars, their power, dangers and risks, the spectacular nature of crashes and wrecks?

3. The basic idea of the film for the rally? The structure of the film, introducing, the characters in the context of the rally, the progress of the rally and its risks and dangers, achievement? Audience involvement via the structure?

4. The initial introduction to cars and bikes? The importance of machines in the twentieth century, skill with machines, driving them, making demands on them? Success and failure with machines and the effect on the skilled people?

5. The importance of the terrain for the rally, the Philippines, jungle terrain, rivers, roads? The nature of the challenge? To what purpose?

6. Comment on the various accidents and the effect on the audience, the effect on the characters?

7. The pros and cons of such rallies? The personalities involved, the attitudes of danger and risk, the business world and the money-backers and the money risks? The importance of the organizers risking people's lives and playing with people's lives?

8. How important was the presentation of Cochrane in this regard? His busy personality, frantic pace, organization, the initial encounter with C.C.? His stock car background, his explanation of his never being a winner yet having a dream? His money risks, its helicopter supervision? His realisation of the danger with the flood, with the alternate route? The lies and playing with people’s lives? What values did he stand for?

9. How interesting and engaging a hero was Madden? His nickname of ‘Walk Away’? As hero, tough? his attitudes towards the rally and driving, towards C.C.’s presence? The way that he got rid of her? His attitude towards Doc? His skill and his finishing the rally? Did he have the right to run such risks? How real a character was he?

10. The contrast with the character of Doc? His ability with machines, motives for being in the rally, clash with Madden, friendship with C.C.? His not finishing the rally?

11. How real a character was C.C.? How interesting? As a reporter, as a woman, responding to similar dangers? Her observations on the rally? Her presence and her being left? What attitude did she have towards the various people involved? Towards Doc? her comments on life when she was left in the middle of the Philippines?

12. How well delineated were the other characters, in terms of the rally, relationships - the touch on sexuality?

13. How much reflection went into the film? For example, C.C.’s remarks when she was taping? Was the film anything more than a presentation and even an exploitation of machines and risks and dangers?

THE CROSS AND THE SWITCHBLADE

US, 1970, 106 minutes, Colour.
Pat Boone, Erik Estrada.
Directed by Don Murray.

The Cross and the Switchblade was a significant book in the 1960s and a significant film in the early 1970s. It was a forerunner of some of the films during the 1970s with religious background. This is the story of gangs in New York, personified by the real-life character Nicky Cruz, played by TV Chips’s Erik Estrada. The film is strong in its presentation of the gangs and their brutality. The film focuses also on a minister who goes into the gang area to work with the youth. He is played by singer Pat Boone.

The film has the touch of crusading dialogue. To that extent, it seems somewhat dated. However, in the first decade of the 21st century, there was an attempt to revive this kind of religious film, films of faith.

Nicky Cruz also wrote a book, Run Baby Run, which was filmed as a documentary in 1998.

The film reminds us that there have always been city gangs, especially gangs of New York. But there have been great efforts made for social work, especially in Christian ministry.

1. The preface to the film, motivation of the filmmakers – entertainment, message? The quality of the religious sincerity behind the film?

2. What audience response was wanted for the film? Interest, religious response, conversion? How convincing was the film in this regard? How authentic?

3. Did the obvious religious messages dominate the plot or not? How well were they integrated?

4. The importance of the New York atmosphere? Trial, the gangs, the violence, the daring, the atmosphere of gangs and human needs? How well done? The language of New York? the atmosphere for a conversion story?

5. How interesting and convincing the introduction of David Wilkerson into this atmosphere? his demonstration at the court case, people's reaction to him? Comment on the qualities of his personality. His relationship to his wife and child? The urgency of his mission? the quality of his Christian love? The style of his religious preaching? The overtones of being religious? His speaking of aphorisms like 'God loves you’? Giving away his shoes, being slapped? How genuine was his concern?

6. The presentation of Nick as a balance to this religious atmosphere? The nature of his hostility, the reasons for it in the New York environment? The chips on his shoulder? Was he plausible and credible as a character? Hostility? His beating at the funeral? Reaction to Rosa? The basis of the change and the dramatisation of his conversion? The fact that he was a technical adviser for the film?

7. The humanity of the family, their support for Wilkerson? For Rosa in her addiction? For Little Bo?

8. The significance of Rosa in the film? Her attachment to Nick, her change? The drama of the drag scene? Her dependence on Nick and his wanting her to kill Wilkerson? Credibility?

9. The clash between the Bishops and the Mau Maus? The gangs in the New York streets? the ethos of fighting and superiority? Manliness? Anti-religion?

10. The rally, the collection, involving the gangs, the challenge to their beliefs?

11. How impressive was Wilkerson’s sermon? The focus on Christ, religion, feelings and the message of salvation? The window and the cross and the contrast with the switchblade world?

12. What did the film say about the reality of conversion? the possibility of this kind of miracle? How plausible?

13. The film's offering religion and religious values as the most important way of solving social problems? How realistic, idealistic?

14. How genuine were the Christian values portrayed and explored? The fact that David Wilkerson was a real person and that his centres have achieved quite a deal for people in need?

CROOKS AND CORONETS

UK, 1969, 106 minutes, Colour.
Telly Savalas, Edith Evans, Warren Oates, Cesar Romero, Harry H. Corbett, Nicky Henson, Hattie Jacques, Frank Thornton, Thorley Walters, Leslie Dwyer, Clive Dunn.
Directed by Jim O’ Connolly.

Crooks and Coronets is a pleasant 1960s-style caper. It has the unimaginable casting of Telly Savalas and Dame Edith Evans. Telly Savalas and Warren Oates play two crooks, commissioned by Cesar Romero, to rob an old lady. Once they try to, they find they are unable to. There are consequences both serious and comic.

The film has a lot of British character comedians including Harry H. Corbett and Hattie Jacques. It is entertaining – in a nostalgic kind of way for those times.

The film was directed by Jim O’ Connolly who made a range of films like Berserk and The Valley of Gwangi.

1. The tone of the title, its meaning, its themes? How is it fulfilled?

2. Was this a good example of the heist genre? Was it conventional, which conventions did it use, how well? The poking fun at the robbery theme?

3. How interesting was the general plan, the aims of the thieves, the details of the execution? How enjoyable the irony of seeing them almost executed?

4. How enjoyable was the film in its presentation of crime American style? The Mafia background, Marco and his style, the American crooks and their extensive way of doing things? Explosions and guns? Business acumen? Big ambitions? Sentimentality?

5. How enjoyably did the film show the contrast between crime American style and crime British style? The Americans defeated? But winning allied with the British? The British being defeated as such?

6. Hassler and Miller? The portrayal of the background, the foibles, their skills, the failures? The parody of gangster characters with Telly Savalas? Their change in attitude? was it credible? Or part of the comedy plot?

7. How enjoyable was Dame Edith Evans' portrayal of Lady Sophie? Her touch, the satire on the impoverished English aristocracy, the eccentric English, her flying the plane, her thieving, her gambling? How enjoyable a satire on the English was presented through her and through Lord Freddy and the servants?

8. How enjoyable was the final fight? How elaborately staged and filmed? The element of farce? Was this appropriate for the ending of this particular film?

9. What were the major comedy ingredients of this film? How did it work on audience presuppositions about robberies, English and American criminals, English and American styles of comedy?

THE CROOKED ROAD

UK, 1965, 92 minutes, Black and white.
Robert Ryan, Stewart Granger, Nadia Gray, Marius Goring, George Coulouris.
Directed by Don Chaffey.

A film version of one of Morris West's earliest novels, The Big Story. (One of the minor characters, George Harlequin, was to become a major character and title for one of West's seventies' blockbusters.) The film reflects West's interest in journalism, European power struggles, the pressures on honesty and integrity by politics and international finance. He was to develop these in his religious novels as well as Harlequin and Salamander.

The film, however, turns out to be rather B Budget melodrama - the stars are quite effective in their way. There is much advantage taken of black and white Yugoslavian location photography. However, the film is not excitingly written and is a blend of stereotype, melodrama and West's frequent rhetorical big statements about the meaning of life and honesty.

The film was directed by Don Chaffy, a director of a great range of films from Disney family films to prehistoric dramas to horror films. Chaffy worked in Australia with Disney films: Born to Win and Ride a Wild Pony as well as The Fourth Wish. Other films from West's work have been The Shoes of the Fisherman and West's own screenplay for The Devil’s Advocate.

1. An interesting and entertaining melodrama of character, politics and power? The work of Morris West and his interests? His reputation? In comparison with his other work?

2. The conventions of the journalist film, the exposes? How well did the film establish the situation, characters, potential for confrontation, resolution? Did the film rise above the conventional?

3. Yugoslav locations and their use and atmosphere, black and white photography? The atmosphere of affluence? British politicians? American journalists? The way of life of Europe?

4. The plausibility of the plot - in the fifties when the book was written, in the sixties when the film was made? The exposes of the seventies and eighties? Sufficient credibility for plot purposes? The establishment of Ashley and the background of his journalist work and inquiry into the Duke of Orgagno? His former friendship with Cosima? The establishing of the Duke's political power, accusations about embezzlement, his manner of rule? Relationship with Cosima? British interest? The political intrigue and the manipulation of crime? The melodramatic resolution?

5. Robert Ryan as the aging hero? Credible as the middle-aged reporter? His disdain in watching the film about Vittorio? His relationship with his editor, the discussions with the waiter, the deal with Garofano? The encounter with Cosima and her manipulating him? The murder and his implication? Police interrogation and suspicions? Vittorio and his smooth dealing and getting Ashley into his power? The intrigue on the island? the discovery of the truth about Helena, about her father, about Garofano? The guards and their shooting at Ashley, his being poisoned? Suspicions of Cosima and the discovery of the truth? The build-up to the final confrontation and the Duke's seeming to win? The exposition of the truth and Carlo's revenge? The possibility of a future with Cosima? His integrity, pursuit of the truth. personal angers. personal commitment? His decision to tell a lie in glossing over the truth of what happened at the villa? The importance of his decision to lie?

6. Stewart Granger's suave style as the Duke? On the film, in his dealing with the press, the clash with Cosima, the rejection of Helena and yet his hold over her? Carlo doing his dirty work for him? Hiring the gangsters and the murder of Garofano? His manipulation of the police chief? The encounters with Cosima and the growing hostility? The manipulation of Ashley even to poisoning him? The final decision to have him arrested for murder and implicate Cosima? The ironic revelation of the truth and Carlo's sudden stabbing of him? His ironic final comment about the big story? A credible sketch of a member of an aristocratic family, proud of his ancestry, resembling his ancestors in lust and cruelty in the 20th century?

7. Cosima and her relationship to Ashley, her marrying the Duke for security but without passion, later loving him, humiliated by Helena, enjoying the outing with Ashley, afraid about the killing? Under suspicion from Ashley? Her telling of the truth? The future?

8. Helena and her place in the household, her rejection by Vittoria, her fear of him? Carlo and his old-fashioned ideas of protecting his daughter, willing to kill Garofano, to kill Ashley? The violence of his outburst on discovering the truth? Garofano and his place in the household and his being murdered?

9. The police Chief and his interrogation? His being manipulated? His cover-up?

10. The intervention of Harlequin and British interest in the goings-on? Suave manner, communicating of suspicions to Ashley?

11. The minor characters and their contribution - the editor, the waiter and his being bribed, the thugs, the hunters on the island, the escort for Helena and his homosexual background, his being manipulated?

12. Themes of power, politics, international intrigue, finance? Personal integrity and honesty and journalism, communication? Truth and lies?

THE CRIMSON PIRATE

US, 1952, 105 minutes, Colour.
Burt Lancaster, Nick Cravat, Eva Bartok, Torin Thatcher, James Hayter, Margot Graham, Noel Purcell, Dana Wynter, Christopher Lee.
Directed by Robert Siodmak.

The Crimson Pirate is possibility the most rollicking of pirate films. It stars Burt Lancaster at his most acrobatic and he is supported by his long-time acrobatic partner, Nick Cravat. Eva Bartok is the romantic lead and the supporting cast contains a number of British character actors and early roles for Dana Wynter and Christopher Lee.

It is set in the 18th century, involves all kinds of plots, scientists, battles. After World War Two there was an appetite for pirate films like Sinbad the Sailor, Against All Flags, Anne of the Indies, Blackbeard the Pirate.

The film was directed by Robert Siodmak who had begun his career in Germany, left after the Nazi takeover and made films in France before going to the United States where he made a number of significant films, especially film noir like The Spiral Staircase, The Killers, Criss-Cross?, The File on Thelma Jordan. He continued to make films in the United States but returned to Europe in the mid-1950s, making only a few films in the US after this, including Custer of the West. The Crimson Pirate was his last mainstream American film.

1. Why are pirate films entertaining? As presented in the 50's?

2. The qualities and conventions of the pirate genre? Ship, leader, personalities, the Caribbean, treasure, fights, corrupt officials? Were these conventions well used in this film?

3. The colour photography, the ship set and the Caribbean towns? The use of colour, stirring music? The special effects for the battles? The emphasis on acrobatics with Burt Lancaster and Nick Cravat?

4. How Boys' Own Adventure was the plot? Historically credible? sufficient for the purposes of a rousing adventure?

5. Burt Lancaster as Captain Vallo? His initial introducing the audience to the story, treating it as an adventure, fairy tale, his geniality, acrobatics, heroics? His lack of principle in piracy? His robbing one group and trying to rob another? His relationship with his men, qualities of leadership, the loyalty of Ojo? The loyalty of Bellowes and Bellowes turning against him? His deals with Gruda? The involvement with Libre? with Consuela? How did he change his attitude throughout the film? The fact that his men turned against him? The clash with Bellowes and Bellowes finally dying for him? The inevitability of his destroying evil and leading the goodies to some kind of achievement? The romantic happy ending? A good pirate character?

6. The supporting characters: Ojo and his acrobatics, his loyalty, his ingenuity in helping Vallo? Gruda and officialdom and betrayal? Bellowes and the code of piracy, loyalty and betrayal, the heroism of his staying on the ship to help Vallo? Libro? The doctor (and the humour of his inventions especially his submarine series which saved them in the rowboat?)

7. Consuela as the conventional heroine for this kind of film, her situation, her vigour, her love for Vallo?

8. Comment on the presentation of the British officials, the other pirate characters.

9. The presentation of the fights, the capturing of the ships, the challenging of people in the town and the fights into which Vallo and Ojo fell?

10. Libre's followers and their companions, their helping Vallo? The crisis at the ball? The rescuing of Libre?

11. The final battle? What do audiences expect from such sequences? Were they satisfied? What attitudes in the audience towards heroism, pirates, the clash of good and evil? How well were themes treated in the light vein of the pirate film?

THE CRIMINAL (THE CONCRETE JUNGLE)

UK, 1961, 94 minutes, Black and white.
Stanley Baker, Sam Wanamaker, Gregoire Aslan, Margit Saad, Jill Bennett, Rupert Davies, Laurence Naismith, Kenneth J. Warren, Patrick Mc Gee.
Directed by Joseph Losey.

The Criminal, also known as The Concrete Jungle, is a very tough British prison film. It was written by Alun Owen, his first screenplay, before his prolific career as a writer, especially for television, including material for Ronnie Barker.

The film was directed by American Joseph Losey who had begun directing in the United States in the 1940s (The Boy With Green Hair) but was blacklisted and moved to England, making films under a pseudonym (The Sleeping Tiger) until it was safe for him to direct under his own name. He made a number of very tough films at this time in the UK, Eva, The Servant and King and Country. He continued to make striking films throughout the 70s and 80s, sometimes in France.

The film focuses on a character played by Stanley Baker, who takes part in a robbery, is informed on by an accomplice and goes to prison. In order to find out where he has stashed the money, he is tortured, his girlfriend taken and tortured, a film about corrupt police, brutal warders, thugs inside jail and outside.

The film has a very strong cast of prominent British character actors.

An important film in the canon of Joseph Losey.

1. The original title of this film was ‘The Criminal’. Where does this place the emphasis of the film? An alternate title was ‘The Concrete Jungle’. Does this shift the emphasis? How?

2. The film seems particularly ugly in its presentation, characters, atmosphere. Is this the point of the film? Does this make it too pessimistic? Is it necessary for audiences to see ugly worlds, ugly people and ugly actions? Why? Do you think this was in the director's mind when he made the film?

3. Comment on the effectiveness of the black and white photography and its implications for ugliness. Black and white for moral black and white? The background of the Johnny Dankworth music? The cleverness of the editing and its directness and pace?

4. Where did your sympathies lie during the film? Did you like any of the characters? How much sympathy did Johnny Bannion elicit? Or was part of the film’s impact the lack of audience sympathy?

5. How important were the prison sequences? Did the director intend them to be telling and with social comment? The style of prison life, the network of power and the prisoners? The personalities of the various prisoners, their crimes, the fact that they are all placed together, exercising their evil power on one another? The picture of the warders and the interaction between warders and prisoners? The personality of Chief Warder Barrows and his cold, metallic personality? What comment was being made on prisons via the character of Barrows? How effectively were the riot sequences filmed? The implications of these sequences? Did the film give valuable insight into English prisons? Cry for reform?

6. How interesting was the central character of Johnny Bannion? Even if he was not sympathetic? His self-esteem? His style in prison? His style as a gangster and when he left prison? Did his friends find him likeable or did they use him? The nature of his criminal mentality? Why was he as he was ? His big dreams and plans and his skill in executing them? The precarious nature of hie relationships with others? The fact that he could antagonise Suzanne and drive her to inform? How secure was his love for Suzanne? The fact that he could make mistakes and be sentenced again? His mistake in allowing himself to escape and show the criminals where the money was? The fact that ultimately he was defeated and died? His death as a commentary on his life? How well explored was the criminal and the criminal personality? Stanley Baker's performance?

7. How interesting were the criminals, especially Carter? How ugly were they in their humanity and their reactions on one another? Their greed and using one another? Their lack of scruples? Their greed? The comment on the reality of criminals?

8. The importance of Maggie for the film? What explained her personality? Her drunkenness? The dramatisation of the scene she created? The intensity of her jealousy and their understanding it? Her tip-off and the sequences of her informing? Bannion's fate as a result of his making Maggie jealous?

9. Was Suzanne, an interesting heroine? Was she merely, the usual type of character for this film?

10. How well-filmed were the robberies? Did this add to audience interest?

11. Did the film explore tellingly the nature of guilt and responsibility for crime? Or did it merely observe without exploring?

12. How was the irony of death and the criminals not knowing where the money was, an ironic comment on the whole proceedings? Did this give the film an added moral tone for its final impact on the audience?

THE CREEPING FLESH

UK, 1973, 94 minutes, Colour.
Christopher Lee, Peter Cushing, Lorna Heilbron, Kenneth J. Warren.
Directed by Freddie Francis.

The Creeping Flesh is one of the many horror films starring Christopher Lee and Peter Cushing who made their names in this genre with the Hammer Horror films, especially the Dracula and Frankenstein series.

This film is about evil and ethics, the attempt to eradicate evil which seems to come in human blood. On this premise, the film builds a horror story about bones brought from Papua- New Guinea which, when exposed, become monstrous and infect other people. The scientist finds that his daughter is infected and tries to save her.
Conventional and unconventional material, done with style by the stars and by director, Freddie Francis, an Oscar-winning cinematographer for such films as Sons and Lovers.

1. This film in the tradition of English horror films? Atmosphere, conventions, the stars? The appeal to the audience in plot, treatment, atmosphere of horror, exploration of evil? A successful horror film?

2. The importance of the philosophical implications of the film, the discovery of the evil principle, the incarnation and spread of the evil principle? Evil being let loose on the world and its consequences? The implications of scientists arrogating to themselves the right to control evil, to play God? Were these themes well blended into the horror conventions?

3. The linking of madness with horror? Men living in a world of reality and unreality? The plausibility of the plot, the credibility of the characters? Horror stories an contrived symbols of what is basically real?

4. The significance and emphasis of the title? Its reference to the New Guinea Man? Its reference to Penelope?

5. The importance of the settings, 19th century England, the brooding atmosphere and the mad characters within this? The detailed portrayal of house, dark countryside, asylum? The attention to detail in the grounds, within the house, Penelope's marionettes etc.? The details of the asylum?

6. The Importance of the structure and paralleling of the two brothers and their work? Who was good who was evil? A strange family? One brother seen within the family circle, the other within the world of the asylum? The comparison with their work? The contrasting motivations? The converging interests towards the New Guinea Man and the evil? The research and the evil taking control of them? Their playing God?

7. Emmanuel as the sympathetic character, his attitude towards science, towards his daughter? His playing God and going beyond what he should have done? The effect on his daughter, the effect on him? The irony and pathos of his final imprisonment and inability to communicate the truth?

8. The contract with James as the evil brother? Did he in any way seem good? Jealousy, the bizarre details of his work in the asylum? The elaborate stealing of the creeping flesh? The irony of his win and destruction?

9. The ambiguity of Penelope as heroine? The influence of her father and mother? A heroine in a British home? Her part in the restoration of the New Guinea Man, the finger, her being involved an the creeping flesh, madness? Her final victimization? The breaking of audience expectations about a heroine?

10. The importance of the past, memories?

11. The New Guinea Man: was he plausible, the effect on bringing him to England? The effect? The incorporation of evil?

12. The confrontation with James, Emmanuel and his daughter's disappearance and the irony of the ending?

13. The contribution of the minor characters, especially the police with an atmosphere of reality and commonsense investigation, the servants in the house, visitors? The creation of a realistic atmosphere for these symbolic horrors?

14. The horror story and insight into the darker side of human nature?

THE CREATURE FROM THE BLACK LAGOON

US, 1954, 79 minutes, Black and white.
Richard Carlson, Julie Adams, Richard Denning, Antonio Moreno.
Directed by Jack Arnold.

The Creature from the Black Lagoon was a small-budget film from Universal Studios in the 1950s. It was made originally in 3D. However, it has become something of a classic (with intentions for a 21st century remake).

The success of the film depends very much on the cinematography, the musical score, the editing and pace, more exciting than horrific. It also depended on the economic skills of Jack Arnold as a director. Arnold was to direct the sequel, The Revenge of the Creature (which featured an uncredited Clint Eastwood as a lab technician), 1955. He made a number of feature films in the 1950s including No Name on the Bullet, The Lady Takes a Flyer and, surprisingly, the Peter Sellers vehicle, The Mouse That Roared. In the next twenty years, he directed television series, a range of series including Rawhide and Gilligan’s Island.

The plot outline of this film sounds very much akin to that of King Kong. Richard Carlson and Richard Denning portray two scientists in the Amazon, along with Julie Adams who is meant to scream whenever the creature comes about, in the Fay Wray fashion. Richard Carlson is sympathy, Richard Denning is more like a hunter. They dispute what to do with the creature who appears and the rest of the plot is rather familiar as they deal with the creature. Swimmer-diver Ricou Browning, portrayed the gill-man in the underwater sequences.

This was the kind of film that Universal Studios did very well and efficiently in the 1950s.

1. A good horror science fiction film? The trend of the early fifties with such monsters, the use of three dimension processes? The reputation of these films later and their higher regard?

2. Audience interest and response to horror, fear, the confrontation with monsters, their appearance, threats? How well did this film present and utilize this response?

3. The themes of exploration. the contract of an ancient world with a modern world, the sense of wonder, confrontation, power, knowledge? Seekers of knowledge, exploiters?

4. The technical aspects of the film: the makeup for the Gill Man and his appearances, especially his webbed hands? The fights? The 3-D effects? The contriving of scenes for these effects such as sudden shocks, objects thrown at the audience? Was this too gimmicky or effective for this kind of film?

5. The film presupposing audience response to conventions about the Amazon, exploration, stock characters on such expeditions, the expected dangers and good results? Could the audience easily identify with the expedition crew, with David, against Mark? With Kay? The film not wasting time on a lot of delineation of character but moving straightforwardly into the plot?

6. The significance and tone of the introduction about evolution, the theme of the wonders of the universe and development? The Amazon as a scene of combining old and new? Beauty and terror? Primitive and modern? The search for the fossils and their indications of the evolution of creation?

7. The theme of the confrontation with the power of the old world, its energy, privacy, violence? Primitive? Moderns confronting the primitive?

8. The theme of the hunter with his modern power and weapons and exploitation attitudes versus the seeker of knowledge? David and Mark as representing these two types? Their verbal clashes, handling of the situation, Mark's continued firing at the monster, David photographing it and wanting it preserved?


9. The irony of the plot that the monster had to be killed so that the moderns could survive? Is this the image of evolution and the so-called survival of the fittest? Why has the Gill Man lasted so long? Why was he to be killed by the moderns?

10. The picture of the creature - at peace in his black lagoon, his confrontation with people and his primitive violent killing, his human qualities, beast qualities? The pathos of his almost humanity? The confrontation with Kay and the echoes of the theme of Beauty and the Beast, his not killing her, his merely touching her in the water, his final taking of her? His fights with the men, his being persecuted, his persecuting in return? His intelligence in order to preserve himself? his being drugged, shot at? His final gesture? The pathos of his death? The melodramatic music used for his appearances?

11. The contrast between David and Mark? David presented sympathetically as the researcher, the earnest hero, in love with Kay? His attitudes towards science, the monster, saving the ship rather than killing the monster? The irony that he was to kill him finally? Mark and his exploitation, the use of science for his own power and reputation? His disregard of feelings, impulsiveness? The inevitability of the monster killing him?

12. Kay as heroine, her capacity for research, being the occasion for dramatic sequences for example when she went swimming, the appearance of the monster at the porthole and her screaming, her being captured? The romantic aspects of the plot?

13. Carl and his research, the discovery of the tonsil at the beginning, his presence in the expedition? Dr. Thompson and his research, a peaceful man, his mauling by the monster, the threat at the porthole? Lucas and his South American wisdom and practicality? The crow and their being killed?

14. The contribution of scenery, the underwater photography, the atmosphere of the Amazon? How authentic did it seem? The beauty and interest of the 3-D effects and their contribution to the atmosphere?

15. The perennial interest of this kind of story and variations on its theme, the broadening of horizons, the contribution to science fiction?

THE CRAZIES

US, 1973, 103 minutes, Colour.
Lane Carroll, Wayne Mac Millan, Lynn Lowry, Harold Wayne Jones.
Directed by George A. Romero.

The second film by Pittsburgh director George A. Romero. In the late sixties he made a national and international impact with his contemporary vampire thriller, The Night Of The Living Dead. The present film is much more polished in style and presentation than his first film. He continued his offbeat horror films with a contemporary American vampire thriller, Martin - which also satirised vampire stories and conventions. A second part of a possible trilogy with The Night Of The Living Dead was Dawn Of The Dead, in which he collaborated with Italian horror director Dario Argento. Romero has a knowledge of horror techniques and is able to present them graphically to his audiences. He works outside the Hollywood system, being Pittsburgh based. He has a very strong reputation as an independent filmmaker. His particular vision, via horror films, of America is, to say the least, arresting.

1. The quality and impact of the work of George A. Romero? An independent filmmaker? Local film? making standards of production? knowledge of film conventions, impact for audiences? Vision of America? The use of horror for interpreting America?

2. The quality of the production? the strength of the screenplay (using conventions, sending them up, transcending them)? The colour photography, dramatic editing?

3. Audience interest in and involvement in the plot? Knowledge of Living Dead films? nuclear and bacterial accidents? The atmosphere of American cover-up? how well were these elements combined for melodramatic effect and entertainment?

4. The tone of the title? Its description of the infected people? As relevant to the United States? American crises of the seventies? The impact of the film for Americans, non-Americans?

5. The importance of the opening with the build-up of atmosphere and themes: the location of the plot in a Pennsylvania city, the man going berserk, the death of his wife, setting the house on fire, the children burning? The military invading the town? The taking over of the doctor's office? The crash of the plane and the story of the experimental vaccine? The suggestion visually of the vaccine getting into the water supply? The build-up of bizarre and crazy behaviour? The introduction to individuals and groups? transforming of an ordinary American town? The parable about American society and behaviour?

6. The establishing of the picture of the town? its ordinariness and its being transformed by madness? The people being infected? The initial coping with the disaster situation, the fire brigade, the doctor, Judy as nurse? The military? The initial familiarity of crises rising from ordinary situations? The gradual change and people having to cope, survive? Ordinary people being hunted and destroyed like animals?

7. The film's presentation of the accident situation - the vaccine and its going into the water supply with its effect on people? The possibility of countering this with a serum and the lack of serum? The various accidents? Build-up to siege and prison, the cordoning off of the town, the hunting of people to death? The irony of the true nature of the accident? The effects of bacterial warfare? The parallels with nuclear accidents? How persuasive was this message of the film?

8. How effective were the devices to suggest that people were crazy or not? The old man seeming berserk and then peacefully directing the traffic? Kathie and her father? The bizarre details of their behaviour? The father's death? Kathie and her open arms as she is killed? The sheep and her corpse? The doctor and Judy getting the serum? Judy and David hiding? Clank and the reaction to the townspeople? the escape? Clank gradually being taken over by the infection? The clash with the military patrol and his slaughtering them? The snake? His death? Judy and. the audience's emotional response to her being heroine, hoping, that she would not be infected, sympathy for her pregnancy, discovery of her infection, her death? Javid and his survival, his being taken back to the town? ilis future?

9. The doctor and the possibility of helping the town with the serum, his experiments and desperation, his assistant nurse, his dropping the serum, his death in the crowd and the panic?

10. The military leaders and their strategies, discussions, links with the President for decisions? The moving at the end to another crisis and the cover-up? story?

11. The role of the media, the media personalities, the right of the public to know?

12. The nature of madness? People being overtaken by infection from outside, losing their freedom, becoming animals, hunted to death? symbol for the dehumanising of the 20th century?

13. The effectiveness of the film as a contemporary horror story? The social message?