CLAY PIGEON

US, 1971, 93 minutes, Colour.
Tom Stern, Telly Savalas, Robert Vaughn, John Marley, Burgess Meredith, Ivan Dixon, Jeff Corey, Marilyn Akin, Peter Lawford.
Directed by Lane Slate, Tom Stern.

Clay Pigeon is an action thriller of the early 1970s in the vein of Billy Jack. It is a star vehicle for Tom Stern who acted as director (his only film). Stern had appeared in a number of action films as well as bikie films of the period.

The plot concerns a former soldier recruited by the FBI to go under cover in Los Angeles. Former soldiers are now part of a drug-dealing gang.

The film is predictable in its presentation of its hero, the action, the role of the police. However, it has a very strong cast of character actors.

1. An enjoyable thriller? A picture of America in the sixties and seventies? Impact now? Qualities as a thriller?

2. The significance of the title, victim, shooting? Violent sport? The reference to Joe and its application? The importance of the device and the time-lapse situation with his falling on the grenade? A moment of death?

3. Joe as a typical American hero? His being a man of his time, his police background, the experience in Vietnam and the effect on him? His leaving an American world, experiencing Vietnam and returning? His attitude to the world he discovered? As symbolized by Saddle and her drug addiction, Tracy? His attitude towards this world? The film's critique of America?

4. The significance of his rest and the slight cause? Frank Redford and his role in the police? Attitudes towards Joe? The decision to use him and the way that he used him? What right had he? Authoritarian?

5. The film's presentation and critique of Neilson, wealth, the world of drugs, thugs? The ugly violence and Neilsen's henchmen? How interesting and accurate a portrait of ugly Americans?

6. The ugliness of the police in comparison with that of the drugs and the gangsters?

7. The importance and contribution of the incidental characters: the police, Freedom Lovelace and his being bashed? Angeline?

8. The portrait of Saddle , Tracy, the fact that those were people who were victims and died?

9. How justified was Joe's anger against Neilson, against Redford, his fighting of Redford?

10. His reaction to the violence, to deaths? The moment of his own death and its significance? Our journey through his experience to the moment of his death?

11. A competent thriller, action sequences, the ugliness of America? Critique, of society, individuals within society?

CLASS OF 44

US, 1973, 95 minutes, Colour.
Gary Grimes, Jerry Houser, Oliver Conant, Deborah Winters, William Atherton, Sam Bottoms.
Directed by Paul Bogart.

Class of 44 is writer Herman Raucher’s sequel to his very popular and autobiographical Summer of 42. It was something of a classic, directed by Robert Mulligan and staring Gary Grimes and Jennifer O’ Neill. Jennifer O’ Neill does not appear in this film – it is a story of Gary Grimes and his friends as they grow up and go to high school. There is also some pathos and romance in the nostalgia of looking back from the 1970s to the 1940s. However, Summer of 42 made a very strong impact in its picture of adolescent love which cannot be sustained in this sequel.

Gary Grimes had only a short career, finishing in 1987. However, he did appear in The Culpepper Cattle Co, Cahill: US Marshal and The Spikes Gang.

1. The appeals of this film? For what audience, American, younger, older, generation of the 40's? Nostalgia. the sequel to The Summer of 42, box office for a sequel?

2. How important was the nostalgia? The 40's and its detail? The importance of the role of memory from the 70s? How realistically does memory bring back the past? The haze and aura of particular memories? The style of colour, panavision etc. to recreate the 40s?

3. How important was the nostalgia? the presentation of the songs of the 40s, politics, education at universities, the atmosphere of the war?

4. The three boys within this context? Presupposing audience knowledge of their growing up in The Summer of 42? Their experience of high school, graduation? The question of their future, the involvement in the war?

5. Themes of education, parental attitudes, exemptions? Bonny as less intellectual his going into the war? Oacy and Harry being sent for further education? Their having to cope with being educated while their contemporaries went to war?

6. How attractive a character was Harney? As a young man, naivete, maturity? Strengths and weaknesses of character? Attitude towards his parents, towards the war, to further education? His roommate, relationship with follow students? The relationship with Julie? What effect did she have on him? Study, classes, exams, cheating? sexual relationship? The various activities in university e.g. sport?

7. How well delineated was Julie as a character? Attractive? Age, presence at the university, boy friends, the relationship with Harnie and its quality and depth? Good influence, bad? Clashes? The possibility of a reconciliation at the end?

8. The contrast with Oacy? His attitude towards study, friendship? His loud style? His bringing a prostitute into the hall? The importance of his expulsion? Clerical work and dissatisfaction with it? His presence at the funeral, the drinking binge, his future?

9. The contrast with Bengey and his not going to the university, involvement with the war?

10. How well delineated were the other student characters eg Martie, the Fraternity president? The staff? The particular way of life at the university and in the hall?

11. The dramatic importance of the funeral, the affect on Harney? His going home, meeting Oncy? The drunken binge? The clash? The brawl?

12. The change in each of them during 1944? Did Harney mature? His return to university, to Julie? Themes of adolescence, education, parents, environment, relationships, growing and maturing ? A popular presentation of these?

CLAIRE'S KNEE

France, 1970, 105 minutes, Colour.
Jean- Claude Brialy, Aurora Cornu, Beatrice Romand, Laurence de Monahan, Fabrice Luchini.
Directed by Eric Rohmer.

Claire’s Knee is one of Eric Rohmer’s moral fables from the 1960s and 1970s, a series initiated with My Night at Maude’s. Rohmer was to go on making a variety of moral fables including a series of tales from the various seasons. He was making films from the 1960s till the beginning of the 21st century, always a restrained and elegant writer and director, always probing, in very French style, moral issues, especially those beneath the surface.

The simple plot here concerns a thirty-five-year-old diplomat (Brialy) who is on holidays in Switzerland, with his writer friend, Aurora. She is getting him interested in two young girls – but he is more interested in the quiet Claire, someone who reveals his inner self – and, in a gentle fetish, he feels a compulsion to touch her knee. Rohmer takes the opportunity, without sensation, to consider desire and its effect on the male psyche.

The film won a number of awards, especially a Golden Globe for best foreign film and the best film from the National Board of Review.

1. This film was a moral fable. How valid as a moral fable? Is the cinema a good way to teach moral lessons? Was this film too static in imparting its moral message? Or was it successful? How?

2. Comment on the beautiful photography of the film. How important were the settings and the holiday atmosphere? How important was the diary technique, ensuring the development of time?

3. How much were we meant to identify with the hero and his explorations of feeling and love? Did we get enough explanation of his background? His relationship with Lucinda? His philosophy of marriage? his' philosophy of love and fidelity? His belief in fidelity and against infidelity? What attitude did he have towards women and towards love? Why was he going to marry Lucinda? Were his motivations sound and his outlook valid? How strong was his will in regard to his loving her? Is Love a matter of willed controlled?

4. Aurora: what was her function in the film? As a questioner? As a challenger to the hero’s values? Was she an important character in herself? Did he love her at all? Why did he feel at home with her and respond to her challenges? How did she make him realism his love for Lucinda? Was he interested in her? Why was he surprised when she became engaged?

5. What was the function of Laura in the film? the possibility of young love? A seduction from fidelity? Flirtation? How attractive a girt was she? Was her background and her outlook filled in adequately? Why did she respond to the hero? Why did he respond to her - was it love? or was it friendly and fatherly concern? What did he learn about himself in relation ship to Laura?

6. How attractive a character was Claire? How enigmatic was she? What fascination did she have for the hero? As compared with Laura? As compared with Aurora? compared with her mother? Claire as an ordinary young girl? on holidays, with her sister, with her mother, with her boyfriend? How attached was she to her boyfriend? What was the meaning of the hero’s obsession with her knee? What did this symbolise? In terms of love and fidelity in terms of a goal and respect? The importance of the encounters between the hero and Claire? What was happening to him? Why did he confide in Aurora? Was her advice good? The importance of the rowing on the lake, the sheltering in the house? Why did he humiliate Claire? What was her reaction? Why was he able to touch her knee? What did this meen to him? how did he analyse it with Aurora afterwards? On the realistic level this seems trivial. How did it reveal the nature and quality of his love?

7. What function did the younger men play in the film? As contrasts with the hero? As suitors to Laura and Claire?

8. How well did the film use ordinary holiday situations to make its point? The use of the houses, the lake, the weather, the sunshine?

9. What had the hero leant by the end of the film? Had the audience learnt it to? What values did the film emphasise? How valuable is a moral fable like this?

CITY LIGHTS

US, 1931, 87 minutes, Black and white.
Charles Chaplin, Virginia Cherrill, Florence Lee, Harry Myers, Alan Garcia, Hank Mann.
Directed by Charles Chaplin.

City Lights was placed on the National Registry of Films in 1991. It is considered a classic – as most of Chaplin’s films are.

This film was in production for three years, Chaplin’s first sound film – with the danger of giving a voice to the Tramp and thus taking away the icon of the silent tramp with his mime. Chaplin actually gave a subtitle to the film, A comedy romance in pantomime.

Chaplin is a tramp who is a millionaire, who encounters a blind girl played by Virginia Cherrill. By the end, she regains her sight and presents a flower to the tramp. This is considered one of the most emotional moments in films.

The film has all the Chaplinesque qualities, the characters, the pathos – and his attempt to deepen characters after the farces and pratfalls of his silent film classics including The Circus and The Gold Rush which he had made in the years preceding City Lights. In the 30s he was to go on to make another classic, Modern Times, as well as his parody of Hitler and Mussolini, The Great Dictator.

1. The film's reputation as one of the greatest American films over made? Its place in Chaplin's films? The technical aspects of the filming, Chaplin's comic style and its photography, comic themes? The importance of the sub-title as comedy-romance in pantomime?

2. The transition from the silent film to sound? Did Chaplin make much transition? Silent techniques, captions? The musical score and Chaplin's style of orchestration and giving a feeling to his film? Themes and melodies?

3. The significance of the title, the focus on the city itself, urban civilization, the glamour of city lights? The irony of blindness and the girl not being able to see the lights but then cured?

4. The effect of the opening with the tramp and the statue? Setting the tone for the comedy, irreverence, social critique? The introduction of the traditional tramp character of Chaplin? Audience response to the little fellow and his pathos? The victim of the city? Audience identification with him?

5. The transition to the blind girl? Audience pity for her, her attractiveness and charm? A typical Chaplin heroine? Her character in herself, her work, her response to the little fellow, her hopes as he told her about cures? The transition to her being cured and her reaction to the tramp and then the change?

6. The world of the millionaire as he came in drunk, wanting to kill himself, the little man helping the millionaire?

7. How well did the film blend the three worlds of the tramp, the blind girl, the millionaire? Three facets of the city? Their intertwining in plot via the tramp?

8. Comment on the humour of the comedy routines of the little fellow in the house, his arrival there, mixing with the guests? The boxing sequence?

9. The contrast of the pathos with the blind girl, bringing her food, reading to her, sympathy and devotional love?

10. The ironies of the plot especially as regards the money, robbery, the police, the little fellow in jail? The audience's emotional response to the little fellow in jail after all that he had tried to do?

11. The build-up to the climax with the pathetic figure of the tramp, the contrast with the girl and her sight, her laughing? The emotional impact of her feeling the familiar hand, the recognition?

12. The visual impact and emotional response to the final gesture with the tramp putting his finger to his lips, the blackout?

13. Qualities of humanity, sentiment, social comment Chaplin brought to his films?

CIRCUS WORLD

US, 1964, 135 minutes, Colour.
John Wayne, Claudia Cardinale, Rita Hayworth, Lloyd Nolan, Richard Conte, John Smith, Miles Malleson, Kay Walsh.
Directed by Henry Hathaway.

Circus World had mixed reviews when it was first released in the 60s. It seemed to be a John Wayne vehicle, but it presents a very different John Wayne, a rather lower-key and non-violent John Wayne. It also boasted the presence of Claudia Cardinale with Rita Hayworth as her mother.

The film was begun by Frank Capra, of all people, but he withdrew because of creative differences. Henry Hathaway, who had directed Wayne in a number of films including Shepherd of the Hills and was to direct him in The Sons of Katie Elder and his Oscar-winning True Grit completed the project Hathaway had good experience of small-budget films as well as big-budget spectaculars.

The film was produced by Samuel Bronston who had entered the film business in the early 60s with The King of Kings. He also made such films as 55 Days at Peking and The Fall of the Roman Empire.

There is some spectacle, some circus acts, as well as a capsized ship – but, compared with other circus films, this didn’t have quite the impact.

1. How entertaining a film, spectacle, circus spectacle? The value of this kind of entertainment? Sheer entertainment. exploration of values at a popular level?

2. How did the film compare with other circus films? Elaborate production, the range of acts, the background to the circuses, the emotional clashes? Usual ingredients? How different?

3. The importance of Panavision, colour photography, American and European locations? The circus acts? The music? The special features and special effects? The shipwreck, the burning?

4. How credible was the plot? For the purposes of this kind of film? An American circus built up by Matt Masters, the destruction, the establishing themselves in Europe, success? The emotional tangles of Matt with Lily, with Toni, the other members of the circus? All the elements coming together and finally succeeding through disaster? Authentic, credible enough for this kind of film?

5. The presence of John Wayne in a circus, the overtones of the west, especially in his acts? Matt Masters as the John Wayne character, his style with Toni and bringing her up, with Lily and searching her out and being reconciled? With Cap Carson and the management of the circus, the rivalry with Stove and his not allowing people to grow up? His basic drive in getting the circus together, keeping it going despite difficulties, his ambitions in Europe, the searching out of Lily, the reconciliation, the suffering from Toni, uniting everyone happily? A conventional John Wayne hero?

6. The focus on Toni, Claudia Cardinale’s style and charm? Her vivacity, her ambitions to be like her mother, resentment of her mother and her absence, love for Stove? Her participation in the circus, support for Matt? Her kindness towards Lily, disillusionment with the truth, transcending it? A conventional heroine but attractive?

7. Rita Hayworth's portrayal of Lily, the shady background. The gradual revelation of a more noble truth, despite her cowardice? Her decline, her life in Europe and her friends at the hotels, her gradually seeing her daughter, the meeting, the entry into the circus, her skill on the high wire, her growing love for Matt, the dance, the disillusionment, the rescue, the saving of the tent, the happy ending?

8. Cap Carson and Lloyd Nolan's conventional standby? Support of Matt, of Lily, of Toni, of the circus? The usual portrayal of the standby man?

9. The touch of villainy with Aldo ? The haunting of Lily, the suspected villainy?

10. Stove as a conventional hero, foil for Matt, love for Toni? His achievement?

11. The minor characters and their place in the circus, the ringmaster, the clowns, Aldo’s daughter, the manageress of the hotel where Lily lived.? An authentic atmosphere?

12. The introduction and the atmosphere of the circus and this being sustained?

13. The initial crisis on the ship and the way this was remedied, emotional crises, the fire?

14. Which were the most memorable sequences and why? For this kind of film?

15. How well does this kind of entertainment film rely on conventional images of good and evil, romance. adventure, courage and challenge? A satisfying circus film?

CIRCUS OF HORRORS

UK, 1960, 92 minutes, Colour.
Anton Diffring, Erika Remberg, Yvonne Monlaur, Donald Pleasence, Jane Hylton, Kenneth Griffith, Jack Gwillim, William Mervin, John Merivale.
Directed by Sidney Hayers.

Circus of Horrors has a comparatively contemporary setting from the time that it was made. It is set in post-war Britain in 1947 where a plastic surgeon has to flee the country because of errors he made in a procedure. When he goes to France, he begins to help women whose faces are disfigured – and then places them in a circus. This gives the opportunity for some circus acts. However, the women want to get out of the circus – and then meet mysterious deaths.

The film is an interesting example of the kind of horror that was emerging in British films at the end of the 1950s and which was to develop very strongly in the 1970s and 70s.

The star, Anton Diffring, portrayed Nazis in a great number of films. The director, Scottish-born Sidney Hayers, spent a long career working in television but made several films, especially at the end of the 1960s and the beginning of the 70s including The Southern Star, All Coppers Are … and Deadly Strangers.

1. Expectations from the title? Overall impact in terms of horror and enjoyment? A quality horror film,
average?

2. A horror film of the early sixties? The horror traditions and conventions? The trend of the sixties for emphases on
violence and sadism? Contribution to the film, taking away from the impact?

3. The plot's attempts at plausibility? Dates, explanations, reliance on background of the plastic surgery, circuses? How plausible was the plot? The atmosphere of the post-war period? The developments in plastic surgery and the dangers? The atmosphere, the reconstruction of new people by plastic surgery? The insights into the evil of human nature, vengeance as making the plot plausible?

4. The film's emphasis on physical violence especially gashes, mutilations and so on? The tone that the film had because of this visual portrayal of ugliness and violence?

5. The atmosphere of the opening, the plight of the characters, ugliness? The importance of the surgical situation, the lay? The flight the crash? The indications of Rossiter as unscrupulous? The way that this was developed throughout the film?

6. The build-up to the flight, the contributions of Martin and Angela? Their relationship with Rossiter? Their interactions? Audience sympathy for Martin and Angela and the audience being in conflict with Rossiter?

7. The atmosphere of danger, concealment of the truth? The encounter with the circus? The character of the man who owned the circus, his concern about his daughter, his being pleased with the operation? The deal about owning the circus? The savagery of the circus owner's death? Rossiter being revealed as evil?

8. How satisfactory was the transition in the screen play with the ten-year gap? The build-up of the circus? The prostitute? The people within, Rossiter and his madness? The horror circus that he had produced? Angela, and Martin as continuing to support him? Their tears and jealousies?

9. The transition to Schuyler: the nature of his madness, his ambition towards success, his playing God, his surgical skills his lack of scrupulosity, blackmail, sexuality? A monstrous devil figure?

10. Schuyler and his playing God with lift and death, killing the people who rebelled against him? Audience horror at this? The various reactions of the characters and their hatred of Schuyler?

12. Schuyler’s underestimating Angela and Martin, not fulfilling their needs, creating an atmosphere of vengeance in them?

13. The build-up of a rebellious situation against Schuyler? The visualizing of the deaths that he contrived? The escape?

14. Audience identification with the police and the journalist trying to probe the truth? How much did the audience hope the truth would come out? Why?

15. The build-up to the final crisis? The poetic justice of the circus turning against Schuyler?

16. Is there any more value in this kind of film than an exercise in horrifying an audience?

THE CIRCUS

US, 1928, 71 minutes, Black and white.
Charles Chaplin, Al Garcia, Merna Kennedy, Harry Crocker, George Davis, Henry Bergman.
Directed by Charles Chaplin.

There is a great deal of plot in the seventy-one minutes of Charlie Chaplin’s The Circus. It came at the end of the silent era, although Chaplin never really gave up the silent techniques, capitalising on them in his sound films, especially in the 1930s with City Lights and Modern Times.

Once again he is the tramp, at a circus, chased by the police who think he is a pickpocket. During the pursuit, he is in the big top and everybody appreciates the humour. The difficulty is that the tramp cannot deliberately be funny so the circus manager has to create situations where he is being pursued and funny. There is also a love story, with the daughter of the acrobat who is abused by her father and who is torn between a dashing suitor and the tramp.

The film is considered one of Chaplin’s masterpieces – as most of his films are.

1. A Chaplin classic? His final silent film? His silent techniques in terms of acting, miming, visual composition, photography? The importance of the musical commentary added?

2. Chaplin's contribution to the films acting, screenplay, direction, music? How marked is the film as a work by Chaplin?

3. The portrayal of the little fellow, the tramp? What did it symbolise in Chaplin's view of humanity, comedy, success and failure?

4. How important the visuals, especially the world of the circus, the humour, the danger, the pathos, interrelationships?

5. How successful were Chaplin's particular comedy routines in this film? His own miming, sense of humour, circus atmosphere?

6. The world of the circus and audience response, happiness, yet masks for clowns? A way of life, fulfilment?

7. The little man and his place here, transient, not succeeding ultimately with people, standing back while others achieved success? The importance of the equestrienne as a heroine? Her charm, attraction for the tramp? For the hero? Rex as a convincing hero or not? For this kind of film?

8. The portrait of the other people at the circus and their contribution to plot, comedy, sentiment?

9. The finale and the tramp sitting back? Humour, pathos and sadness?

10. How much insight into human nature through these comedy situations, comic presentation of human foibles, blend of comedy with sentiment?

THE CINCINNATI KID

US, 1965, 102 minutes, Colour.
Steve Mc Queen, Edward G. Robinson, Karl Malden, Ann- Margret, Tuesday Weld, James Coburn, Rip Torn, Joan Blondell, Cab Calloway, Jeff Corey.
Directed by Norman Jewison.

The Cincinnati Kid is a film for fans of card games, especially poker. Others might find it a bit slow-moving and not appreciate the suspense in the poker faces in big games.

The setting is New Orleans and the film has a very strong cast led by Steve McQueen? and Edward G. Robinson in the confrontations at the card table. Joan Blondell won a best actress award from the National Board of Review and a Golden Globe nomination. Ann-Margret? and Tuesday Weld were glamorous stars in Hollywood at this stage of their careers.

The film was directed by Norman Jewison, the Canadian-born director who worked in television and began making films in 1962 with Forty Pounds of Trouble and other light films. He then moved on to In the Heat of the Night which won the Oscar for best film, followed by The Thomas Crown Affair. By the 1970s he was making big-budget films including Fiddler on the Roof and Jesus Christ Superstar. He continued to direct a great number of films until 2003.

1. The impact of this film for entertainment and interest? Its quality as a gambling obsession film?

2. The importance of the atmosphere of New Orleans? The meticulous detail? During the credits, the funeral, the shoe boy, the streets and their look, the houses and rooms, the gambling, rooms, the trains? how would the film be different if there was not this focus on atmosphere?

3. The contrast of the lyric atmosphere in the country, with the Kid, romance? The smoking room, the gambling, the claustrophobic effect?

4. The films focus on the Kid and audience interest and sympathy? Steve Mc Queen as this character? His hopes, ambitions, depression, desperation, defeat? Was it inevitable that the Kid would lose? When did he have a
chance to win? What could be have done to change things?

5. The film's presentation of gambling in its detail and atmosphere, meaning and effects on people? Gambling as an adventure, risk? The important element being the risk and not the winning? How important was winning? Themes of power because of skill and play? The intensity of the gambling world? The effect on audiences who gamble, who do not gamble?

6. The film’s build-up of the personality of the Kid: picturing him with his abilities, the exploration of his motives, his ambition to be the man, his relationships with the girls, with Christian, Melba? His dependence on Lancy? The comparison with the man?

7. Lancy as 'The Man’? Edward G. Robinson's skill in portraying this kind of gambling winner? His reputation, being at the top for thirty years? The significance of his arrival, his style of personal living and manner? Attention to his beard etc.? His confidence, his dominance of all the people about him, his attitude towards the Kid, surveying him, leading him on? The intensity of portrayal during the playing? The significance of his winning?

8. The contrast with Shooter and his role in the gambling world? Shooter's character, his interest in gambling, enjoyment of people, his basic honesty? As a patron for the Kid? His relationship with Slade, his being dominated and pressurized? His betraying his honesty? The impact in the game And his being changed? As an image of the Kid, a loser?

9. The portrayal of Slade as the ugly aspect of this gambling world? Slade as a person, his dominance, his wanting to win, his dishonesty? The comment on this kind of dishonesty with the professional players?

10. The lighter atmosphere of gambling through the character of Ladyfingers? Her style, friendship, lightheartedness, her presence in the game at the end?

11. Christian and her world? So different from the gambling? Kid as moving from Christian back to gambling? The qualities of Christian’s character, her love for the Kid, the sequences in the country? Her friendship with Melba? The detail of going to the French film, shopping? Her ingenuous nature and her final support of the Kid? How attractive a character, necessary for this kind of film?

12. The contrast between Christian and Melba? Melba as the city type, invading Christian's world, trying to hold the Kid? Melba as a loser?

13. The contribution of the minor characters? The detailed portrayals, their place in the atmosphere of New Orleans and gambling?

14. Comment on the film's attention to detail of place and characters in their place, the details of the game?

15. The audience's emotional response at the end? The satisfaction of Lancy? Kid? Would he then try to win in the future? How much insight in this kind of film?

CHUQUIAGO

Bolivia, 1976, 86 minutes, Colour.
Directed by Antonio Eguino.

The Indian name for the City of La Paz, the capital of Bolivia. This Bolivian film is of interest in its presentation of the strata of society in the country. It does so by presenting four different stories and then linking them at the end. The range is from the peasant Indian coming to the city, to the adolescent at loose in the city, to the young man involved in the bureaucratic administration of the city and finally the aristocratic girl at the university. The stories are conventional in their way but are of interest in the light they throw on life in Bolivia in the seventies and Bolivian film-makers presenting and commenting on this.

1. An interesting and enjoyable film? A film from Bolivia? Technical qualities? Content? Social interests and portrait of Bolivians? Observation, critique?

2. Colour photography, score? The use of La Paz as location, the varieties of districts and atmospheres in La Paz? How well were they captured?

3. The story of Isloo: the focus on the young Indian boy, the introduction to La Paz and its Indian name, the introduction to the Indians? Language barriers, culture barriers? The motives for the parents in leaving the boy in the city? The boy and his work, the old lady looking after him? Seeing him at work? Money? Relationship with other boys, the boys ridiculing him? The influence on his life, the prospects for his future? A glimpse of the less privileged of La Paz?

4. The story of Johnnie: the transition to the world of the city, the teenager, the Indian teenager - would Isico grow up to be a Johnnie? His hopes, opportunities, America as a new land? The phoney agencies and the taking of money? Poverty, lack of money and opportunity? The decision for crime to get the money? Johnnie and his amateur attempts? The world of squalor and ugliness and depression in the city?

5. The story of Carlos: the moving into the middle class families of La Paz? The attention given to family life, family life as tedious and unfulfilling? Going out with the boys, getting drunk, women? The macho emphasis? Carlos at home, at work, amongst his friends? The international nature of this kind of middle class bursary? The significance of the funeral context of this story?

6. The story of Patricia: the aristocracy of La Paz, homes, wealth, university education? Her fiance, her love for the radical student? Her interest in radical causes, demonstrations etc.? Her parents and. their reaction? Her moving out of her class? Her being trapped in her class and expectations? Her abandoning theme and her marriage?

7. The irony of Patricia passing Isico in the street? The stories ending where they began?

8. What insight into human nature? Society? Poverty and wealth? Oppression? Opportunity? How relevant for understanding South America? The impact for a South American audience? A world audience?

A CHRISTMAS TO REMEMBER

US, 1978, 100 minutes, Colour.
Eva Marie Saint, Jason Robards, Joanne Woodward.
Directed by George Englund.

The folksy American family in the Depression. It is a reminiscence by an older man about a period in his life when he was a boy on a farm with his grandparents. The film explores the relationship between the three persons – with some popular grief about a dead son and his need for some kind of release by his father. The film was based on a story, The Melodeon by Glendon Swarthout,, author of Bless the Beasts and Children, They Came to Cordura and The Shootist. The screen play was written by Stewart Stern, writer of such Joanne Woodward vehicles as Rachel, Rachel, Summer Wishes Winter Dreams and Sybil. Jason Robards is strongly effective as the toothless grandfather, Eva Marie Saint is strong as the grandmother and there is a cameo performance by Joanne Woodward as the young boy's mother. Entertaining, particularly American in tone and treatment.

1. The appeal and interest of the film? A Christmas story, family story, folksy story, memories?

2. The impact of the film as a telemovie in terms of content, themes for the home audience? Emotional response?

3. The Minnesota setting – farms, the people, trucks, the children and the music playing, the crowds? Russell and his memories, his marriage? The impact of the past on the present?

4. The initial impact of Russell's memories? The personality of his mother, his bond with her, the experience of the Depression, lack of money, scavenging for food, his having to be a man and go to his grandparents’ farm? His love for his mother? The temporary going to the farm?

5. The portrait of his grandparents - in Minnesota of the 30s, the background of the Depression, farming, livelihood? Their personalities, manner, age? Daniel wanting to give the impression they were not hicks? The bonds between husband and wife? Their manner? Danny and his place in the memory of his father?

6. Daniel and his idealising his son? His hard attitude towards Russell and any other intruder? How did this govern his treatment of Russell in detail? The work, the meals, chasing him with the tractor, hard manner of speaking?

7. The contract with Emma and her welcoming Russell? Kissing him to break the tension? Her concern, cherishing him? His love for her and feeling that he hurt her when he ran away? The importance of the clash with Daniel, urging him to face the truth about his son, the effect that this had on him in his speaking out the truth and her response to this?

8. Russell's experience on the farm, the hard work, the milking of the cow, his hands, the dirt? His not feeling that he was a farmer? The short sequence of his getting on the car to school? The friendship with the girls? His experience of Danny in his room, the photo, the writing of his name in the Bible, his sense of presence, of Daniel, telling, the bond with Danny? As almost part of himself that he had to cope with? His seeking him out in the barn and Daniel's vicious attack on him? His decision to run away - warming himself with the papers at the station?

9. The confrontation of the two at the station? two stubborn and proud people? Daniel's breaking the ice and Russell's return? The important sequence of Daniel telling the truth about his son, the importance of the detail of the story, the fact that he told it to Russell and to Russell’s listening? The possibility of breaking from the bind of the past and unreality?

10. The sequence of getting drunk and the way that this was handled? the explanation of the phases, Russell watching over her? Her attitude towards the melodeon and its symbolising Daniel, attitude towards it as reminding him of the coffin, the importance of giving it to the church? The importance of loading it during the night, the difficulties of the journey through the snow, Daniel’s collapse, the young girl’s helping Russell? The vision of Danny in the church and his commission to Russell, the bond of affection between the two? Russell's determination?

11. The Christmas to remember, the going to church, the applause, the welcome of the minister, the singing? Russell and his speech and the people laughing, Daniel and his asserting the bond with his grandson? The invitation to play? Daniel’s appearance and kissing his father? How was he liberated ? from the kind of purgatorial experience he had? What happened to Daniel? He slumped - did he die? The achievement of Russell for his grandparents?

12. A popular film for the understanding of people, the Depression, human relationships, hard work, farm life, love and hatred? Young Danny and his escape from this, Russell as re-living it? Families and the bonds that these have, and the blindness? Suffering and love? The strange experiences of bonds with people who are family and who have died?