CHEAPER BY THE DOZEN

US, 1950, 85 minutes, Colour.
Clifton Webb, Myrna Loy, Jeanne Crain, Betty Lynn, Edgar Buchanan, Barbara Bates, Mildred Natwick, Sarah Allgood.
Directed by Walter Lang.

Cheaper By The Dozen is based on a book by Frank B. Gilbreth Jr and Ernestine Gilbreth-Kerry?. The book is about their father, their mother and their growing up. The father was a strong martinet, a time-efficiency expert. They had twelve children – and this film is a nostalgic and entertaining look at a family in the early part of the 20th century. There is a lot of domestic comedy of the old style – a perfect family film of the past.

Clifton Webb, a dancer, who had emerged as a villain in such films as Laura and The Razor’s Edge, achieved notoriety for his comic role as Mr Belvedere in Sitting Pretty. There were several sequels. Cheaper By The Dozen was made at the same time. He is matched with charming veteran actress Myrna Loy. Jeanne Crain is the oldest of the children.

The film was directed by Walter Lang, director of a number of musicals in the 1940s and bigger-budget films in the 1950s including There’s No Business Like Show Business and The King and I.

The story was updated to the 21st century and a remake starred Steve Martin and Bonnie Hunt. It was rather raucous – and irritating for fans of the original film. This was compounded by their making a sequel. The sequel of the original Cheaper By The Dozen, with Clifton Webb’s character absent, was Belles On Their Toes starring Myrna Loy and the other children.

1. Did you enjoy this film? How did it combine lightness of approach with its use of comedy styles? As an example of popular films of the late forties? As a typical American film with American settings and sentiment?

2. What impact did it make as a biography? As an affectionate biography? The atmosphere of love and devotion? The role and influence of characters on others? The importance of togetherness in a family, for life and work? How real were the portrayals of these values? How convincing, how encouraging?

3. How important was the central character of Frank Gailbraith? Clifton Webb’s performance and style? The particular details that make his character memorable? His importance as a father, husband? His time saving devices, his eccentricities, his old fashioned style and manners? The importance of his providing a new house? The humour of his talking with the doctor, filming the operation, undergoing the operation? The importance of the European conference for him and his work? The sequence of the holiday and his encounters with his growing up daughters? His unbending at the dance and the humour? The sudden impact of his death his absence? The importance of memory end coping with loss? The impact that he made as a character with the audience and his impact on his family?

4. How attractive was his wife? Myrna Loy’s style? As a contrast to Frank, as a complement to him? Her quiet strength, advice, her role on the house council? The atmosphere she created for her husband and children? Her support for her daughters? Her strength at the end in carrying on his work? Should she have done otherwise? As an example of motherhood and strong womanhood?

5. How attractive were the daughters? The older girls and their growing up? The importance of the sequence when they accompanied their father to the new school? Their shyness with boys and flirting? The sequence at the beadh? Clothes? The dance? Their support for one another and the younger girls? The boys and their reliability, their mischief? As an adequate portrayal of family and family life?

6. What did the film have to say about families and family bonds? The support from the servants and their role in the house?

7. The irony of the visit of the birth control lady? Was this adequately done as comedy? Point behind it?

8. How successful an example of American family cinema in terms of enjoyment, popularity, positive outlook on life?

CHATO'S LAND

US, 1972, 110 minutes, Colour.
Charles Bronson, Jack Palance, Richard Basehart, James Whitmore, Simon Oakland, Ralph Waite, Richard Jordan.
Directed by Michael Winner.

Chato’s Land is a typical western of the early 1970s – influenced by the films of Sergio Leone in the 1960s, The Man With No Name series. These westerns were grim, stark, focusing on revenge, the clash between Indians and whites. Other films of the period include some by Robert Aldrich such as Ulzana’s Raid.

This is a star vehicle for Charles Bronson who was emerging as a big name in the 1970s after being in supporting roles during the 50s and 60s. He was one of The Magnificent Seven as one of The Dirty Dozen.

The film was directed by English Michael Winner, the first of four films he made with Bronson from 1972-74. The others are The Mechanic, The Stone Killer and the classic Death Wish. Winner directed Bronson in two sequels to Death Wish in the 1980s.

Bronson plays the laconic Indian who shoots a sheriff in self-defence. As a posse, led by Jack Palance, pursue him into the desert and are brutal towards his wife and his tribe, the hunters become the hunted, being picked off one by one. This is the very strong vengeance theme, prevalent at the time.

Chato’s Land is a strong example of its kind.

1. Was this an ordinary western? Or was it a message western with a difference? Some critics went for either opinion.

2. How cruel was this western? How much did cruelty and violence predominate? Was this part of the message? How would it affect audiences? Why?

3. The film took the side of the Indian, and portrayed the whites as horrible with racist intolerance. Was this a strong western criticising the white man's attitudes and exalting the Indian? Was it successful and just in this?

4. Comment on the implications of racism and the overtones of racism for the film in the opening sequence, Did this make the subsequent chase intelligible? Did it justify the violence and the deaths?

5. How sympathetic a person was Chato? As a man, as an Indian? Discrimination in the bar, the chase, the presentation of him with his family, the suffering of his wife, the vengeance in killing?

6. What were the attitudes towards justice in the film? Who had the right of execution? Chato as an executioner of unjust men? Did he have the right to do this? Was this his land to administer justice? Did the pursuers see themselves having justice on their side? Or were they merely lynch-law violent men?

7. What did you make of Quincy? As an army man, as a leader, games, loyalty? Was he an adequate pursuer of Chato? What motivated him? His control over the men? His failure as a leader? The inevitability of his death? Did his character give any insight into motives for pursuing the Indians?

8. How did the film present group loyalty and the strength of motivations for group loyalty? The clashes? Why did the group disintegrate?

9. Comment on the Hooker brothers. How ugly was their presentation? Were they exaggerated in their hatred and violence? Their hatred of Chato? Their rebellion against Quincy? Did they deserve their deaths?

10. The character of Nye Buell? Why was he in the pursuit? What motivated him?

11. Joshua Everette: what motivated his participation in the chase?

12. The young Scotsman, his attempt at fairness, his criticisms of the others? Did he deserve to die as the others? What motivated him in being in the chase?

13. How excitingly filmed was the chase and Chato’s stalking the pursuers? His knowledge of the territory and the land? Their response to the land and being lost in it? A land needing survival? The awareness of the American west in this film as a harsh land?

14. How did the film contrast Chato with the others in his terms? The importance of Chato’s sequences with his wife and child? With his friend? The harmony of the Indians compared with the violence, hatred and low humanity of the whites?

15. The presentation of the rape and your response to the white man's behaviour? As further motivation for executing justice on the men?

16. Were the deaths filmed too violently and in too ugly a manner? Or were they appropriate by this stage of the film?

17. Comment on any other detail that made great impact for the themes of the film.

18. The significance of the final image with Chato menacing the last survivor? What was the final impact and message?

THE CHARGE AT FEATHER RIVER

US, 1953, 95 minutes, Colour.
Guy Madison, Vera Miles, Helen Westcott, Dick Wesson, Neville Brand, Steve Brodie.
Directed by Gordon Douglas.

Of interest as one of the more polished films made in 3D. Directed by Gordon Douglas, a veteran director of action films over many decades, the film had the usual Western ingredients but presented in a vivid way for the three-dimension technique. Guy Madison, popular hero at the time, leads a standard Warner Bros cast. Vera Miles is one of her earliest films as an Indian girl.

1 . The film seen within the traditions of the Hollywood Western? Its quality in comparison with this tradition? How enjoyable, interesting, fair to the white, to the Indian? Picturing their clash and the American heritage?

2. The film was mads tor three dimensional projection. Is this obvious? The particular devices of objects being thrown and the effect in three dimensions? Colour, location photography, musical score? (And the comic score whenever colour appeared?)

3. The conventions of the Western centred on the military fort, the military way of life? the Commando, the special mission to the Indians the inhabitants being massacred, the cavalry riding to the rescue at the end?

4. The Western tradition of a hero sent on a mission? Miles Archer and his background during the Civil War, his settling in the west after an engineering training, his capacity for leadership, his knowledge of the Indians, his skills in dealing with them, coping with difficulties? His refusal of the mission, the motivation to go on it because of Johnny’s handling of the whole situation and the squabbling men? The skill in rescuing the two girls from the Indian camp? His leading the men back to safety despite the many difficulties? His falling in love with Anne? Conventional material - how well and interestingly acted?

3. The theme of red man versus white man? The taken for granted attitudes about white and red hostility? Indian wars, the coming of the railroad? The background of white women being captured and living in Indian camps and the repercussions on them - assimilation, revulsion? The urgency of a rescue mission? The attitudes of Johnny and his hostility towards the Indians? Anne and her living with this - fear of her reputation amongst the women on her return? The contrast with Jenny and her assimilation of Indian ways, her being engaged to the Chief? The hostile attitude of the screenplay towards Jenny, her wanting to betray the group and the violence of her death?

6. The presentation of the group of men on the mission - the visualising of their punishment and the causes of their punishment? Baker and his jealousy towards Ryan making advances on his wife and their hostility throughout the mission? Johnson, Cullen and his stealing, the man with the drink? The various hostilities between the men and their wanting to escape, their deaths? Their heroism in the occasion? Scaling the cliffs etc.? Baker's heroism and his getting the cavalry after Ryan’s death?

7. The portrayal of the Indians and their way of life - how sympathetically, realistically?

8. The patterns of the film with the Indians stalking the group? Attacks, snipers, the lack of water, the sealing of the cliff, Feather River and the charge? The capacity for survival? The violence of the charge and many deaths? The cavalry arriving?

9. The traditional picture of the 19th century heritage of America and the West and its influence in the 20th century?

CHARADE

US, 1963, 112 minutes, Colour.
Cary Grant, Audery Hepburn, Walter Matthau, James Coburn, George Kennedy.
Directed by Stanley Donen.

Charade is considered a classic of smooth sophistication in film-making. The Paris settings are beautiful. It is a murder mystery with twists. It is a romance. It is also a star vehicle for an ideal pairing of Cary Grant and Audrey Hepburn. Walter Matthau, in an early role, is a villain. With strong men James Coburn and George Kennedy in support.

Various people are in pursuit of the wealth left to a widow – with various twists and tricks, charades, in order to deceive her.

The film won a number of awards, a BAFTA award for Audrey Hepburn, an Oscar nomination for Henry Mancini and Johnny Mercer for their song ‘Charade’. The film was directed by Stanley Donen who had come to prominence in the late 40s with such musicals as On the Town and Singing’ in the Rain. He then moved to sophisticated dramas – some with Cary Grant including Indiscreet and The Grass is Greener.

The stylishness of the film is not caught in the 2003 remake by Jonathan Demme with Mark Wahlberg and Thandie Newton, The Truth About Charlie.

1. The importance of the genre and style of the film? The impact of these? The significance of the title? The importance of the stars?

2. The use of colour, the song and music, visual tricks, the quality of the ironic and humorous screenplay?

3. What thriller and mystery conventions did the film use? How well?

4. Regina and her type of character? American society in Europe, the quality of her marriage and its break-up, the mystery about her husband, the revelation of the mystery? Regina’s attitudes towards trust and love? Year and fear of death? Truth and lies? How well delineated was her character?

5. The importance of people lying in this film? Bartholomew as the only one seeming honest? The effect of the audience being one step ahead of Regina in understanding who was lying?

6. Peter Joshua as friend, hero, identity, lies? The sequences of his helping Regina, menacing her, the irony of the final chaos when he seemed to be menacing?

7. The comic touches in the film? For example the detail of the funeral service, Peter Joshua and the oranges at the dance?

8. The impression that the gang made, the funeral and their reaction to the dead man, their varying personalities, terrifying Regina, their lies, the pursuit of Joshua and Regina? The fight on the roof? threats? The deaths of each of them and their effect?

9. Bartholomew and his support of Regina punctuating the film? The revelation of the irony of this?

10. Regina and the breathing space before the final climax, the awareness of the truth, the pursuit of the stamps?

11. The impact of Regina and the truth about Bartholomew?

12. The dramatic effect and the suspense of the final pursuit by Joshua, the dilemma between trusting either of them? The confrontation of Joshua and Bartholomew?

13. The humour of the ending, Regina’s honesty, the identity of Cruickshank?

14. How enjoyable the charade in the tricks? The values of this kind of film and audience response to it?

CHANDLER

US, 1971, 85 minutes, Colour.
Warren Oates, Leslie Caron, Mitchell Ryan, Alex Dreier, Gordon Pinsent, Marianne Mc Andrew, Charles Mc Graw, Gloria Grahame, Scatman Crothers.
Directed by Paul Magwood.

Chandler is yet another private eye film, rather complicated in its plot, using Warren Oates who is at home in this kind of role but is significant for having Leslie Caron as the leading lady. A very talented dancer and actress in the fifties, she turned to dramatics with The L- Shaped Room in the sixties and had a number of roles scattered throughout the seventies as in this film and also Serail and Ken Russell’s Valentino. However the film itself is just another example of the American private eye genre, seventies style.

1. The tone of the name? Raymond Chandler’s private eye suggestions? A good example in terms of plot, mystery, social background and crime, the private eye, the leading lady?

2. How well did the film work within the private eye genre? Better of its kind, not?

3. Panavision and colour? Californian locations? Musical score? Interiors of the wealthy world of the government and the rackets? The outdoor sequences and the small towns, the coast? The effect of this environment?

4. The clarity of the plot? Credibility and plausibility? The world of the private eye and his disillusionment? The world of the rackets, corruption, government protection, plots and rivalries? The women in this world - in the offices, mistresses? Their being discarded? A world of violence and death and lack of moral perspective? Audience interest in this world?

7. Warren Oates's style as Chandler? The initial giving up of his job, his acceptance of the job during the film? Should he have, did he know what he was doing? His skills, violence, anger and frustration? His attraction to Katherine, their history? His following her? The realisation that he was being used as a bait and his emotions being interpreted? His violent reaction? The futility of being pursued? The inevitability of his being shot? The genre of the private eye as particularly American? The American character?

8. Katherine within this world, her background, her explanation of her being the mistress of the racketeer, her love, love of luxury? Her being discarded, running away? The violence that she experienced? Her relationship with Chandler and love? Her moving away from Carmady? Her being set up? Her reaction to Chandler’s being shot and her shooting Kincaid? Why did she not shoot? A credible woman within this world? The characters of the racketeers: Carmady and his involvement with Katherine and its jeopardy for the rackets, Kincaid and his ambitions and ruthless plan and violence? Maxwell and his ever-presence and his representing the government and their protection? The minor criminals and their plotting? Chandler’s mentor and his getting him into the case? A world in itself, the inherent violence and death? The minor characters and their contribution? For example, Angel Carter, Smoke and his playing in the night club? An authentic atmosphere?

9. Particular sequences from this genre and their impact, e.g, the train rides, the encounters, the chases, Chandler's violence?

10. What insight into a modern financial and corrupt world? How pessimistic the outlook on the individual against the world?

THE CHARGE OF THE LIGHT BRIGADE

US, 1936, 115 minutes, Black and white.
Errol Flynn, Olivia de Havilland, Patric Knowles, Henry Stephenson, Nigel Bruce, David Niven, Spring Byington, Donald Crisp, E.E. Clive, J. Carroll Naish.
Directed by Michael Curtiz.

The Charge of the Light Brigade is a typical action spectacular from Warner Bros during the 1930s. It stars Errol Flynn and Olivia de Havilland who had just appeared in Captain Blood. They were to appear in a number of other films including The Adventures of Robin Hood, They Died With Their Boots On, Santa Fe Trail. They made a very popular couple in films of the time.

The film is based on Alfred Lord Tennyson’s poem – and visually presents the charge. However, it is presented in the heroics of the time rather than the more cynical look at the charge in Tony Richardson’s 1968s film.

The film recreates India – a popular theme in American films at the time with such films as The Lives of the Bengal Lancers as well as Gunga Din.

The film has good special effects, recreates the atmosphere of India – at least in the popular mind and its understanding of the British empire.

Direction is by Michael Curtiz who directed a number of these films including They Died With Their Boots On. Curtiz was to go on to win an Oscar for Casablanca in 1943.

1. Audience expectations of this film, because of history and Tennyson's poem? The success of the film as an action drama? Its impact?

2. The film as typical of the action dramas of the mid-thirties? The elaborate processes in the making of the film? The starring of Errol Flynn and Olivia de Havilland? The black and white photography, locations, scope and style? The appeal to adventure seeking audiences?

3. The use of Tennyson’s poem throughout the film? Its dramatic impact during the charge? The nature of Tennyson's mystique? Modern realistic or cynical attitudes towards the reality of the charge?

4. Presuppositions about men and war? The nature of heroism? The obeying of orders and personal initiative? The nature of heroes?

5. The portrayal of the fighting in India? As background to Britain and Crimea? As illustrating the motivations for the men involved in the charge? How convincing?

6. The importance of British missions to India? The rivalry of the Russians? The initial hunt, the diplomacy, diplomatic balls, the seeking out of horses, the nature of the life in garrisons? How authentic did this seem? Interesting? For the drama of the plot?

7. The rivalry between England and Russia? In India, in the Crimea? The motivations?

8. How attractive a hero was Vickers? His saving the life of the khan? The irony of his being impossible for his death? Vickers in relationship to his companions? To Randall? His friendship with his brother and their rivalry? His relationship to Elsa? Vickers as a professional soldier?

9. The presentation of the British army hierarchy? Their capacity for decisions? Their meetings? The subordinate officers in the garrison? Lady Octavia and her husband?

10. Vickers and his heroics? His personal style? His arranging of the charge? His behaviour during the charge?

11. The love between Elsa and Perry Vickers? The hunt, the rescue? Vickers saving Elsa during the siege?

12. The dramatic importance of the siege and the tableau of the people killed? As motivation for the charge?

13. The background and drama of Crimea, the General's discussions, the responsibilities, the vengeance motivation, Vickers' charge itself?

14. The nature of the cover-up and its appropriateness? The origins of myth and legend?

CHAMPIONS - A LOVE STORY

US, 1979, 100 minutes, Colour.
Tony Lo Bianco, Shirley Knight, Richard Jaeckel, Jennifer Warren, Jimmy Mc Nichol, Joy Le Duc.
Directed by John A. Alonzo.

Strongly reminiscent of the popular Ice Castles. It takes up the theme of professional skating, especially figure skating. It sets it in the context of the youthful love story. It also has tragedy in the death of the hero and the heroine rising to success on her own merits. (Ice Castles had the heroine going temporarily blind and succeeding.)

The young stars are excellent in their skating work and are quite good in acting, the strength of the performances lie with Tony Lo Bianco as the coach and especially with Shirley Knight as the heroine's dominating mother and Richard Jaeckel and Jennifer Warren as the hero's parents. They bring strength and a sense of realism to their scenes. The film does not underplay the hard work and constant practice and intensity for success. It also shows something of the financial and professional pressures of success in sport. There are some lyrical sequences, good skating sequences. The film was photographed and directed by John A. Alonso, an excellent cinematographer who made his directorial debut with F.M.

1. The appeal of this telemovie - youth, sport, skill, achievement?

2. Tragedy? Love story? The perennial appeal of these ingredients and their being presented to each generation? The American tradition of the sport achievement film, the love story? To the impact of the film as telemovie - interest, emotions, the emotional response shared by the home audience?

3. The quality of the screenplay, the strength of character delineation, sport, achievement, realism? Sadness and sentiment? Colour photography especially the skating sequences? The emotional musical score?

4. The two titles and their indication of tone? How well did they blend? Audience response to each? The wide range of appeal?

5. Carrie and Peter as real characters? Situating them with their age, their skills, drive? seeing them within the context of their families, conflicts, love? The long hours of their training, their failures, their endurance, clashes, reconciliations their winning? A more realistic presentation of such characters than is usual?

6. The presentation of the two at school, in their work, friends, dating, the length of time spent together practising, the importance of finding money and supporting their training?

7. The time element in the film - the focus on particular years, the sense of development. passing of time?

8. The presentation of skating and its requirements: physical skills, sense of balance and timing, art and beauty, exercise and strength? Mistakes, injury, pain and sense of responsibility for the partner? The sharing of achievement and success?

9. Carrie's mother and her push, her initial hardness, the coach and his reaction? her pushing Carrie when she was diffident, her relentlessness? Her being abandoned by her husband and the significance of the phone call. the appeal for money, her sense of being abandoned? The confrontation with Mrs Scoggins about the conditions for the partnership and their actually not being fulfilled? Her reaction to Carrie's injury? Her presence at the championships symbolised by the taxi ride to get the dress? The growing bond with her daughter? her friendship with Peter? her sharing in the grief of Peter's death? her holding back for Carrie's future career and Carrie’s asking for her help in the bedroom scene? The portrait of a pained and ambitious mother?

10. The Scoggins family? the home sequences? Peter, the daughters? Peter Scoggins senior and his hopes for his son, his pride in his hockey playing, his attitudes towards sissiness? His reaction to the figure skating? The bond with his son, his getting the various jobs to support him, growing appreciation? The harsh sequences of refusal compared with the taking of photos and his pride? His grief in not seeing his son skate? The sequence of his receiving the news? Peter's mother and her love for her husband, her interest in her son, her appreciation of his potential, listening to Carrie's mother's conditions and not accepting them? Working? Her helping her son, the importance of the illness and the operation? The authentic discussion between husband and wife about illness, family? Her grief at her son's death? The Scoggins family supporting Carrie in her career?

11. The coach and his skill, his explaining his life story and injury to Carrie? His relationship with the other coach and her help with Carrie and Peter? His insight into the pair, his realisation they could work together? his presence at the competitions? His support of Carrie and her success?

12. The portrait of Carrie as a young girl, teenager, diffidence, the encounters with Peter, the dates with his friends, her relationship with her mother, irritation with Peter, the injury and the hospitalisation, the long training? The bond growing between the two? The final sequence at the airport and her grief? her option and her decision to go on? The final sequences of her success, well merited?

13. Peter as a genial teenager, hockey skill, friends, his drive to succeed. his exercises, training with Carrie, his cheerfulness? The impact on the audience of the suddenness of his death?

14. Goals, skills, gifts, competitiveness, sacrifice?

15. The old myths of training, achievement and success? The values of success? How important are they and the response of the home audience, being inspired by such images of dedication?

THE CHALK GARDEN

UK/US, 1964, 105 minutes, Colour.
Deborah Kerr, Hayley Mills, John Mills, Edith Evans, Felix Aylmer, Elizabeth Sellars.
Directed by Ronald Neame.

In this film, Deborah Kerr continues her career as a governess (The King and I, The Innocents). She is perfect in that role – always expected to be like that although she played the prim and rather repressed character in Tennessee Williams’ The Night of the Iguana in the same year. She is matched by Hayley Mills, as a young girl who resists her governesses, gets rid of them by ridiculing them and exposing their past. She meets her match in Deborah Kerr. A disturbed young girl, she is being sought by her mother, played by Elizabeth Sellars. Hayley Mills had made a big impact at this time, playing with her father in the late 1950s in Tiger Bay and then in the Disney films such as Pollyanna and The Parent Trap.

John Mills is in support. Edith Evans (Oscar-nominated and winner of National Board of Review award) is also in support). The film was directed by Ronald Neame, a cinematographer for David Lean (In Which We Serve, This Happy Breed, Blithe Spirit) who began as a director in England with some standard films like The Card and The Million Pound Note, moved to bigger-budget films with Alec Guinness in The Horse’s Mouth and Tunes of Glory and then went to the United States. In the 1970s he directed The Poseidon Adventure and The Odessa File.

The film was based on a play by Enid Bagnold and was adapted for the screen by John Michael Hayes, writer of a number of screenplays for Alfred Hitchcock in the 1950s including The Man Who Knew Too Much, The Trouble With Harry, To Catch a Thief and Rear Window.

1. The significance of the title, its symbolism, to the house, to the family, to the individuals? Indication of themes?

2. The film as based on a play, its structure, themes, confined atmosphere, restriction to one location, the quality and strength of the dialogue? The contribution of colour, and music?

3. The film's focus of attention on Mrs St. Maugham and her garden, its chalkiness, its productivity with the help of Miss Madrigal? The focus of attention on Mrs St. Maugham and her dominance of the film, her character in herself, her attitude towards people and her talk, dominant. possessive and cruel? How did she use people? Her designing of her daughter Olivia and her treatment of her? Her attitude towards Laurel and her possessive protection? Mrs St. Maugham’s age, experience, reliance on Maitland, on Miss Madrigal? How insightful a study of an aging woman?

4. The presentation of Miss Madrigal, Deborah Kerr's style of performance, her sudden appearance in answer to an advertisement, the way that the atmosphere of mystery around her was created, her primness, the qualities of her personality? Her capacities for gardening and creating life, of creating a response in Mrs St Maugham? Her clashes with Maitland, his scorn and curiosity? Her relationship with Laurel, her lack of contact with her? Her concern, the understanding of Laurel in terms of herself? The understanding of Mrs St Maugham, in terms of herself? How well was her character and true personality revealed? Were the audience surprised to discover her criminal background and her explanation of her behaviour as a girl, in prison, towards the judge? Judging Miss Madrigal on externals, on her true character and personality?

5. How typical a sixteen year old was Laurel? The strength of Hayley Mills's performance? Her separation from her mother and the effect on her and the way this was manifested. her dependence on Maitland, her malicious streak? Her relationship with her grandmother and her grandmother's dominance and possession? The importance of her world of fantasy? The suffering in her life, the hurt, the having to grow through this experience? Her clashes with Miss Madrigal, her curiosity? How insightful a character study of a girl of this age?

6. The role of Maitland in the house, his type, his wisdom in assessing situations, his guidance of Laurel, his dependence on Mrs St. Maugham, attitude towards Miss Madrigal? How well did he help Laurel?

7. The build-up of Laurel's curiosity about Miss Madrigal, her taking means to discover the truth, her spying? Her understanding herself in terms of Miss Madrigal's experience? How did Miss Madrigal change through her experience of the house, her intensity e.g. at the tennis? The build-up to the judge's visit, the indications of the truth, the personality of the judge and his repeating the story about the condemned woman?

9. Miss Madrigal and her fears of Laurel becoming like her? The dilemma of what she was to do?
Rival, her clash with her mother?

10. The personality of Olivia, the contribution of Miss Madrigal, Laurel's behaviour? What future was there for Laurel, the re-establishing of relationship with her mother, her mother's influence? The future for Miss Madrigal? Mrs St. Maurice’s Things symbolised with the future and her contribution to the household’s garden? How interesting a study of human nature?

CHAC (DIOS DI LLUVIA)

Mexico, 1975, 95 minutes, Colour.
Directed by Rolando Klein.

A Mexican film with anthropological interest. Rolando Klein went out amongst the Mexican Indians and used non-professionals, some of whom had never seen a film, to explore the nature of Mexican religion. He has said that he has used a lot of overtones of religion and symbols and numbers. This may not be very evident to most audiences.
However he explores a basic religious situation of' Indians, with primitive religion, praying to their god and performing rituals to gain rain.

The film has quite an amount to interest audiences with anthropological viewpoints. It explores the nature of primitive religion and superstition. It shows the simplicity attitudes of the Mexicans, and the grandeur and ugliness and violence of religions. It uses Mayan languages.

1. Interest, enjoyment? Overall impact? Mexican background? Religion and anthropological interest? The impact for the ordinary audience? Specialist audience?

2. The technical quality of the film, the beauty of the visuals, nature, the environment of the Mexicans and their experience of their gods and religion? The details of nature, of water, villages, mountains, waterfalls etc?

3. The fact that none of the actors were professional except the dwarf? The impact of their naturalness, authenticity? Mayan languages?

4. The importance of symbols? In the top corner of the screen? Numbers? The relationship to religion and anthropology and stories and archetypes?

5. The background of the Mexican gods, Mayan tradition? Chac as an angry god of storms?

6. The presentation of the situation, the Mexicans' needs, rituals and prayer, ritual procession, the mountain, petition etc?

7. The dangers for the men on the pilgrimage? The contrast with the villagers and their way of life?

8. The importance of the signs during the journey to the mountain? The various animals, places of nature? Their religious and superstitious interpretation?

9. The role of Sears, the Shaman? Their authoritative role, religious role?

10. The experience of despair?

11. The importance of a death and a man being victimised for the angry gods granting the prayer? The impact of the rain after the death?

12. How much characterization was there in the film? Which characters stood out, what did they stand for?

13. The meaning of primitive religion? Primitive society? Should these cultural patterns remain or be changed?

THE CHAIRMAN

US, 1969, 98 minutes, Colour.
Gregory Peck, Anne Heywood, Alan Dobie, Burt Kwouk.
Directed by J. Lee Thompson.

The Chairman is an ideological thriller of the late 1960s. It was also called The Most Dangerous Man in the World. The reference is to Mao Tse Tung and the setting is China.

The film emerges from a cold war between the United States and China. The film has the overtones of science fiction. It is an interesting perception of how the United States looked at China at the time – with an interesting picture of some decadence in Hong Kong.

The film was a star vehicle for Gregory Peck and is directed by J. Lee Thompson who worked with Peck in such films as The Guns of Navarone and, at this time, Mc Kenna’s Gold. Peck gives his usual stalwart performance. The leading lady is a British Anne Heywood.

1. An alternative title was The Most Dangerous Man In The World. Which is the better title? Why? How is there a change of emphasis in each title?

2. How real was this film? Or was it too far-fetched? Is the plot feasible? Is it thinkable? Does this matter for this kind of science-fiction?

3. How good a science-fiction film was it? The use of Hathaway? The use of computers and bombs? The enzyme and food overtones of the story? How well was the science-fiction related to politics? Was the film an interesting political film or was China just used as background? Did the film throw light on men involved in this world? And the plight of such a world?

4. How central to the film was America and its attitudes? Its place in world power, its alliance with Russia, its relationships with China? The ideology behind the bid for supremacy in the world? How critical of American attitudes was the film? The collaboration with Russia, what comment did the film make on this? Suspicious relationships with China: again, what comments? Could the film be seen as American propaganda? As supporting a particular line for political purposes? Why?

5. What was the impact of the credits sequences? The use of colour and atmosphere? An impression of China? The drawing of sympathies or antipathy? The nature of the China portrayed?

6. How well did the film generate tension? How? Was the use of flashbacks effective? How? As centering on Hathaway and concerned with him?

7. How credible a hero was Hathaway? Gregory Peck's style, heroism, his status as a doctor, the fact that he was a widower, his retirement from politics, his attitude towards death, his attitudes towards patriotism? The fact that he did not understand what was happening to him? His reaction to the enzyme question? His being pressurized into accepting? The stealing of the enzyme for the world's benefit? Allowing himself to be monitored? The impact of lack of privacy? How interesting a hero did this all make? Which sequences illustrated this best?

8. How important for the film was Kay? Hathaway's relationship to her? The brief sequence in which she appeared, not understanding? An some kind of balance in a real world? Her function at the end of the film?

9. How convincing were the characters of Shelby and Denson? The military mind? Patriotism and an overall zeal for achievement? As characters? Did these men have personalities? Denson and his blank efficiency? Shelby and the patch over his eye - symbolic? Did they have any moral stances? Their attitudes towards Hathaway? Towards the enzyme? Towards the bomb? The way that they played God? Their deceiving themselves about their motives? The decisions about blowing Hathaway up? How important was this for the adventure, the tension, the themes of the film?

10. Comment on how the film built up its interest – the air flight, Hathaway's being monitored, the fitting in of the flashbacks, the adventures in Hong Kong (the significance of these?) The entry into China, life in China, the stealing of the enzyme, the conflict of ideologies of the daughter, the escape and its implications?

11. How sympathetic was the picture of China? The contrast with Hong Kong and its decadence - how important was this? The Red Guard and their presentation In China, their fanaticism? The picture of the esteemed scientist and his daughter in China? The working for good? Was the picture of China just?

12. How important for the themes and tension of the film was the fact that Hathaway was being monitored all the time? That Shelby and Denson could hear him? That he could speak with them? That there was no privacy? That they could hear but not help except by blowing him up?

13. How important was the escape? Credible? Exciting? Did the film present a clear case for the decision to explode Hathaway? Why? Was the countdown over-dramatic? Its impact at this stage of the film?

14. Did you sympathize with Hathaway's disillusionment? In his desire then to fight such ideology? Was this one of the points of the film?

15. What impact does a film like this have? Merely as entertainment? Or as related to the world in which we live? Why?