THE GIRLS IN THE OFFICE

US, 1980, 96 minutes, Colour.
Susan Saint James, Tony Roberts, David Wayne, Barbara Eden, Robyn Douglass, Joe Penny.
Directed by Ted Post.

The Girls At The Office is a pleasant, entertaining slice-of-life TV melodrama. It is set in Houston, Texas and focuses on a department store with tradition moving to new premises. The manager of the store is highlighted and played with sentiment by David Wayne. Tony Roberts is his assistant. Three girls are interviewed and obtain jobs in this transition period. They portray the variety of working girls. The girl from the country with a sense of integrity, the young foolish girl who is made to stand on her own feet, the ambitious girl who is un
scrupulous, even to back-stabbing. Susan St. James is quite effective as this last girl - she has moved into a career in telemovies such as Desperate Women and features such as Outlaw Blues and Love At First Bite after her stint in McMillan? and Wife. The film stays generally on a surface level but indicates for a wide audience the issues facing girls at work, career, ambitions, personal relationships. Direction is by Ted Post, a frequent director of telemovies and of competent cinema movies.

1. An entertaining film, the background of soap opera, television series, bestsellers? The point in portraying these three girls and the background of the department store?

2. The atmosphere of Houston, Texas, the city, department stores, apartments? The glossy presentation? The strength of the cast? Musical score?

3. The emphasis on tradition: How department stores used to be? How America used to be? People's behaviour, relationships? The tradition of this kind of business film? Audiences observing the situation, the girls? Identifying with them? Judging them?

4. The film's creating the atmosphere of the store - the opening sale, the Closing down, the tradition of Nayfak's in Houston? The owner and his pride? The ambitions in moving shop, the twelve month preparation for opening? The ethos of department stores and their place in the American way of life? The personnel, the interviews, the girls wanting a job, anxious to get whatever they could?

5. The one year span, the frequent indications of the time lessening? Nayfak and his attitude towards the store, towards Michael and his succeeding him, words of advice to the girls, management of board meetings? His dying? The funeral? The atmosphere of realism about the store - the various managers, their competence and incompetence, the stabbing in the back? The final opening of the store?

6. The presentation of the interviews - the varying styles, the way of introducing the girls, the variety of attitudes and backgrounds, personalities? The judgments- on the girls and interest in their future?

7. Rita as the focus of the film? Tough, her work as secretary, her offering herself for promotion? Her ability to get advantage over Prager? Cool control? Low self-image? The relationship with Michael, her throwing herself at him, the later liaison? Her taking Rena's job away from her? The possibility of rising in the store, of people trying to bring her down? Her friendship with the girls, sharing flats, giving advice? Her loneliness? Her final stand in support of Michael at the end? Joining the girls for the finale? A portrait of an ambitious girl?

8. The contrast with Karen - the nice girl, her refusal to bow to manipulation and cover-up in finance, her encounter with Nayfak and his advice and support for her?

9. Tracy and her bringing in the coffee, her being joked about, awkwardness, Rita telling her off, her final self-assertion?

10. The men as being portrayed in a hard light, rivalries, incompetence, betrayals? Prager and his inefficiency? Karen's boss and the cover-up? The rivalry with Michael? Michael as the most sympathetic - his work in the shop, loyalty to Nayfak, his reaction to Rita’s proposal., the sentiment of the affair, his becoming Nayfak's successor and his decision about the opening of the shop? Not doing deals?

11. The sub-plot of Rena and Beau: the age difference, the initial clashes, falling in love, the possibility of hurt? Rena and her being passed over? Her decision to stop being ambitious and the fulfilment of the relationship with Beau?

12. A satisfying ending - for the television audience, the comparison of experiences.. the interest in the work situation? The effectiveness of communicating the point?

GIRL RUSH

US, 1955, 85 minutes, Colour.
Rosalind Russell, Eddie Albert, Fernando Lamas, Gloria de Haven.
Directed by Robert Pirosh.

Girl Rush is a brief entertainment piece of fluff - a star vehicle for Rosalind Russell (although ageing, she is able to belt out a song and kick a heel!) She was soon to make Auntie Mame and later Gypsy. She received genial support from Fernando Lamas and Eddie Albert who has a chance to sing. Gloria de Haven provides some glamour. The atmosphere is Las Vegas - gambling and shows. There is a battle of the sexes and some comedy touches. An example of Paramount Studio's attempts to use the new colourful Vistavision process in the mid-'50s.

1. Entertainment? Gambling, comedy, music? A good example of its kind?

2. Colour photography, the atmosphere of Las Vegas and its surroundings? Sets? Decor and costumes? Choreography? The musical score and the songs?

3. The stereotypes for this kind of comedy: the gambling types, the brassy heroine, the suave gambler, the ingenuous businessman, the dumb starlet etc.? How well were they characterised? Stereotype situations - nevertheless enjoyable?

4. The plausibility of the plot: the background of K1m and her growing up with the gambling father, his inheritance, his friend losing it in gambling? Her taking over the hotel, her making mistakes and pushing people around? Falling in love? Plots and schemes? The sorting out of tangled issues? A comic aunt? A pleasant blend of contrivance?

5. Kim and her background, as a little girl growing up, devotion to her father, what she inherited from him? Her work in the museum and her boredom? Her absent-minded aunt? The news from Las Vegas? Persuading her aunt to go? Her mistake about her property, her contact with the hero, watching the show, giving advice to the chorus? Discovering the truth? The song and dance routines with the dancers? The return to New York? The complications with the hotel heir making deals? Horse-riding, misunderstandings with the starlet? Her feeling defeated? Stepping in and being the star of the show, the wedding? Rosalind Russell and this type of forward heroine?

6. Fernando Lamas as suave gambler? His ploys with Kim? Deals? Starlet? Getting lost on the riding journey? The happy ending?

7. Eddie Albert as the ingenuous wealthy heir? Song and dance routines? Attraction for Kim? The starlet? His being under his father's thumb and self-assertion?

8. Gloria de Haven and her glamour, singing and dancing, advice from her brother, the happy ending for her?

9. The comedy with Kim's aunt and her adapting to Las Vegas? James Gleason as her father's partner and his inevitable gambling? The starlet's brother and advice?

10. The ordinary comedy routines, the snappy dialogue, song and dance? Las Vegas Americana and entertainment?

A GIRL NAMED TAMIKO

US, 1962, 116 minutes, Colour.
Laurence Harvey, France Nuyen, Martha Hyer, Michael Wilding, Myoshi Umeki, Gary Merrill, Steve Brodie.
Directed by John Sturges.

A Girl Named Tamiko is a commercial mixture of romance, message film and wide-screen travelogue of Japan. As romance it is successful enough, mainly because of a characteristically effective portrayal by Laurence Harvey and a charming and dignified portrayal of Tamiko by France Nuyen. (Martha Hyer has the thankless task of playing a most unsympathetic American and her performance is shrill and irksome).

As travelogue, the film has long sequences of Japanese scenery and monuments. It suffers badly on television from this point of view and the film lags at times.

As a message film it is unusual. The racism is that of the Japanese and is quite interesting. Laurence Harvey plays a half-Russian, half-Chinese, embittered by Japan and this gives edge to a film which is potentially soft.

Direction is by John Sturges, a director generally of tough action films - Bad Day at Black Rock, The Magnificent Seven, The Great Escape, Ice Station Zebra, Marooned, The Eagle Has Landed.

1. Was this merely a sentimental woman's film or did you think it was in some ways a message film?

2. What race issues did the film raise? Did they come across forcefully because they were found in Japan, or did that make them seem somewhat remote?

3. How had Ivan's Chinese and Russian background affected him? Why did he resent the Japanese?

4. Why did Ivan have such great dreams about America? Did they have any basis in reality? Why had he not been able to get out of Japan for twelve years?

5. Why was Ivan a bitter man? Why did he determine to use people? How callous was he?

6. How did he use the Americans - the journalist, Fay Wilson? Did he like them? Did he love Fay at all?

7. What kind of woman was Fay? Was her character well defined in the screenplay - her background, her bitterness, her using of Ivan?

8. What facet of Japan did Tamiko represent (and what aspect did her brother show)? Was she too Americanised? How did she regard traditions?

9. Was Tamiko a strong personality? How was she an influence for good on Ivan?

10. What was the significance of the sub-plot concerning Nigel and Eiko?

11. Did Ivan love Tamiko during their days together? What was the significance of the scene in the baths and Ivan's reckless cycling?

12. Why did Ivan decide to leave Tamiko and go with Fay? Why did he change his mind?

13. Had Ivan changed Fay? was this convincing? Why?

14. At the end, how had Ivan become less bitter? What had he accepted in Japan and in himself?

15. What did this film show of American attitudes towards the Japanese in the early 60's?

THE GIRL IN THE RED VELVET SWING

US, 1955, 109 minutes, Colour.
Ray Milland, Joan Collins, Farley Granger, Luther Adler, Cornelia Otis Skinner, Glenda Farrell.
Directed by Richard Fleischer.

The Girl in the Red Velvet Swing takes up one of America's turn-of-the-century lurid crimes. It focuses on noted architect Stanford White and his infatuation with a chorus girl and a subsequent killing. Joan Collins had come from England and was at the height of her Hollywood career at this time, eg. Land of the Pharaohs, and performs well in this particular role. She has been repeating something of this same style during the 70s - only she is twenty years older. Ray Milland is convincing as Stanford White and Farley Granger was adept in the 50s at portraying jealous and demented lovers, e.g. Strangers on a Train. This was one of the earliest of the Cinemascope films and took pains to re-create turn-of-the-century New York.

The film is of interest because it was directed by Richard Fleischer, who has turned his hand to a great variety of films over the decades, ranging from Tora Tora Tora to Dr. Doolittle to The Incredible Sarah and Mandingo. During his career he has made several films about bizarre murders and this takes its place amongst them: Compulsion, Crack in the Mirror, The Boston Strangler, Blind Terror, The Strangler of Rillington Place.

This story formed part of the novel, film and musical of E.L.Doctorrow's Ragtime.

1. Why do audiences like this kind of drama? The dramatics and the romance, the crime? The film as an interesting piece of American history? of American scandal?

2. How successful was audience interest and involvement in the plot? How successful was the film as a romantic drama, court drama? The use of widescreen, colour, lush and period settings?

3. The importance of the prologue about the people involved and the authentic nature of the film?

4. The picture of American society, wealth, class distinctions, the turn of the century atmosphere, the morality of the time, the styles in high living, the arrogance of the people in this strata of society?

5. The film's focus on Stanford White: as a celebrity and architect, his career, the initial presentation of his marriage and fidelity, the true picture of his infidelity, the love nest? His attraction to Evelyn, his fighting the attraction, the reason for his final succumbing? The nature of his love, jealousy, protectiveness? His capacity for being hurt, his hurting Evelyn? What kind of man was he? His respect and love for his wife? His wanting to treat Evelyn well? The significance of the scene of the dedication of his building? His sending Evelyn to the school? His letting go of her and their later encounters? What insight into this figure did his film give?

6. The focus of the film on Evelyn: her background, her prettiness, her mother's ambitions, as a photographer's model, her work in the chorus, the dinner with the theatre party? Her involvement with White? The games at his house? Her falling in love with him? The sequences of her teeth getting fixed? Her returning to his love nest? The growing involvement, the significance of the red velvet swing? The effects of White's wanting to break the love affair? Her going into the school and her nervous breakdown? Her escaping by Harry Thor (after the sequences of his unwelcomed attentions?) The Swiss sequences and the lack of communication between Thor and Evelyn? The failure of the marriage? The murder itself and its effect? On Evelyn's participation in the trial, her decision to lie? The Thors despising her, her refusal of their money? The sad irony of the Vaudeville sequence at the end with the swing? The fact that the film was based on Evelyn Nesbitt's testimony? How much audience interest in and sympathy for this character?

7. The character of Thor: the initial arrogance, his lavish style, his wanting to prove himself, party for the theatre group, indications of Thor's violence? His obsessive hatred of White? The sequence of his proposal in the shop? His following Evelyn and then his marrying her? was this credible? The persecution, the jealousy, the credibility of the shooting, his arrogant behaviour at the trial? His arrogant behaviour at the prison, his disregard of Evelyn?

8. The insight into Mrs. Nesbitt’s character and influence on Evelyn? Protective, taking moral stances, ‘comprising these?

9. The contrast with the Thors and their arrogant attitudes? The influence of their wealth and their style? Their despising of Evelyn and their trying to buy her off?

10. How did the film give the picture of an era, its flavour, New York at the turn of the century?

11. What were the main highlights of the film and their impact? Why do audience enjoy such films? The values explored? Popular human interest? Did the film exploit its theme in any way?

THE GIRL FROM PETROVKA

US, 1974, 100 minutes, Colour.
Goldie Hawn, Hal Holbrook, Anthony Hopkins.
Directed by Robert Ellis Miller.

The Girl from Petrovka shows how Goldie Hawn emerged as a talented actress. This is an unusual vehicle for her. She has to portray the somewhat scatterbrained girl she frequently does. But this time she is Russian (mixed accent and all), a shrewd little girl lost in Moscow, and has to blend humour with pathos, taking the film to a sombre ending. On the whole she does well. But perhaps it is the old-fashioned love story, journalist in foreign country genre, that takes impact from the film. Hal Holbrook is convincing enough as the journalist. European location photography, especially Vienna as Moscow, are a great asset. The film provides a pleasing enough outing.

1. What kind of film was this? Or genre? Comedy, drama, thriller? How enjoyable was the film? Why? What response did it ask from its audience?

2. Comment on the style of the film and its success: how focussing on Joe Merrick, his telling the story in flashback, our identifying with him and seeing Octobryna through him. Did this help us to see the girl as she really was? Or merely through his eyes?

3. How important was atmosphere for this film? The visual presentation of Russia, Moscow, the countryside, the Black Sea etc.? The atmosphere of Moscow and its ideology? The references to Communism and Socialism in the dialogue and its impact on the characters? The importance of communist capitalist conflicts for the themes of the film? Would the film have made sense without this background? Why?

4. Was the title appropriate? Would it have been better to be more specific? How attractive was Goldie Hawn in the role? Did her typical personality and style blend with the character or did it obtrude? What kind of girl was Octobryna in herself? Did she make sense in this Moscow background? Her capacity for loving, her innocence, her calculated approach? Her need to grow up? Her capacity for affection, for pretty things, for sentiment, for traditions? Her capacity for pity and help? What was her relationship with the minister? Why? What did she offer him? Their happiness at the party, at the picnic visiting him, at the hospital? Why did she fall in love with Joe? Did she know she had? Her erratic appearances at his flat? Her enjoyment of baths etc., her depositing of the plants, then her going off? Her relationship with Leonid? Why did she help him when he was hiding, to escape, stealing the money? Her relationship to Kostya? His doing the ringing up for her? His lecture to her and its effect on her life? Her casual relationship with the soldier as a weapon against Joe? How rounded a character was Octobryna in the film? How interesting, how possible to identify with as a modern type character? Is this the main value of the film?

5. Comment on the goodness of Octobryna, her affection, the picnic sequence, the party sequence, her love for Joe etc.? How endearing was this? why? What was your reaction to her being arrested? Why? How true was what the judge said in the trial? How unjust was it? The impact of her farewell to Joe and of her going to prison? How did this leave the audience at the end of the film?

6. What kind of person was Joe? How typical an American journalist, his re relationship with his wife, career? His need for love and affection? How successful a man was he, how much of a failure? How much the beginnings of a burnt-out case? Why did he respond to Octobryna? How did she transform his life? Which incidents illustrated this best? His conflicting emotional responses to her? The consummation of their love? His response to her going to prison? What effect had her presence in his life on him?

7. How interesting a character was Kostya? His vitality? What values did he stand for? His black market work, his contacts, his kindliness for Octobryna, his helping of Leonid, his helping of Joe? What was the impact of his lecture to Octobryna and how did it change her life?

8. The importance of Leonid in the film? As a Russian, a socialist, a musician, his love for jazz, his own compositions, his escaping from the Soviet Union? Should he have escaped? why?

9. What did the music contribute to the film - the jazz score, the musical backgrounds, the song? How did the colour contribute to the film? The location photography, the scenic effects, the muted gold tones of so much of the film?

10. which sequences made most impression? What touches of acting, scene composition, situations, were best?

11. What were the main themes of the film? The basic humanity of men and women, people in a modern world, the socialist world and the capitalist world, the innocent abroad, the calculated innocent who needs to grow up? The interaction of human feelings?

THE GAUNTLET

US, 1977, 109 minutes, Colour.
Clint Eastwood, Sondra Locke, Pat Hingle, William Prince.
Directed by Clint Eastwood.

If you don't take Clint Eastwood seriously, you will enjoy most of this film but think that in the multi-gun blazing finale, he has over-reached himself. If you do take him seriously, then you may at first wonder if he has gone off symbolism for showy action, until the action and dialogue
emerge as symbolic of U.S. political corruption, police work as administration of justice but also opportunity for legitimized brutality. Eastwood's slow-thinking Ben Shockley also emerges as a "Rocky" type, a semi-contented loser offered an opportunity to succeed when everyone expects him to fail. Interesting Eastwood message action.

1. A Clint Eastwood film and audience expectations? Character, persona? Macho, tough? A man who gets on with his job? The western tradition associated with Eastwood? Eastwood's work as actor, director? His working in the realm of authentic realism, American symbol?

2. The popularity of the police genre of the 70s? Clint Eastwood as Dirty Harry and this tradition? A critique of the Dirty Harry tradition? The glorification of the police as well as the critique of corruption? The experience of the 1970s cover-ups and the effect of this on the police genre? How was this illustrated in The Gauntlet, realistically, symbolically?

3. The chase structure of the film, the sense of mission, the hero having to get through and achieve his job - especially when he was victimised and not expected to succeed? The Nevada and Arizona settings? The aura and overtones of the western as transferred to the urban settings of the 70s? How could this film be considered as a police western of the 20th. century?

4. Colour photography, Panavision? The presentation of Phoenix and the contrast with Las Vegas? The Nevada landscapes, desert, mountains? Arizona landscapes? The contrast of city and countryside? The opening and the emphasis on the urban setting? The end with the re-entry in triumph into Phoenix? The Jazz background giving a mood for an urban police story? The score throughout the film?

5. How realistic was the film? The plot? How far-fetched? The violence over-reaching itself? American style violence? Symbolic violence to make a point? This kind of outlandish violence as indicating the type of violence and cover-up exercised by authorities in America in the 70s?

6. Audience liking for violence? Mayhem and exaggeration? Special effects - for their own sake? The explosion of the car. the ambulance. the massive shooting down of the house, the car crashing on the border of Arizona.. the bus and the shooting in the gauntlet, the final killings? Real symbolic violence? To what purpose? America and its gun tradition? The wreaking of vengeance, the administration of justice?

7. The introduction to Ben Shockley within this context? The humour of the opening and Shockley as a slob, a police failure? Josephson and his contrasting fussiness? Their memories of being on the road together? The moving towards Blakelock and the emphasis on appearances? The commission, lack of information and the irony of its being a setup, Shockley as a loser while he thought himself a success? The challenge to rehabilitation and self respect? The making of an American hero? The symbol of the American hero down and out and yet rising to new success? An optimistic outlook?

8. Clint Eastwood's portrayal of Shockley? His familiar style and mannerisms? Shockley as a good man, his accounting of his memories of his youth, joining the police, hopes? His mediocrity? His efficiency and puzzle about not getting on? His obedience? The obedience and single-mindedness in the early part of the film. the raising of doubts especially by Gus? His police techniques e.g. in his dealing with the bikie group? This highlighting the effect of his disillusionment - especially with the discovery of the set-up on the border? Shockley as the ordinary man challenged and rising mightily to the challenge? The achievement and the build-up to it, the decision with Gus, the possible happy ending and union with her, personal integrity, the building up of the bus, the informing of the police force, the driving through Phoenix and the climactic? (With the ironic touch at the end - to avoid taking it too seriously?)

9. Las Vegas and its style, ethos? The Mob, gambling? The prison? Gus turning out to be a woman? The police at Las Vegas and their attitudes? The car, the ambulance, the shooting down of the house? Gus and her ability to see through all this, her continued warnings, her fears? The decision in the police car when the policeman was talking filthily and Gus reacting? The irony of his being killed? The effect of all this on Shockley especially his experience of the house collapsing, Gus' worldly wisdom and trying to cajole him, his amazement at her attitudes in the car? Her abuse of his intelligence and his acknowledging her superiority, his growing respect for her? His getting rid of the bikies - for himself, for her? The bike-riding and the helicopter pursuit, his using his wits more and more, the effect of the brutality with the bikies on the train? The telephone calls and his trust in Josephson? His being in the motel and coming to terms with himself and his future, the discreet love for Gus and the buying of the flowers etc.? The humorous irony of the hijacking of the bus, the preparation for the gauntlet? The overtones of the western in his going in and the shoot-out? His taking of Gus and delivering her, the insanity of the final expose and casualties? How had he been changed by this experience - of such short duration?

10. The character of Gus and her work as a prostitute, Las Vegas, her foul language, her comments on being able to wash clean which the police could not do? Her being in jail, her warning of Shockley, the betting? Taking him home, trying to use sex as persuasion? Her phone call to her mother and its humorous irony? Her educational background, her intelligence, her working out what would happen at the border, her fear of the snakes? The admiration for Shockley and his respect for her? Her response to his treatment of her at the motel? Her deciding to go in at the end, her experiencing the gauntlet? Her fear that he was dead?

11. The theme of intelligence, of integrity? The love story in a violent setting? Themes of morality and standards, double standards - especially with Blakelock and his background, power, sexual aberration, league with the District Attorney, turning the police against a fellow officer? His cover-up, ultimate madness and desperation? The Phoenix police force and its corruption as a microcosm of American corruption?

12. The Phoenix police - Josephson and integrity and yet his lying dead on the road? Blakelock and his power, the District Attorney and his ready betrayal at the end? The role of the police force - its power and possible corruption? An appropriate critique?

13. The bikies, the ageing bikies and their love for their bikes, poses of violence? Drugs? Shockley's handling of them? The violence and bashing in the train?

14. The helicopter chase and its spectacle and danger? The bus riding the gauntlet and its danger?

15. Themes of sexuality as illustrated by Gus - and the irony of the filthy talk by the policeman?

16. Critics considered this one of the best films of 1977. Why?

GATOR

US, 1976, 116 minutes, Colour.
Burt Reynolds, Jack Weston, Lauren Hutton, Jerry Reed, Alice Ghostley.
Directed by Burt Reynolds.

Burt Reynolds has developed a strongly genial screen personality. It is proved by this film in which he directs himself. And while, like Clint Eastwood, he is the tough hero, involved in typical American violence, he gives his film a warm and, at times, sentimental touch. We've seen the Gator material often before (and the film is a sequel to White Lightning), but it is appealingly offered with Lauren Hutton as heroine and the comic support of Jack Weston and a daffy Alice Ghostly. Jerry Reed is villain. While it has a background of comment on contemporary U.S. law and order enforcement, Gator is mainly an undemanding night out.

1. The quality of this action drama? Entertainment and social purposes? The audience at which it was aimed?

2. The importance of southern locations, colour, background music? A Burt Reynolds film for acting and directing? His style and personality? Sentiment and humour as well as toughness?

3. The film as an example of Americana of the seventies: social corruption, politics, rackets. violence. the role of the media, the media and exposure of corruption. crusades and heroes? How much did it reflect the seventies? American values of the time?

4. The presentation of the mayor, his motives, political campaigning, using people for his own purposes?

5. The contrast with Greenfield? An engaging character, earnest, his strengths and his weaknesses. his fatness? His dedication to his job. the pursuit. of Gator, of Bama? His losing, his contact? The dangers that he underwent, his being bashed, the rendezvous which led to his death? How was he presented as a kind of hero?

6. Emmaline and the eccentric woman who contributes to justice, leads a crusade? Her giving out of leaflets, helping Gator, her death?

7. Gator as the centre of the film? His name, his background, a hero in the South, his involvement with moonshine and its way of life, the prison background, the presuppositions of the film, White Lightning, his relationship to his family, father and daughter? A conventional American hero, anti-hero?

8. The presentation of his skill, especially with the speedboat chase and its melodrama? How successfully filmed, exciting, humorous? The effect on Greenfield?

9. Interest in the plot to catch Bama, framing of Gator, informing, his applying for a job, ingratiating himself with his friend Bama, the importance of the tour of the rackets, his work for Bama and the effect on him? The audience entering this picture of corruption via Gator?

1O. How attractive a personality was Aggie? Her TV ambitions and achievement? The reason for combining with Gator, motivation for helping him, sharing the dangers, the raid? Falling in love with him? The significance of their parting at the end? Her desire for a career? Was she a credible and attractive career woman?

11. How accurate a picture of a gangster was Bama? The type of person that he was, his influence on the mayor, his henchmen, the rackets that he ran, the prostitution he indulged in, the ugliness of his violence? As a picturing of evil? What do ordinary people have to do to administer justice on this kind of man? The evil personified in his henchmen and their brutality, especially to Greenfield?

12. The effect of fear on people, leading to violence. and the administration of personal justice? The vigilante approach?

13. The contrast with the violence in the lyrical romantic passages, especially with Aggie and Gator by the seaside? The contrast with the violence in the fire of the house and the deaths of Emmaline and Greenfield?

14.How sharp was the social observation of America in the seventies? Society and individuals within society? The role of the media and its influence? The administration of justice, and where there is corruption, the inevitable violence?

GASLIGHT

UK, 1940, 80 minutes, Black and white.
Anton Walbrook, Diana Wynyard.
Directed by Thorold Dickenson.

The first film adaptation of Patrick Hamilton's atmospheric Victorian play. The film had a chequered history - when M.G.M. decided to refilm it in 1943, through legal deals, the negative and copy were to be destroyed. Fortunately, they were not and the film still circulates. The remake was the big budget M.G.M. version with Ingrid Bergman (winning her first Oscar), Charles Boyer, Joseph Cotten and Angela Lansbury, directed by George Cukor. This version is briefer, reflects the styles of British filmmaking in the thirties - smaller budget work, different lighting, less affluent sets and decor. Nevertheless, within its limitations it has a lot of atmosphere, fluidity of camera movement, effective editing, and a screen play of menace laced with touches of humour.

Anton Walbrook is as effective as Charles Boyer in the menacing central role and Diana Wynyard has charm and wins audience sympathy in her persecution. Frank Peddingell is excellent as the former policeman who solves the mystery. Direction is by Thorold Dickenson, who made few films - The Next Of Kin and the adaptation of Pushkin's Queen Of Spades, again with Walbrook and Dame Edith Evans.

1. An interesting and entertaining Victorian melodrama? Psychological thriller? Thriller of suspense and menace?

2. British production values of the thirties - black and white photography, sets, decor and costumes? The creation of atmosphere? Camera movements to guide the audience in their response? Musical score? A comparison with the M.G.M. version?

3. The title, the initial and final images? The gas lit atmosphere of London suggesting the Victorian era? The light and shade in this Victorian world?

4. The prologue and the brutality of the murder and its pervading the rest of the film? Making Paul's menace credible? The suggestion of mystery?

5. The presentation of Pimlico Square - the house, the changing of the seasons, the sale and the reopening? Life in the Square - Ella and her walk, encounter with the children? The encounter with Mr Rough? Nancy and her boyfriends? The other houses, roofs and entrances to attics? A Victorian atmosphere for this particular plot?

6. Paul and Bella taking up residence? Their relationship? Early indications of Paul's treatment of Bella and atmosphere of menace? His foreign accent? The audience being in the know about what was happening? The various incidents to persecute Bella - the picture and her finding it on the staircase, Paul's hiding her brooch? His cruel reproaches and her suffering, headaches? Her love for him? His reproving her before the servants? The continued pressures and her appeals? The build-up to the enjoyment of the concert and his tricking her with the watch? Indications of the reason for this - and her knowing his real name?

7. The portrait of Bella - a charming woman, in love with her husband, her pain and suffering, her obeying her husband, not doubting him? The enjoyment of the walk, the encounter with Mr. Rough and buying things for the children - abruptly interrupted by Paul's arrival? Her cousin's arrival and missing him? Alone in the house with the gaslight flickering, the sounds in the roof? The concert and its being spoilt? the maids and their attitudes towards her? Her being rebuked before them - the swearing on the Bible? Audience sympathy for her in her plight?

8. The character of Rough - genial and elderly ex-policeman - interest in the house, in Paul and knowing his identity? Seeking clues? His assistant and getting his aid especially with Nancy? The encounter with Bella in the park, the treating of the children to cakes? Writing letters to Vincent and getting him to interview Paul? The ironic humour of his own self-praise? The confrontation with Bella? Persuading her of the truth? Hiding in the house and confronting Paul? A rounded character of a genial saviour figure?

9. Rough's assistant - his help, his love for Nancy and using this for helping Bella? Nancy and her place in the house and her flirting? Elizabeth and her service of Bella? Vincent and his disapproval of the marriage, his being ordered from the house by Paul?

10. Paul and his attachment to Nancy, his weakness, Nancy and her flirting? Her going out with various boyfriends? Nancy flaunting herself at home, her being taken to the music hall - and, the atmosphere of the music hall and the different style of appreciation by Nancy and Paul? Her attitude towards Bella at the end?

11. Paul and his cruelty, Victorian respectable surface, cruel below the surface? His sadism? His return from the music hall, the summoning of Bella? The fight with Rough and with Vincent? His gloating over the rubies while tied up? Bella and the taunting of him about her madness with the knife? Her being freed finally from her torment?

12. The atmosphere of the thriller and its entertainment value? A reflection on superficial respectability, 19th century surface contrasting with interiors? Satisfying personal drama? Crime and greed? Power and manipulation, cruelty and freedom?

GASLIGHT

US, 1944, 114 Minutes, Black and White.
Charles Boyer, Ingrid Bergman, Joseph Cotten, Dame May Whitty, Angela Lansbury.
Directed by George Cukor.

Gaslight is a very enjoyable melodrama, very well made. Patrick Hamilton's play was the basis for an English film, Angel Street with Diana Wynyard and Anton Walbrook in the late 30s. MGM bought the rights to this film and ordered the negative destroyed before they made their own. The film was out of circulation but not entirely destroyed.

This adaptation received the MGM treatment of the 40s: superb set work, black and white photography, musical score, good stars. The recreation of Victorian England is quite effective and there is a very sinister house. Ingrid Bergman won her first Oscar for this performance. (she was to win for Anastasia in 1956 and Murder on the Orient Express in 1974). Charles Boyer, a popular romantic hero, is very effective as the husband menacing his wife into madness. Joseph Cotton is the ordinary hero policeman. Angela Lansbury in her first film is quite striking as the parlour maid. Direction is by George Cukor who has directed many fine films over many decades and guided many stars to Academy Award wins. Gaslight is excellent entertainment.

1. The film's reputation, acclaim in its time. considered as a classic now?

2. MGM's technical treatment. the black and white photography, decor and settings. musical score finesse of the 40s?

3. Was it evident that the film was an adaptation of a play? The confined locations, the ominous atmosphere of the house, Thornton Square itself, the contrast with these scenes in Italy. in homes outside the square?

4. Audience involvement in the structure: the ominous opening and the suggestion of murder and its effect on Paula the passing of ten years and Paula's growing up and following in her aunt's footsteps as regards music, the atmosphere of romance with Anton, the mystery and menace of the house and Anton himself. the confrontation between the two and the drawing of all the strands together? How satisfying as a draw?

5. How plausible was the plot? The details of Anton's background,. his relationship to Paula and her aunt, his search for the jewels? This kind of story in Victorian setting and costume - did it seem more plausible?

6. How well did the film create and communicate the atmosphere of the house. its memories? The subjective view of the house by Paula? Miss Thwaites and her curiosity, creation of atmosphere? The rooms, the staircases. the attic? The ominous noise in the roof the flickering of the gaslight etc.? An atmosphere of menace and fear?

7. The film making Paula the focus? Ingrid Bergman's award winning performance? As a young girl, her memories? Her singing but her love for Anton? The train trip and the distraction of Miss Thwaites yet with the connection of Thornton Square? Anton's meeting her in Como, and the idyllic nature of the honeymoon - with the ominous suggestion of living in England,, in her house? The arrival the atmosphere of the Square the sequences of Paula's arriving in the house. terrified but her strength in subduing her fears? The indication of the letter and the change of tone from then on?

8. Anton and Charles Boyer's style, suave charm, romantic? His behaviour in Naples, Como, persuading Paula to go into the house, be at ease? The sudden change with the discovery of the letter? When did the audience become suspicious of his real intentions?

9. How well did the film dramatise the changes of moods,, the effect on Paula and her not being certain about things, the brooch and the Tower of London (and Anton's comments on jewels), the letter, the invitation to the concert and t the incident with the watch and Paula’s humiliation? Cameron watching Paula go in and out of the house? How convincing was Paula's growing dementia?

10. The contrast with the character of Cameron, his curiosity, his work with the police, the link with Paula's aunt and the explanation with the glove?

11. The characterization of Nancy and her sauciness towards Paula? Elizabeth and her deafness and its use, her loyalty?

12. The contrast with the society sequences, especially the concert? Miss Thwaites and the commonsense and humorous atmosphere of her curiosity?

13. How well did the film build up to a climax? Cameron and his observations, collaboration of the policeman? Elizabeth's role? Cameron's explanation to Paula? Anton and his discovery of the jewels and coming in by the barricaded door? The confrontation with Paula and her fearing she was mad and dreaming of Cameron's presence? Elizabeth's loyalty, the confrontation with Cameron?

14. The impact of the special pleading sequence? Anton explaining himself and pleading for her sympathy, Paula's vengeance and the intensity of her feeling?

15. Themes of greed, cruelty, fear? The overall impact of the film left with the audience?

GARDEN OF EVIL

US, 1954, 100 minutes, Colour.
Gary Cooper, Susan Hayward, Richard Widmark, Cameron Mitchell, Hugh Marlowe, Rita Moreno.
Directed by Henry Hathaway.

Garden of Evil has biblical overtones in its title. However, this is a standard Western, enjoyable in its search plot and in the vigour of its stars. It was one of the first Cinemascope Westerns. Gary Cooper had made High Noon only two years before. Director Henry Hathaway has made numerous Westerns from the first colour Western, Trail of the Lonesome Pine (1936) to True Grit (1968) and Shoot Out (1971).

1. The meaning of the title as told by the priest in the film?

2. How good a Western was this? one critic said it was full of cliches, yet cliches excitingly done. Does this sum up the quality of the film or not? What conventions of the Western did the film use? Did it use them well?

3. How did the film illustrate the usual Western themes of greed, gold, heroism?

4. How did the film portray the usual Western theme of the nineteenth century drifter? How were the leading characters drifters?

5. Was the mission that they went on interesting, exciting, of sufficient importance to justify their going? How did the mission to rescue the man, John Fuller, give the structure for the film?

6. The character of Hooker - what kind of man was he, a hero, the upright Gary Cooper type of hero? His authority over the others, his taciturn nature, contrasting with the others, his respect for land and people, his knowledge of Indian customs, his helping of others and helping them to escape, his relationship to Leah?

7. Fiske - the Richard Widmark style gambler, his gambling nature, his motives for going on the mission, his relationship to Leah, his greed for gold, his heroism during the return, his cheating Hooker for some kind of self-respect, his death?

8. Luke Daley - the swaggering wanderer, a coward, his greed for gold, his impetuous reactions, the inevitability of his death?

9. Leah - was Susan Hayward's personality forceful enough to convince the audience that these men went on a mission on her behalf? Her motivation, her relationship with her husband? What was she trying to prove? What love was there? Her skill in leading the band? Her relationship with Fiske and with Hooker? Was her going off with Hooker credible at the end? Her husband - why was he so bitter? Did he try to prove himself to Leah and become more of a failure? The nature of his death?

10. The Mexican - what did he contribute to the cross section of the group going on the mission?

11. The importance of the scenery, the atmosphere for the film?

12. Did the film offer any insight into the nature of the West -life and death, isolation, the gambling of life and death, wealth and greed, the nature of heroism?