THE GARDEN OF ALLAH

US, 1936, 80 minutes, Colour.
Marlene Dietrich, Charles Boyer, Basil Rathbone.
Directed by Richard Boleslawski.

The Garden of Allah is a brief but quite exotic piece of romantic fantasy. It is one of the earliest colour films and uses its colour imaginatively with the studio sets of Africa and the desert. The film starred Marlene Dietrich in the mid-'30s at the height of her romantic popularity and exotic mysteriousness. In this she is matched by Charles Boyer at the beginning of his Hollywood career. Basil Rathbone and Josef Schildkraut are also in the cast with eccentric characterisations. The film has Catholic overtones - the heroine brought up in a convent trying to find herself in the
desert. The hero is a runaway Trappist monk who is in conflict with himself and in rebellion against God. The film has a conventional and self-sacrificing ending - perhaps in contrast to similar themes and treatments in later decades. Dietrich is attractive - Boyer manneredly tormented. Direction is by Richard Boleslawski, who directed some notable '30s films including the Fredric March- Charles Laughton Les Miserables. There is an appropriate score by Max Steiner.

1. 'Thirties romances and melodramas? The comparisons with this film? The exotic African and desert setting? The religious themes? Sure-fire box office with forbidden romance and religion? Tastefully done?

2. A David Selznick production, the quality of the stars and audience expectations? Supporting cast? The quality of the early colour photography, sets and locales? The atmosphere of Max Steiner's score?

3. The emphatically religious background: the opening with the nuns, the orphans, the talk about the marriage feast at Cana? A joyful approach to religion, even with self-sacrifice? The contrast with the monks, their isolation from the world, their work, the emphasis on suffering? Vocation and silence? The Foreign Legionary and his discussion with the abbot - and the explanation of the religious background for the audience? The abbot and his severe judgment on the runaway monk? The themes of remorse, the irrevocable nature of the vows? The importance of faith? The parish priest in the desert and his instinct for helping people, his emphasis on commitment and peace? The ingredients for religious complexities? The serious tone of the '30s - especially about the lasting nature of vocation?

4. The exotic background: convent, monastery, North Africa, the towns, the nightclubs, the desert, the oases? How well used?

5. Themes of love and romance? Religion and sexuality? Guilt and conscience? Grief?

6. Audience response to Marlene Dietrich, presence and style? Exotic? Her visit to the convent and the reaction of the girls? The nuns welcoming her? Her grief at her father's death. her need for solitude and finding herself, prayer? The story of the marriage feast at Cana? Her being sent on her quest by the nuns? Her encounter with Boris, the train journey, his awkwardness, the mystery and his attraction? Her arrival in the town, the kindly help from the parish priest? The confidence man at the railway station and his acting as guide, his poetry and charm? His relations? The Italian Count and his presence in Africa, his dressing as an Arab/ transition to his European background and dress? His friendship with Dominie? The encounter with Boris at the nightclub, the exotic dancer and his embarrassment about the money? Their falling in love? Riding together? The build-up to the preparation for marriage, the marriage ceremony and their vows? Their joy? The encounter with the sand diviner and his prophecies, Dominie's not listening to the disaster? The encounter with the lost patrol and the irony of the legionnaire recognising Boris? The Count and his arrival, the meal, his story about the runaway monk? Dominie's grief, talking through the problems with Boris and his return to the monastery? Her accompanying him? The tragic and self-sacrificing heroine?

7. Boris and the drama of his leaving the monastery, audiences hearing about it before seeing him, his not being immediately identified but audiences suspecting? His moroseness and silence in the train? The dancing girl and his not knowing to give her the money? His snatching the cross? His anti-religion? Faith and the dog? His growing attachment to Dominie, riding with her, falling in love, marrying her? His inability to tell her the truth? The consequences of his continuing reticence? The encounter with the legionnaire? The argument with the Count after the dinner? The focussing of the wine of which he knew the secret? His telling the truth to Dominie? The decision to return, the story of his vocation? The train trip and his re-entering the monastery?

8. The poet guide, his style, cousins, the light touch? The dancer Irene and getting the money in the club from Boris?

9. The Italian Count, suave, a friend, his telling the story to Dominie and precipitating the crisis?

10. The Hollywood version of priests and nuns - sacrifice and religion?

11. Themes of frustration, loneliness, compensation? The clerical celibacy issue and Boris' fascination with Irene and her dancing? His falling in love with Dominie?

12. The success of the film as a soap opera of the '30s, melodramatic romance, religious fable?

GARBO TALKS

US, 1984, 100 minutes, Colour.
Anne Bancroft, Ron Silver, Carrie Fisher, Catherine Hicks, Howard da Silva, Steven Hill, Harvey Feierstein, Hermione Gingold.
Directed by Sidney Lumet

Garbo Talks is a pleasing New York fairy tale. It pays tribute to the great character actress of the '30s. It relies on her image on screen (especially during the credits sequences, but throughout the film) as well as her enigmatic retirement and her living a recluse life in New York. Anne Bancroft plays yet another Jewish mother who finds that she is dying - and asks her accountant son if she can see Garbo before she dies. Ron Silver plays the exasperated son - and his efforts to find Garbo seem rather far-fetched, even if there is a happy ending. Carrie Fisher is his wife and Catherine Hicks an actress who works at the office. There is a good supporting cast, including some guest roles by Howard de Silva as a photographer, Harvey Feierstein as a homosexual on his way to Fire Island and Hermione Gingold as an ageing actress. (Anne Bancroft was to play Harvey Feierstein's mother in the film of his Torch Song Trilogy.)

The film was directed by Sidney Lumet in the mid'90s, the period of his successful films like The Verdict, Daniel, The Morning After.

1. Enjoyable New York story, sentiment and warmth? Movie nostalgia?

2. The use of New York City, the variety of locations, the city as a character? Cy Coleman's lilting score?

3. The title: Garbo and the facts about her, her career, her charisma, immortality? The sequences from her films, especially Camille? The still from Mata Hari? Her movies and the animated credits? Estelle's response? The films of the '20s and '30s? Estelle's own life linking with Garbo's career? Her memories of Queen Christina, Anna Christie? The replaying of Ninotchka? Garbo as a character in the film, gracious though elusive, compassionate, definite in visiting Estelle, listening to her, her final talking to Gilbert? (And the irony of Gilbert being called after John Gilbert?) The effect of the movies on American life and myths?

4. Anne Bancroft's portrait of Estelle: the animated credits, her verve, weeping at Camille, the story of her life, her protests, Gilbert's name, the wedding and the divorce, socially-minded, going to jail? Her not liking Lisa and the irony of her absence from the wedding? The zucchini and making her point? The loud builders and her telling them off? Going to dinner with Gilbert and Lisa, her manner? Her illness, the doctor, angry that he didn't tell her? Stubborn about which hospital to go to? Her wish to see Garbo? Her decline, her husband visiting but her not seeing him? The interview with Garbo: the five-minute-long single take, her memory of her life, recalling the details of her life for Garbo, speaking to Garbo, paying tribute to her and her reminiscences? Her recalling this for Gilbert? Her life and personality?

5. Gilbert as the son of his mother, quiet, with her, with his father, passive, Lisa and her complaints about New York, wanting to go to Los Angeles, his work and his being passively moved to another office, the actress and her friendship? Going for a sandwich? Bailing out his mother, visiting his father and his wife? Arguing with Lisa? The pleasant encounters with the actress? Clashes with his boss? The quest for Garbo: desperate, buying the books, ringing up Angelo, visiting his eccentric agent, the vigil at Garbo's apartment, getting the job delivering the food, going to Fire Island and the encounter on the boat, talking with the homosexual, glimpsing her on Fire Island, going to see Ninotchka, the social, trying to get Elizabeth Remick’s address, the phone calls, the actress helping him, the rehearsals of Romeo and Juliet, the information about the market, seeing her, his speech to Garbo, her immediately going, his success? Frantic with Lisa and her departure? Sharing the experience with the actress, the affair? Telling off his boss and starting a new life? Garbo greeting him in the park - Garbo talks?

6. The actress, pleasant, eccentric, the bond with Gilbert, helping him with the phone number, at the end?

7. Lisa and her Gucci taste. complaints in New York, her relationship with her parents, with Estelle, trying, getting more frantic, returning to L.A.?

8. Work, the boss and his demands, making Gilbert come to work early, even though nothing to do?

9. Estelle's ex-husband, his reminiscences about his life, love for Estelle, his need for quiet, the marriage with Clare, his going quietly to the hospital?

10. Angelo and his photography, unkempt, advice about Garbo, helping out? The eccentric agent and her cats, getting the money? Harvey Feirstein and the pathos of the homosexual, the friendliness, the trousers, the information about Garbo? Hermione Gingold as the ageing and eccentric actress? The exasperation of the rehearsal?

11. A blend of humour and pathos, unreality and reality, a fable, life and the movies in the 20th century?

THE GANG'S ALL HERE

US, 1943, 103 minutes, Colour.
Alice Faye, Carmen Miranda, James Ellison, Phil Baker, Benny Goodman, Charlotte Greenwood, Eugene Pallette, Edward Everett Horton.
Directed by Busby Berkeley.

The Gang's All Here is one of 20th Century Fox's cheerful contributions to the war effort. It was a lavish colour musical (even garish) that took up some of the regular musical comedy players contracted to Fox: Alice Faye, Carmen Miranda, Charlotte Greenwood. June 11aver appears as a hat-check girl and Jeanne Crain is 'the girl by the pool' in starlet roles (soon to emerge as stars).

The film is a Busby Berkeley '40s musical. After moving from Broadway, he changed the style of the Hollywood musical with the focus on the dancers and their creative geometric and imaginative patterns. He moved the camera up and down, bird's eye view, all kinds of creative design. This is evident in this film - though it does not have the originality of his '30s features.

Alice Faye is Eadie Allen, a singer at a New York club, who falls in love with a soldier. She does not know that he is wealthy - thinks that his buddy is wealthy. By coincidences, the group has to give a performance at his parents' home and there are romantic complications of the Hollywood type. Needless to say, they are resolved.

This was one of Alice Faye's final films after a successful career for almost ten years at 20th Century Fox. Carmen Miranda had her bright idiosyncratic style. Phil Baker appears as himself as does Benny Goodman leading his orchestra. There is comedy with Eugene Pallette as the hero's father and an eccentric couple played by Edward Everett Horton and Charlotte Greenwood (who takes the opportunity to kick a leg in a comic way as she always did).

Songs include 'No Love No Nothing', 'Journey to a Star', 'The Polka Dot Polka', 'You Discover You're in New York', 'Minnie's In The Money'. There is also the famous 'Brazil' and Carmen Miranda's 'Lady in the Tutti Frutti Hat' -commentators note that Busby Berkeley and Freud might have had an interesting conversation about the decor and the design of this number.

This 1943 film illustrates the popular musical of the time and the 20th Century Fox lavish, colourful style.

GANDHI

UK, 1982, 188 minutes, Colour.
Ben Kingsley, Candice Bergen, Edward Fox, John Gielgud, Trevor Howard, John Mills, Martin Sheen, Roshan Seth.
Directed by Richard Attenborough.

Producer-director, Richard Attenborough planned his epic on the life and death of Mahatma Gandhi for twenty years, eventually releasing it in 1982 where it went on to win Oscar for Best Film as well as Oscars for Attenborough himself as director and for the star, Ben Kingsley. Attenborough already had a long career as an actor and had begun to direct, frequently on a large scale with films like Young Winston and A Bridge too far. He went on to direct, amongst others, Cry Freedom, A Chorus Line and Shadowlands. Ben Kingsley went on to a long and successful career as a star and character actor.

The screenplay by John Briley (Cry Freedom, Molokai) encompasses Gandhi's adult life, filling in the background of South Africa, Gandhi's time in England but, focussing on his campaigns against the British in India in the 1930s and 1940s and his assassination. This was the subject of a Hollywood drama in the 1960s, Nine Hours to Rama. Many films from India since the 1980s have tackled the subject of the partition between India and Pakistan and the forced repatriation of Hindus from Pakistan and Muslims from India. It is a tribute to Gandhi and his colleagues that, despite antagonism, both political and religious and the fear of war as India and Pakistan became nuclear powers, both nations have held their disparate people together and that India has survived more than half a century as one of the largest united nations on earth.

The sweep of the movie is one of grandeur, in its visualising of India and its people, in its beauty of landscapes, in its portrayal of heroism and the nobility of the human spirit. The running time is long. The movie is filled with prestigious British stars like Laurence Olivier and John Gielgud. It is a fine example of serious themes being enhanced by ambitious moviemaking.

1. The impact of the film? Awards? The nobility of its aim? Richard Attenborough's dedication to his work, perspective on history both British and Indian, tribute to Gandhi? The production values? Scope of the film: biography and epic? Its length?

2. The quality of entertainment: absorption in the character and themes, edification, message? Relevance of Gandhi to the 20th century, issues, India? To the present?

3. The technical qualities: scope and length, colour photography, location photography, crowd scenes and intimate scenes? Atmosphere of South Africa? India: city, country, period? The contrast between British style, Anglo-Indian? and Indian peasant style? Pageantry and spectacle, tableaux? Domestic sequences? Action? The qualities of editing - pace, drama? The contribution of the musical score - moods? Indian music and style? Western music and style? Blends?

4. The performance of Ben Kingsley: preparation and background, embodying Gandhi, the age range, the range of emotions and experience? The contribution of the Indian cast to authenticity? The British and American stars for western audiences and cinema identification?

5. The introduction and Richard Attenborough's limits to exploring Gandhi: the film not able to encompass the whole life of a man, some years having to be omitted and different weight being given to various years. the possibility of going to the heart of a man? The screenplay and the selection of events? The skill in character-drawing: interior drive? The overview of Gandhi's character: education. South African experience, social influence, responsibility, growth in awareness,' religion, politics, philosophy, non-violent stances, publicity leading to events, prison. the war experience, success? The real contradictions in India at the time of his death? His heritage?

6. The flashback effect of the whole film framed by his assassination? The initial impact of the assassination, three hours' experience of the life and message of Gandhi and the repetition of the assassination and its effect? Initial information, invitation to emotional response, final understanding?

7. India itself as a character in the film: the use of visuals, beauty, squalor? The range of Indian scenery, locations? The impact of India visualised for an Indian audience and the Indian view? To western audiences? The heritage of India. its culture and religion? Two hundred years of British rule? Presuppositions by the British, the humiliation of the Indians? Abuse in treatment, violence? Civil rights and desperation? The surge of rebellion? Hindu traditions, Muslim traditions? The minor role of Christianity? Death and violence, terrorism - rebellious Indian terrorism and official British terrorism? The transition to the 20th century and India's place in the world? Greater education? India in the Empire? The Anglo-Indians? The wealthy aristocracy? World War One and World War Two? Demonstrations, negotiations? The desire for the withdrawal of the British - even to walking out and for India to be left to treat its own problems? The film's invitation to understand the Indian situation? The Indian mentality and the contrast between East and West? The pragmatism of the West, cause and effect and reasons compared with the religious spirit and 'mysticism' of the East?

8. The importance of Gandhi for the West: his training, place in history, admiration, presuppositions? Highlighting the arrogance of the British Empire and its exploitation? The possibility of change of heart -repentance? His politics, religion? The blending of the major religious traditions? The cult of his personality? His impact on a large nation? The West understanding the role of the British Empire, white supremacy and arrogance and the criticism of British fair play? Yet the British leaving as friends? Indian-West? relationships since 1947-48?

9. The impact of the prologue: the quiet beauty of India and the initial caption about the heart of Gandhi and the transition to the assassination and its violence, the funeral and the massed crowds, the radio commentators highlighting the significance of Gandhi? The end with the repetition of this assassination sequence, the blackness on the screen and Gandhi's words: "Oh God"? The pyre? His ashes committed to the sea? The repetition of his words about tyrants having been in every age of history and their seeming ascendance but truth and charity ultimately prevailing?

10. South Africa: audience reactions to South Africa, to apartheid, to the Afrikaners, to the British Empire, to the Boer War, to General Smuts? (The use of playwright Athol Fuggard in the role of General Smuts?) The train (and the later use of trains for Gandhi's trip in India, Partel and his riding second-class etc)? The dapper Gandhi, first-class ticket, legal training, his ambitions, verbal skill, his presumptions about civil rights? The situation: the white Afrikaner complaining, the train guard and his offensiveness, the warning of the African porter? Gandhi's beginning a discussion with the porter about Christianity and hell)? His being thrown out, the scene on the station, the poor black Africans leaving the third-class carriage, Gandhi squatting on the station? The transition to the Indians in South Africa, their minority status, Muslim traditions, laws discriminating against them, their success as merchants but use of white lawyers? The pros and cons of the late 19th century situation? Gandhi's resolution to do something about the situation?

11. His writing articles, his speech in the marketplace, the small audience, the journalists' presence, his burning card and explanation why, the soldiers on guard and their attack? The violence and his continuing to burn the cards (and the later lying down of the group against the cavalry, the rows of men being beaten at the salt mine in India)? His injuries - and the introduction to his family (and their not figuring in the film so strongly later)? The arrests and jailing of the Indian leaders? His speech to the crowd in the theatre, the explanation of non-violent methods and the response of the crowd, joining in prayer and the irony of the Afrikaners rising at 'God Save the King'? The march against the factory-owners and the group lying down in face of the charging cavalry? Legal discrimination against the Indians? General Smuts and the discussion with Walker? Gandhi explaining his ideas to Walker: the Ashram and the clash with his wife about the cleaning of the latrines, his anger and apology, his wife and her dignity, her learning her lesson and realising that caste had to go her loyalty to him? Herman and his support (and later helping in India)? Charlie Andrews and his support and living in the Ashram? The jail sequence, the interview with General Smuts and the shrewdness of the bargaining on the part of each? The borrowing of the shilling - and the amazed reaction of the South African officials? Gandhi completing his work in South Africa but its having a lasting effect on him?

12. Charlie Andrews and his coming from India, meeting Gandhi, the discussion about the Sermon on the Mount and the turning of the other cheek, Gandhi's perception that Jesus meant what he said and the reaction that it would have on people - provoking by civil resistance? Walking in the street, the Afrikaner boys and their rudeness (and the boy humiliated by his mother sending him to work)? The Muslim and Hindu tradition blending with the Christian for non-violence, non-co-operation? The theory of civil resistance meant to provoke reaction? Charlie and his accompanying Gandhi and bringing the Christian dimension to the Indian religions? The irony of Christians and their discrimination: the South African law against black and white walking on the footpath in Africa, the British Christians in India? Gandhi and his knowledge of Christianity, his final statement that he was Hindu, Muslim, Sikh and Christian?

13. Gandhi as a religious man: his awareness of God, God-language, prayer, speaking of God's presence and his law, respect for religion, using traditional signs? His explanation of his religious training to Walker in the scene at the sea, his singing the hymns about non-violence as a boy but not understanding them, his respect for the Hindu tradition - but his fight against caste, seeing the lack of harmony between Muslim and Hindu in India, seeing the Muslims as a minority, tensions and political fears, the eruption of violence and civil war? Gandhi and his appeal to both to lay down arms, the importance of asking the repentant Hindu who said he was in hell to adopt and train a Muslim child? Gandhi's own experience of being trained in reading from Hindu scriptures as well as the Koran?

14. Gandhi's achievement in South Africa, the effect on the British public? The reputation that he took to India? The South African segment of the film and audience emotional response? Preparation for the transition to India? Audiences critical of South Africa, sympathetic towards India?

15. The pageantry of the arrival of the Viceroy and the contrast with Gandhi's arrival? The Indian band playing for the Viceroy? The tourists watching? Gandhi's simple speech? His going off as the British bands walked past? The British assumptions about owning India - the soldier's later remark and ridiculing of Gandhi's expecting them to walk out? The British using and abusing India? Being masters in the Indians' own land and inevitably humiliating them? The Lieutenant-Governor? and his abuse of the taxes, financing hunting parties etc.? His being forced to sign and accede to Gandhi's petitions? The Viceroy and his reaction to the general strike - a day of prayer and fast in preparation for anti-Indian legislation? The Viceroy and his techniques, wariness about arresting Gandhi but finally doing so? Lord Irwin and his advisers and the question of the Salt Tax? Meetings with Gandhi, discussions about the massacre and General Dyer, about the salt? The British and their court-martialling Dyer? The subaltern and his reaction to the crowds meeting Gandhi? The magistrate and his official sneering at Gandhi, Gandhi refusing to go to jail or pay the bail and having to be released? The judge (played by Trevor Howard) who respected Gandhi, stood for him and while giving sentence hoped that it could be lessened? Lord Irwin finally talking to Gandhi and inviting him to the All-India? Conference? The English reception of Gandhi - the newsreel interlude? His British friends (including Charlie Andrews)? The All- India meeting and the conditions, Ramsay Mac Donald's speech about the various groups in India, the visit to 10 Downing Street? The visit to the Northern Cotton Mills? Gandhi's observation that the heart had gone out of the English and that they would walk out? The experience of World War Two and his arrest? The welcoming of Lord Mountbatten and sharing discussions with him? The lowering of the British flag ceremonies and the raising of the Indian and Pakistani flags? The British leaving as friends? The British stars in the film? The film's presentation of the British - strengths and weaknesses in India?

16. Charlie Andrews and his support: arrival from India, the visit to the Ashram and sharing Gandhi's work, the walk along the South African street, the discussing of the Sermon on the Mount and turning the other cheek, the confrontation with the African louts? His giving the sermon in the church and people walking out because of his views? Accompanying Gandhi to India? His friendship with the professor? His touring India with Gandhi and seeing it through his eyes? The risk of going up onto the roof of the train. the tunnel? Visiting Gandhi in prison? Sending his telegrams for him? Gandhi's advice for him to go to Fiji? The pain of giving up his work with Gandhi? His being seen in the newsreel in Gandhi's visit to England? The comparisons between Christianity and Hinduism? English support? The English support in Mirabehn? Gandhi's correspondence with her? Her arrival and her being mistaken at the railway station? The enigmatic introduction of this character? Her being accepted into the household? As Gandhi's daughter? Her dress, learning to spin? Companionship for Gandhi's wife? Her care of him during the fasts? Her presence at all the important events? Learning to spin? Her discussion with Margaret Bourke- White? Her presence at the end? The irony of the support of these English persons compared with Gandhi's fight against the nation and Empire?

17. American interest: the character of Walker? His visit to South Africa and discussion with General Smuts? Interviewing Gandhi and understanding his work? Asking him about his ambitions? The understanding between the two men? Walker's visit to India, reminiscences about South Africa? The discussions with his photographer? Sitting on the seashore and discussing Gandhi's past, his religious education, his vision? The bond between the two men? Sitting back-to-back yet turning to face each other? Gandhi and his wife re-enacting the marriage ceremony for Walker? Walker's journalistic skill, phoning through messages, photographing the beatings at the salt factory, his interpretation of Gandhi's victory? His participation in the walk to the sea? His presence at the funeral? Margaret Bourke-White? and the background of Life Magazine, her presence during the war, the photography. the prison sequence and the visit, discussions. spinning. non-violence in face of Hitler? Her capturing Gandhi for the western world and the popularity of him through such magazines as Life? Her return after the war. discussions before his death? The sympathetic presentation of American interest?

18. The background of Indian politics? His reception on arrival in Bombay, appreciation of the situation, the formal reception and his meeting the professor and the suggestion of going on the tour? The importance of the panoramic tour of India: the music, visuals, his wife, Charlie? The bridge, the washing in the water? Hopes? The terrorists and the wrecked train? The film's presenting thirty years in the development of Gandhi, Nehru etc.? Religious backgrounds, national background, interests? Gandhi's observations of India, his entering into politics at the Congress, his quiet speech and the applause, young men joining his cause? The modelling of his life for Indian politics? His non-violence, fasts and the repercussions?

19. The stance of the Hindus: the professor at the party. Nehru and his education, training in England, political insight and support? The presentation of Patel and his political management? organisation, visits? Their presence at various crises e.g. after the massacre, Gandhi's imprisonment, their visits to his community -and exasperation at his preoccupation with the goats? Nehru participating in the resistance and being arrested? The confrontation about salt? Nehru and the others and their post-war presence? The question of who was to be Prime minister? Nehru and his supporting of Gandhi and his wanting him to break his fast? The Hindu supporters, the background of peace leading to civil war in the late 40s? The Hindu extremists and the spiritual master with his hatred egging on Gandhi's assassin?


20. The contrast with the Muslim presence in India? The collaboration of Hindu and Muslim? The personality of Jinnah, his western style e.g. the chauffeur, the house, the gardens? His visits and suspicion of Gandhi yet supporting of him? His collaboration with the English during the war? The decisions about Pakistan and the separate state? Gandhi's Muslim friends? The man released from prison and his support of non-violence? The violence between Hindu and Muslim as the heritage of India?

21. The philosophy of non-violence: as exemplified in South Africa, the lying down in the face of the African horsemen? Gandhi's speech in theatre? In India and the question of the indigo crop, the question of the buying of English cloth, the bonfire? Gandhi's arrests, trials and his acceptance? His refusal to pay bail money? The build-up to the Amritsar massacre and his visit to the scene, his fast and prayer, stopping the riots and the violence? His seeing the terrorism and his philosophy of the type of leader that terrorism brought up? The background of the march to the sea, the production of salt, the arrests? The confrontation at the salt factory and the lines of Indians being bashed and cared for? His reaction to the violence at Independence? His final fast? His advice to the Hindu who had killed the Muslim - to rear a Muslim child? Gandhi as a prophetic figure? Acting on conviction? A symbol for the world? Influence on public opinion? The impossibility of changing a violent world - but influencing it?

22. Terrorism and the visualising of this: Gandhi's assassination, the derailed train, the police bashing and the lynching of the police at the station, the Amritsar massacre, the final border battles, violence in Calcutta, assassinations? The question of the confrontation of Hitler?

23. The background of Gandhi's family - criticisms that not enough was included in the film? Relationship with his wife, sons? The background of Gandhi's sexual relationship with his wife, her discussion with Margaret Bourke- White about his vow, his failures? The English style at the opening of the film, his children kissing his feet? The crisis with his wife cleaning the latrines? Her understanding him, making speeches. sharing in the arrests? Her support, presence at home in India? Sharing his life e.g. the fire and the spinning, the marriage re-enactment. her friendship with Mirabehn? Her speech during the war and taking her husband's place? The conversations with Margaret Bourke- White? The build-up to her death - Gandhi's presence at her death and its silent dignity? The glimpse of the children. the support of the nieces?

24. Gandhi as a person: a man shaped by events, bringing his character and training to the shaping of events? The going to the heart of the man that the film intended? The quality of Ben Kingsley's performance: appearance, presence, from the dapper clothes to prison. Indian clothes, travel, hairstyles, baldness, glasses, age, stoop. the staff, his teeth? The correspondence to what is known of the man? The what was seen of the man - photos, newsreels?

25. The film showing a development of character: the smart 19th century lawyer, the British gentleman, the family man. the small strong man, the experience of suffering, development of theories, South African experience? His standing up with dignity to General Smuts? His power of observation of India? The screenplay developing his theories e.g. on the terrorist train, the Congress speech and people's reaction? His home life, simplicity, spinning and the goats? His speeches - with microphones e.g. at the burning of the cloth? His awareness of the consequence for British industry? The old man and his plea to come to solve the indigo problem - the crowd at the railway station, the British subaltern and his inability to control things, the telegram "He is coming"? His dignity in trials and prison? The fast and his demands? His encounter with the variety of British magistrates - especially the dignified sequence with Trevor Howard? The discussions with the Viceroy after the massacre? The accusations of sedition? His talk about himself, his enjoying jokes? The friendship with Walker and Margaret Bourke-White? The insight about the salt? The importance of his visit to England - achievement, failure? The effect of prison, especially during the war? The final realities of politics and his grief? The film's showing an evaluation of the man? His influence on India, on Nehru? The decisions about Pakistan and his intention to go there? A strong man, a hard man, a religious man, exasperating man, a prophet?

26. The presentation of the assassination at beginning and end? Gandhi and the audience knowing him, the situation of violence, his achievement, the man of great heart? The value of this kind of film and its world-wide popularity in the early 80s?

GAMES

US, 1967, 100 minutes, Colour.
Simone Signoret, James Caan, Katharine Ross, Don Stroud, Kent Smith.
Directed by Curtis Harrington.

Games is a psychological thriller made by Curtis Harrington who has specialised in the genre. Recent films include What's The Matter With Helen? and Ruby. This is the old material of Gaslight and other thrillers where menacing husbands try to make their wives mad. However the screenplay takes a 'mystery' tone towards its material. The audience is not sure. Attractively and colourfully photographed in exotic New York settings, the film boasts a good cast, especially Simone Signoret. James Caan was at the beginning of his career as was Katharine Ross.

1. The meaning of the title, the visual presentation of games, the purpose of the games? The purpose of the film and its irony?

2. The director has a reputation for classic horror films. Was this evident in the treatment of this theme?

3. The importance of New York, Panavision and colour, the games, the ordinariness of the way of life, the combination producing fear, hatred, murder and madness?

4. How attractive were the couple? The initial presentation in games at the party, their style of life, their wealth, people talking about the relationship between the two, Paul and his use of Jennifer's money? The seemingly happy relationship between the two, their love? Did audiences suspect what was to happen?

5. How likeable a character was Paul? The average American type, the devoted husband? His reaction to Lisa and his hostility? His hostility to Norman9 His reaction to the game in the bedroom, the game of shooting Norman? The impact of the death, his reaction to Jennifer, the help in the cover-up?

6. Comment on the details of the cover-up and the atmosphere of suspense, the use of the lift, sounds, the phone? How horrible was the revelation of the truth? His return when Jennifer had shot Norman, his hard and callous attitude towards her, calling the police? The heartlessness of his selling and gaining the money? Was he a credible villain?

7. How attractive and sympathetic a character was Jennifer? The average wealthy American woman? Her love for Paul, participation in the games, her sympathy for Lisa and inviting her into the house, the transition to fear of Norman, her dreams? The ultimate madness in shooting? Being victimized by Paul? Her inability to turn to anyone? The final pathos of her being taken away? Was her experience credible?

8. Norman and the average young self-opinionated American? His work, his role in the murder and madness? His eager participation in the games? His greed? His terrorizing Jennifer and meriting his death? The callousness of what seemed to be his statue in which he was preserved?

9. How mysterious was Lisa? The film's final focus on her as central? Her story about the cosmetics, fainting, her old clothes? Was it credible that Jennifer should take her in? Paul's hostility? Jennifer's growing dependence on her? Playing the games? Lisa's balance between participation in the games, and normality? How frightening was the revelation that she was the mastermind at the end? A personification of evil?

10. How credible was her murdering of Paul? His foolishness in not suspecting it? The effect on her? Her going off to start again?

11. The contribution of the lawyer, the art people, the neighbour and losing her cat?

12. A successful thriller? Themes of greed and murder, love-hate, power.

THE GAMBLER

US, 1974, 109 minutes, Colour.
James Caan, Paul Sorvino, Lauren Hutton, Jacqueline Brookes, Morris Carnovsky.
Directed by Karel Reisz.

The Gambler shows James Caan, a New York College Professor of English who is a compulsive gambler, who revels masochistically in risk and soon appears to wallow in losing. This is a grim film, another picture of ugly America (by English Director Karel Reisz) and its materialistic ethos. It is not easy to identify with Caan's gambler - which makes us observe much of his downfall rather than fully share it with
him. The points about gambling addiction are fairly clearly communicated. Much of the detail of the film is excellent, especially the sequences with the gambler's mother and grandfather.

1. The indication of the title? Is it adequate for the themes and their exploration?

2. The structure of the film for its impact and impetus: involvement with Axel, his gambling, his work, his downhill decline, culmination?

3. The importance of the locations: American gambling, the teaching world, the atmosphere of New York, New York gambling, the Grandfather's mansion, the mother and her work, the atmosphere of Las Vegas? Axel firmly understood within the American context? Axel as a metaphor for the American man?

4. The exploration of the theme and its depth: initial impact, interest in gambling, sympathy for Axel, understanding his processes, involvement in gambling? The significance of the classes and Dostoievsky? The hero striving for the impossible? The meaning of Axel's life? The meaning of losing? Self-punishment, risk? What is the essence of gambling? The risk, the lack of certainty? The nature of Axel's addiction? The important gambling, the small gambling e.g. the basketball? The loss of feeling? Axel's using his relations and girlfriend? The film's judgment on gambling?

5. The importance of Billy's Las Vegas story for the ending and for the meaning?

6. The film's presentation of Axel as a gambler, the man, as a teacher? Were these elements convincingly integrated? Axel as a son and grandson, as a lover? As a victim? The hoods and Spencer? What insight into Axel as a man?

7. Axel as a gambler: the opening and the involvement, the borrowing of money, the continual preoccupation, the relaxation during the risk and uncertainty? Las Vegas, the games, the car racing, the bath, the radio?

8. Axel as a victim - the literary quotations? Axel as a conscious loser? The nature of a born and conscious loser?

9. Axel's relationship with his mother? The relationship between the two? Her not understanding his gambling? The tennis scene, the swimming scene, dancing? Axel's capacity to hurt his mother and take her money?

10. Axel's relationship with his grandfather? The praise, the nature of gambling, the grandfather's refusal?

11.The importance of Hips and the pressure on Axel? The world of gangsters, loan sharks?

12.The impact of the thugs in this film? That gambling is not just in a fairy-tale world but has its own consequences of violence?

13.How well-developed a character was Billie? Or was she just an ordinary goodtime girl? Play-girl, love for Axel, supporting him, the dangerous sequences in the car, Las Vegas, her leaving him? Should she have remained with Axel?

14.The melodrama of the ending? Self-masochism? The scar as a symbol of the conscious loser?

15.How profound an exploration of an aspect of human nature was this film?

GAILY, GAILY

US, 1968, 117 minutes, Colour.
Beau Bridges, Melina Mercouri, Brian Keith, George Kennedy.
Directed by Norman Jewison.

Gaily, Gaily is an old-fashioned story of male innocence lost. A beautifully mounted story of naive young writers, Ben Hecht (Beau Bridges is excellent) who goes to the big city to find the devil he has discovered in himself. He encounters Queen Lil and her court, the hard-drinking, tough reporters and the political careerists of the early decades of the century. Pleasant, comical, but with a bawdy background of papers, politics and bordello, it will not be to everyone's taste.

1. An entertaining film, a piece of Americana, for American audiences, non-Americans?

2. The director Norman Jewison as a stylist? Period re-creation, the adventures of a young man, comic and farcical styles, serious undertones? How well did they blend? The importance of colour photography, the re-creation of the turn-of-the century period - the opening in the small town atmosphere of school, athletics, picnics etc.? The visualizing of Chicago - the elaborate sets, the city streets, the newspapers, brothels? Chicago society? Costumes?
Musical score?

3. The film as the story of an innocent and learning experience? The prologue concerning Ben - as a boy in a small country town, relationship with his parents? His dreams - and the humorous presentation of puberty problems?

4. The background of Roosevelt and his promises and the hope for progress in the 20th century? Religious values and the consciousness of sin? Life at home? The encounter with Johansen and the indication of sly and deceitful politics? The Pyramid and the atmosphere of the picnic? His collapse? The irony of his collapse and his wanting to leave? At the overtones of romance and sexuality?

5. A portrait of naive young innocence learning experience? The film's comment on the loss of innocence? The possibilities of corruption? The world of politics, the world of the brothel? where did the evil lie and what corruption?

6. The capacity for survival despite the loss of innocence? Ben's exuberance about his trip, his arrival in Chicago and his being overwhelmed, his naivety, the impact of the city, the jostling? The irony of his being robbed? His hunger and the way this was visualised? Comic tones to the pathos?

7. The irony of his being helped by Queen Lil? The visualising of the brothel and its baroque style? His naive not understanding what was going on? His being welcomed, fascinated with the girls, eating? His settling into the place? The fascination with Adeline and his romanticising of her and not realising the truth?

8. The search for work? Lil's hold over Sullivan and her persuading him to give him a job? Sullivan and the world of journalism and the production of papers at the turn of the century? Ben and his work in taking pictures? Hanging and the elaborate sets, atmosphere, effect on Ben? Illustrating the world in which he was learning to live?

9. Sullivan and his drinking, his forcing Ben to prove his manliness? The irony of his thinking that he had ruined Adeline and his attitudes towards this? Her response to him?

10. Chicago politics, the presentation of Grogan and his spending so much time at Lil's? The irony of Johansen seeming so upright and yet his having power, persuasion, and was corruptible as well? The irony of the book and the details of embezzlement? The political party at Lil's and the verve and vitality? The day-by-day running of the brothel and its effect on Ben? Adeline and his wanting to rescue her from all this, getting the book and running away?

11. The atmosphere of the pursuit of Ben with the book, the riot, the presentation of anarchy - the social implications of the background of the time? Johansen's niece and hypocrisy?

12. The build-up to the pursuit for the book, Grogan and Johansen and their participation, Johansen's double-dealing? Adeline and the book? The bridge and Ben's seeming to be dead? Johansen's anger etc.?

13. The sub-plot about the adrenalin experiments - humour, their importance for creating period, the quack and his theories, the hanged man and Sullivan's elaborate proceedings to get a scoop story? The irony of its working on Ben?

14. The build-up to the funeral? All those present and the ironies? The future for Ben and Adeline?

15. The film did not moralize explicitly - it just presented a world and a way of life. What attitude did it take? What response did it ask from the audience?

16. The film as a memory fantasy of a successful playwright, the autobiography of an innocent young man, the human comedy.

GAIJIN

Japan/Brazil, 1979, 105 minutes, Colour.
Directed by Tizuka Yamasuki.

Gaijin is a Brazilian- Japanese co-production. It is the debut of the director and she does a fine job in exploring a facet of Brazilian history and Japanese history. The film relies on straightforward narrative, emotional involvement of the audience with the characters, an emotional response to the issues. At times, this approach can seem somewhat naive - however it is a direct approach and appeal to audience insight and sympathy.

The film is of great interest in terms of racial questions - the transition from 19th century Japanese to 19th century Latin American culture and the difficulties for the Japanese. The film also highlights the social structures in Latin America: the wealth of the landowners and their employing local inhabitants as well as poor migrants as
the equivalent of slaves for the coffee plantations. With the beginning and end of the film focusing on cosmopolitan Brazil, the film offers an interpretation of the early 20th. century and its contrast with the present.

1. The interest of the themes of the film? Entertainment, Relevant? The exploration of differing cultural and social backgrounds? The view of Brazil's early 20th century history in the light of the later 20th century?

2. The film as a Japanese-Brazilian? collaboration: the portrait of Japanese history, Japanese migration, culture shock and change, the Japanese as victim of the Brazilians, the Japanese contribution to Brazil? The contrast with the background of Brazil, its history, exploitation of slaves, Latin American culture? The importance of the frank-work with the contemporary opening and ending? The voice-over commentary?

3. The glimpse of Japanese history: period, flashback memories? The elegance and good manners of Japan? Culture, music, dance, religion, mythology? The mod and atmosphere of the Japanese music? The use of Japanese language highlighting the language barriers and cultural differences?

4. The background of Brazil, its history, contrast with Japanese culture, the vastness of the land, the coffee crops, the farms, the homesteads? The use of Portuguese?

5. The importance of language and difficulties in communication? Ignorance of language and consequent fear, joy, frustration? The pressures to learn another language?

6. The background of the slaves in Brazil? Their working on the coffee plantations? The owners and the wealthy families? Politics? Society, clothes, holidays? The social injustice? The Italian and Spanish migrants? The decision to bring in Japanese migrants? The deals and the exploitation?

7. The world of the landowners and their comfort? The comfort only partially glimpsed in this film? The focus on the workers? Authority, orders, the detachment of the landowners from their workers? Their responsibility for the injustice? Their use of harsh foremen? Chico and his administration, the rules, cruelty? Punishments? Time-keeping? Humiliations? The contrast with Tonho and his similar background to Chico? His awareness of the migrants, sympathy, helping them? His being caught up in the traditions? The urge to break through? The use of the military for supervision?

8. Tonho as hero? His helping Tito and his attraction towards her? His helplessness in trying to work with the migrants - language, bringing them meat instead of rice, helping them with the washing? The social atmosphere and his attraction towards Tito at the fiesta? His rescuing the Japanese? Setting fire to the crops? His values and their needing to be changed? The glimpse of him in the city and his revolutionary words? His symbolising the need for social change in Brazil?

9. The story of the Japanese: their home in Japan, not enough work, leaving, the voyage? The focus on Tito and Yamada? The arrival in Brazil? The train trip? The brass band and the welcome? The walk through the fields? The derelict houses? Difficulties of language, food? The hard labour and their learning how to get the coffee beans and process them? Illness? Their making something of their homes? Their impoverishment and the unscrupulous money deals by Chico? Their having to adapt to life in Brazil? To the Spanish and Italian migrants? Injuries? Madness? Alcoholism? The wife hanging herself? The impact to revolt and escape? The sad history of the Japanese settlers, the memories and the visions of Japan? Their contribution to Brazil?

10. Tito and her story: the voice-over, 16, the voyage, Yamada and his protection, her work in the house, in the fields, her love for Yamada, the pregnancy, the child, Yamada and his strength, his illness? Her becoming stronger in attitude, helping the group to escape? Her experience in the city, the factory? Her rediscovering Tonho? Yamada and his hopes, hard work, his disappointment with the birth of his daughter, his illness and death?

11. The Italians and their sneering at the Japanese, differences? Their being oppressed by Chico? Complaints, the family being ousted? The portrait of the other workers?

12. The film's attention to the detail of coffee production? The hard labour? The shops? The Japanese establishing themselves and gaining respect? The feast?

13. The glimpse of the city and factory life? Hardships but the outbreak of World War One and the potential for change?

14. The impact of the film as a human document? Hopes and dreams, migrations, culture changes, survival, fidelity and love? The nation built on such experience?

GABY

US, 1987, 114 minutes, Colour.
Rachel Levin, Liv Ullman, Robert Loggia, Norma Aleandro, Lawrence Monoson, Robert Beltran.
Directed by Luis Mandoki.

Gaby is a true story of a woman cerebral palsy. Gaby Brimmer, the subject of the film, told her story to the writer-director, Luis Mandoki (White Palace, When a Man Loves a Woman, Message in a Bottle), and was producer of this film.

Rachel Levin is attractive and persuasive as Gaby. The film also has the strength of performance by Liv Ullmann and Robert Loggia as her parents. However, the strength of the film is in the performance by Norma Aleandro (Official Story, Cousins) as the simple nurse who is able to understand, appreciate and help Gaby to grow as a human being.

The film is set in Mexico City and filmed there, from the '40s to the early '70s. it is a story of courage and enables an audience to appreciate somebody with a physical handicap and see the need for humane treatment of handicapped people rather than presumptions against them. The film is also quite frank in its transplant of Gaby's growing up, loves and dislikes, angers and fights, growing sexuality, ambitions and disappointments. The film has a score by Oscar winner Maurice Jarre.

1. The impact of the story, a true story, a story of handicap, coping and overcoming?

2. The true story, Gabrielle Brimmer's role as producer, her memoir, her perspective?

3. The Mexico City settings, atmosphere, home, schools, university, tennis courts? The '40s and '50s, the contrast with the '60s and early '70s? Music and dance? Maurice Jarre's score?

4. The prologue and the Brimmers, having to leave Austria, going to Mexico, the set-up, the birth of David, the birth of Gaby?

5. The sketch of Sari and Miguel: their life together, love, the birth of Gaby, the discovery of her handicap, having to cope, the treatment, doctors and advice, the range of nurses?

6. Audience knowledge or lack of knowledge of cerebral palsy, the physical consequences, mental consequences, intelligence and communication?

7. The portrait of Nanny: in herself, a simple woman, at work in the household, curiosity about the child, feeding it in the early morning, able to communicate with the girl, getting her to move her leg for 'yes' and 'no'? The reactions of the parents, of the nurse? Nursing the child, learning to love, a substitute mother? Becoming indispensable, sharing in her education? A fulfilment for her? Having to learn to read and Sari teaching her, Miguel teaching her how to drive? Taking Gaby to school, providing the answers for the teacher? The disdain of Carlos? Nanny's reactions, sometimes upset? At home and tensions? Sharing Gaby's tensions? Fernando and sharing with him, the phone calls, their rebellion, Fernando's rebellion against his mother? The sexual encounter, her knowing what was going on, taking Sari for a walk, supporting her? The question about the exam, the university? Going to the university, answering the professors, her embarrassment? The passing of time? Gaby fighting her control? The scene at the table, Miguel making Nanny part of the family? The friendship with Luis, communication? The Nanny as a shrewd and simple woman, her support of a life, Gaby being her life? The film as a tribute to her?

8. Gaby as a child, not communicating, with Nanny, learning how to communicate with her feet, growing up, spelling out the words, typing? At school, her intellectual curiosity, knowing the answers about Mexican history? Carlos and her mocking him? The friendship with Fernando, his rebellion against his mother, ringing the phone but not able to speak, his returning her call, the mother listening in, the rendezvous at the tennis match, the meetings, the sexual encounter - real, physical, emotional? Her study, wanting to do the exam, Fernando's not coming, her almost giving up? Sari giving her the ultimatum? Fernando not able to cope? The university and her studies, the questions of the professor, friendship with Luis, the writing the story, Luis arranging to meet the publisher, his shock? Going to Luis' room, her being hurt? The socials? Her place in the family, the clash about Nanny? Reconciliation? Her father's death? Her mother's absence, the return, the covering the house in flowers? Her achievement?

9. Sari and her care, the servants, tensions, seeing the sexual encounter, walking with Nanny? Going to the authorities about the school and the exam? Attacking Miguel, his heart attack? His death? Going away, her. return and the flowers? Miguel, his absence, silences yet his support, his heart condition and death?

10. Fernando and his skill, study, rebelling, his mother, the sexual encounter, loss of nerve for the exam?

11. Luis as a happy type, the socials with Gaby, the writing of the article, her visit to his room and his not being able to follow up the relationship?

12. The themes of ordinariness and handicap, coping on the part of the handicapped person, on the part of others? Strength? The importance of support and love of friends?

GABY

US, 1956, 97 minutes, Colour.
Leslie Caron, John Kerr, Taina Elg, Cedric Hardwicke.
Directed by Curtis Bernhardt.

Gaby is a remake of the famous Robert Taylor - Vivien Leigh film, Waterloo Bridge. The setting is World War II instead of World War I, and, even though there is a melodramatic flavour, this film tries to be more realistic than the former version.

It is basically a love story but set in the problem atmosphere of war and impending tragedy and death. Moral issues are raised which are nonetheless real enough, despite the unusual situations. The film is not outstanding, nor are the performances, but it is of human interest and enjoyment for a feminine audience. Useful for discussion with groups of girls (unless they are particularly hard-boiled!).

1. How does the war situation change people? How real are some of the things that happen - e.g., meetings, love and marriage within 48 hours?

2. Greg - what kind of man was he? Gum-chewing, loud, doing what he thought people expected of him? Friendly, yearning, wanting love?

3. Gaby - what kind of woman was she shown to be at the start? Serious, her grief over her family, thinking of her career, cold but mellowing? Note her respectability, the strictness of her upbringing, her religious background and example to others.

4. What impression did Gaby's reaction to her strict upbringing make on you? Her wanting to stop being so good and accept the marriage, yet her refusal to consummate their love (Greg's respect for her, although ready to consummate).

5. Their marriage was held up by realities, regulations and red tape, was this fair? were England and the army fair? Note Elsa's reactions and questions. Everybody was for delaying, 'cooling off'.

6. What was Gaby's reaction to the news that Greg was missing? She was grieved and regretted that she did not consummate their love and so make him happy even if it was only a passing happiness. How did Gaby's attitudes and moral standards change? (cfr. her burning the candle in the Church).

7. Gaby's sadness while everybody rejoiced at the liberation of Paris. Her sympathy for the wounded soldier. Her sluttish behaviour; her shame; yet she was compelled. Elsa was shocked. Was this kind of behaviour believable in Gaby? What were your reactions? Why?

8. The shock of Greg's survival. What impact did it have on Gaby; how did it show up her change of attitudes, moral outlook and behaviour?


9. Was Mrs Carrington right that sometimes it is better to keep one's conscience and truth to oneself in order not to make others unhappy; and try to 'be better'? Or did Greg have a right to know and Gaby was right to tell him? What was Greg's reaction? Why?

10. Was the ending melodramatic? Would it have been melodramatic had Gaby committed suicide or been killed? Was their attempt to live a happy life at the end realistic? Did they have a basis for future happiness?