GABLE AND LOMBARD

US, 1976, 131 minutes, Colour.
James Brolin, Jill Clayburgh, Allen Garfield, Red Buttons.
Directed by Sidney J. Furie.

Gable and Lombard was part of the fashion for 30s Hollywood stories, and set in the Love Story tradition, this film satisfies best on the level of magazine romance with a dash of interest in the problem of private lives and public moral stances of popular movie stars. It is quite enjoyable, even if somewhat predictable. James Brolin's Gable is a clever impersonation of manner and self-belief in a rugged masculinity, but does not suggest Gable's screen presence and power. Jill Clayburgh's Lombard is a much more complex study and an impressive performance, making sense of the person behind the image with her needs, inferiority, courage and love. Enjoyable, but not a must.

1. The interest of audiences in the film, in the characters? Their reputation, each, together? Over the years?

2. Audience interest in the personal story. a hero of the screen, a love story, a melodrama of defiance. tragedy? Did the screenplay blend well these elements?

3. The film's place in the Hollywood trend? Atmosphere of nostalgia for Hollywood, for the past? For the life of the stars in Hollywood in the past? Nostalgia for the stars themselves and their screen impact?

4. Did the film portray real persons? What ideas about each of them did the screenplay have? Did it communicate these insights in the characters and situations?

5. The importance of the flashback structure? Audience knowledge that Carole Lombard died, that Clark Gable lived another twenty years? The atmosphere of war and Gable's involvement, Lombard's bond-selling? The flashback from Gable's point of view?

6. The presentation of Hollywood: the wild and anti-Depression atmosphere, parties and wealth, practical jokes, the studios. the building up of careers. publicity, studio sequences as with 'Gone With The Wind'. Louis B. Mayer and his regime, standards set. fans and their expectations of stars' behaviour -sensational headlines but proper behaviour in private? The film's critique of this Hollywood of the past?

7. How well did James Brolin capture Gable's manner. style? A successful impersonation or character drawing? How much insight did the performance give into the character and strength of Gable? The initial sequence with the car and the party, his anger, his clashes with Carole Lombard? The bet with Ivan Cooper and his ruse about the muggers? Engineering their meeting on a calculated basis, the transition to mutual respect, love? The beginnings of an affair? Was it credible that Gable would enter into this affair?


8. The important background of his failed marriage, the attitudes of his wife, Ria, her refusal to give a divorce? Gable's motives in his relationship with Carole Lombard. his decisions? Louis B. Mayer and his attitude, lecturing Gable, the nature of his advice? Standards and appearances? Broderick's similar advice to Carole Lombard? The account taken of this advice for their decisions?

9. How well did Jill Clayburgh portray Carole Lombard, give insight into her character? The wild and effervescent character, her language, the party and her practical jokes, irresponsibility, push? The fact that these were masks and which took a long time to break down? Her tantrums? Her star quality? Her hostility towards Gable? Their encounter in the home, friction in discussion, the breaking down of her attitudes? What helped the transition from hostility to love? The basis of her decision to begin the affair with Gable?

10. The repercussions of their affair, their not seeing one another publicly, the devices and lengths they had to go to see one another? The avoiding of publicity? The rights and wrongs of these attitudes?

11. Louis B. Mayer as personalizing the attitudes of Hollywood officialdom? His ambiguous way of speaking and giving lectures? His wanting to tidy over things for the good of his industry? The build-up to the speech to the Daughters of the American Revolution? Gable's ascent? Lombard's turning up as a floozy and the chaos that ensured? How necessary a liberating device was this?

12. The hostile publicity, the articles, the question of the paternity suit and Gable's decision to shield Lombard? The importance of the court sequences and their melodrama? The waitress and her attitudes? Gable and his patience? The clash with Lombard and her not being present?

13. How courageous was she in coming to testify? The ruining of reputation for the sake of love? Their decision to go away? The irony of their going to the premiere and their being vindicated?

14. The sadness of Lombard's death and Gable's in retrospect?

15. Comment on the contributions of the minor characters: Ivan Cooper, the publicity man and his relationship with Gable, Mayer and his role in Hollywood, Ria and her hostility and final giving in? The importance of the sequences showing us Ria Gable and her reactions?

16. How valuable is this kind of film? The equivalent of magazine coverage of the stars, deeper insight into human beings in prominent places and their choices and the repercussions on their lives?

GOODBYE AGAIN

US, 1961, 119 minutes, Black and white.
Ingrid Bergman, Yves Montand, Anthony Perkins, Diahann Carroll, Jessie Royce Landis, Michelle Mercier.
Directed by Anatole Litvak.

Goodbye Again is a lavish soap opera, with strong stars, based on a novel, Do You Like Brahms, by Francois Sagan (author of Bonjour Tristesse, filmed several years earlier with David Niven, Deborah Kerr and Jean Seberg). The film has striking black and white images of affluent Parisian life around 1960. It also includes a Brahms score as well as contemporary music and some jazz. Diahann Carroll appears as a lounge singer. The film reflects the growing frankness-in films at the beginning of the 60s, franker talk about sex, divorce, relationships, an older woman with a younger man. Ingrid Bergman excels at this kind of role. Yves Montand play his usual playboy self and Anthony Perkins is once again a tormented young man. In the supporting cast, Jessie Royce Landis does yet another variation on her daffy mother as she did in To Catch a Thief, North by Northwest. Direction is by Anatole Litvak, a director of some striking melodramas at Warner Bros in the 30s and 40s including The Sisters, All This and Heaven Too, The Snake Pit.

1. Entertaining romantic melodrama? Settings, issues, stars?

2. The black and white photography, Paris settings, the world of the affluent, homes, restaurants, the streets of Paris? The musical score, the Brahms’s themes? background music, contemporary music, jazz?

3. The title and relationships and broken relationships? The original title of the novel: Do You Like Brahms?

4. The portrait of Paula and Ingrid Bergman's screen presence and style? Her age, background, divorce, need for love? The five years relationship with Roger? At home, her maid, her impatience? Her disappointment with Roger - and his relationships with bar girls? Her work, meeting the owner of the house and the interplay of the interview? Meeting Philip and his performing? The credibility. of the attraction? Roger's absences and their affect on her? Philip and his courting her, performing, playful? The outings, the restaurant, the dancing? The sexual liaison, at the apartment? The effect on her, on him?. Clashes? Hit going to England? Her letter, his return during the meal? The edge with Roger? His going away, her separation? The affair with Philip, dancing in the restaurant, her meeting Roger again? Her decisions, their basis, letting Philip go and the scenes together, her honesty? Her exasperation at his youthfulness, lack of responsibility? Her finally committing herself to Roger?

5. Roger, the man about town, business? Divorced? Relationship with Paula, going away, business, disappointing her? The playboy with the range of women (and their same name)? His dishonesty with Paula, honesty? Going to the dinner after she had decorated the apartment? His jealousy of Philip? Paula wanting to go with him and his refusal? His being on his own, the collage of his driving and moping? The encountering the restaurant and dancing? The final decision - the possibility of a future with Paul?

6. Philip, in Paris, age, youthfulness, irresponsibility, wealth? His performances and roles for Paula? The attraction. pursuing her, driving her home, taking her out, the meals, the concert, Brahms? His awkwardness? The affair? Going to London, the letter, the return during the meal? A future with Paula? His reaction to her indecision? The clashes with Roger? His having to face reality? Facing the future?

7. His mother, her daffiness, employing Paula, the conditions? A performance and her being shrewd, money, knowing her son, his relationships? The meal and her guests, talking with Roger? Talking honestly with Paula and Paula's resistance?

8. The employer, his attitude towards Philip, the firm, study, law, the case in London and Philip's performance? Philip and his easy relationship with the office secretary?

9. Roger's women, their ambitions, promiscuity, relationships, live and let live attitudes?

10. The films offering a picture of middle-aged people, relationship and commitment failures in relationships, dalliance, affairs, hopes?

GILDA

US, 1946, 109 Minutes, Black and white.
Rita Hayworth, Glenn Ford, George Macready.
Directed by Charles Vidor.

Gilda is a romantic melodrama coming from the end of World War II, reflecting a rather bleak outlook on behaviour and attitudes. The South American setting adds to this bleakness and overtone of corruption. Glenn Ford, a very young Glenn Ford, is a person on the make and encounters his former love Gilda, now married to the wealthy and neurotic owner of a casino, played by George Macready. The encounter between Gilda and Ford is one of those electric screen combinations. Rita Hayworth is at her most sensuous and impressive. George Macready is an excellent psychotic, nervous villain. Some of the music and Rita Hayworth's dances are impressive. Ford and Hayworth impressed at the box-office and were teamed in The Loves of Carmen (1949) and Affair in Trinidad (1952). It is ironic that they reappeared twenty years later in The Money Trap with Ford still as hero but Rita Hayworth well past her prime, showing every sign of age in a rather dramatic role. The poster for Gilda is a feature of de Sica's Bicycle Thieves and indicates how popular this film was in its time.

1. How enjoyable a film? Its reputation in its time? Its impact now?

2. The impact of Rita Hayworth, Glen Ford and their combination? The style of this kind of gangster thriller and romantic film in the mid-40s? After the war? The black ironic treatment? Disillusionment, pessimism?

3. The title, the focus on Rita Hayworth, her personal style, impact, sensuality? As a romantic figure, good and evil? The importance of her songs and their impact?

4. The narrative structure of the film? The introduction to the hero and the involvement with him? An atmosphere of mystery about him and his presence in South America? His first person narrative of the events? How well did this involve the audience with the events, no matter how unsavoury?

5. The atmosphere of South America in the 40s, the war and the ending of the war, money, gambling, an atmosphere of evil? A place for an insane conspiracy and its being executed unscrupulously?

6. How well did Glen Ford play the hero? A typical tough American hero? As a card sharp, fighting? His encounter with the manager of the club, the parrying verbally and with card techniques? The reason for his being employed? His skill at his work, his judgment?

7. The contrast of the owner of the club and his style? His arrogance, a gambler, his bringing Gilda to South America and his having her as his wife? His capacity for jealousy? His power and its exercise? The conspiracy and his mad dreams, his suicide plan? The importance of the cane and the sword? The irony of his threatening the hero and Gilda? The irony of his death and the man who killed him?

8. What type of a woman was Gilda? Her past, her liaison with the hero, the failure of their relationship? Her motives for marrying, money, power? Her seeing the hero and their having to be discreet? The irony of her reaction after her husband's death? Her marrying the hero and his making her his victim? Audience sympathy for the cruelty to which she was treated? Her being imprisoned? Her longings to escape, her being in Uruguay, the man tricking her and taking her back? Her response to her husband's being alive? The resolving of the love-hatred relationship with the hero? Possibilities for a future?

9. The transition in cruelty in the hero? His becoming like the owner of the club? His vengeance on Gilda and the detail of his tormenting and imprisoning her, humiliating her?

10. The importance of the observer and the audience being curious about him? His comments, his noting things? The importance of the official who came in to win by pre-arrangement etc.? The irony of his being a policeman? The revelation of the conspiracy?

11. The people in the club and their styles? The official winning the money, the men in charge of the tables, the man behind the bar and his eventual importance?

12. The irony of the lawyer proposing marriage to Gilda in Uruguay and the manner of his tricking her? His arrival back and Gilda's reaction?

13. How melodramatic was the film - appropriately so or not? The build-up to the melodramatic return, the confrontation, the sword, death? What future did Gilda and the hero have?

14. How well did the film convey an atmosphere of evil? The nature of this evil?

15. A black outlook on human beings and their potential? How much optimism? How much pervasive pessimism?

GOODBYE PORK PIE

New Zealand, 1981, 102 minutes, Colour.
Tony Barry, Kelly Johnson.
Directed by Geoff Murphy.

Goodbye Pork Pie was one of the earlier features of the New Zealand feature film revival of the late '70s. Other films included Sleeping Dogs, Skin Deep, Smash Palace. The film takes the conventions of the road movie, American style. There are echoes of Easy Rider and so many road movies with cars and odd groups. However, the film has an atmosphere of New Zealand, not only in its excellent use of location photography and a feel for the country, but also in the New Zealand enjoyment of outlaw figures and gangs and making them heroes. The performances are good, especially by Tony Barry as John. The film is lightweight - but shows competence in film-making and contributed to the development of the New Zealand industry.

Geoff Murphy went to Hollywood for a career directing popular, mainly, action films.

1. An entertaining New Zealand production? New Zealand atmosphere, tone? For New Zealand audience? International audiences?

2. The conventions of road films: on the move, an overview of the country, cities and countryside. picaresque adventures, characters described on the move, the highlighting of vehicles. speed. clashes with the law? Action, police clash. accidents? A popular version of the old quest theme? The larrikin tone of this kind of film? Laughs, irony? A successful New Zealand version?

3. The scope of the film: Auckland to Invercargill? The range of New Zealand cities and their stock? The variety of New Zealand landscapes? Boats, trains, cars? New Zealand from top to bottom?

4. Colour photography. the use of locations? Ordinary citizens. the feel of the city? The audience able to identify with characters and places? Stunt work. special effects. editing? The songs. musical score?

5. The conventional story - with the unconventional? Audience identification and understanding? Being on side with the characters? The popularity of outlaw figures? The defying of the establishment, the law? Gangs and public sympathy? The heroes caught up in their own world. believing their own publicity? This small gang and its response as a microcosm?

6. The establishing of the characters, their lives being intertwined by accident? Their being together, their lives meshing, sharing quest and purpose? Their being joined by Sue and her goal? The device of having the television cover their journey so that the public could understand their adventures and see the group as a gang working together?

7. The introduction to Gerry: age. out of work, known to the police, known in the town, stealing the purse? The employment office? The cars and his love for them. deals? His knowledge of cars, enjoyment of speed? His picking up John? The clash with the police and their giving his name for further pursuit?

8. The contrast with John and the break-up of the affair, the scenes in the flat, the taxi, the airport, no change? His pursuing to the airport and then returning? The television and the telephone call? His pursuing Sue to the airport? His having to let her go?

9. The beginning of the adventures: the police interrogating the woman whose purse was stolen, the devices for getting the petrol and the drinks without paying for them and the repetition of the stunt? Shirl and the crash and giving her a lift? The growing interaction between the three? Talk - with the emphasis on sex? The pursuit and the bet?

10. The group getting on well together, the details of their friendship, talking. curiosity, revealing character? Their arrival at Wellington and the deals with selling the radio and parts of the car for drugs? The drug party and the encounter again with Shirl? Gerry and the sexual liaison with Shirl? The escape into the train? The setting up of the temporary home in the train? The decor? The irony of Shirl's being arrested -and the photos and television?

11. The trip to the south, the trip between islands, the train ride? The police and the road blocks? The irony of John and Gerry getting so far? The encounter at the shop with the fat father and his family - and later their
being used for comedy routine because of the same coloured car?

12. The pursuits and chases around the mountains of the South Island? The police? Accidents? John making sure the policeman was rescued? The genial gang and sympathy?

13. Their encounter with Mad Murphy? His talk? Bargaining and salesmanship? His home, the baby, the woman? His telling the police? The change of tone and style of character with Murphy and his madness?

14. The end of the pursuit. getting rid of more and more parts of the car, the litter on the road? The stopping at the shop, the chase at the toilet? The build-up to some kind of culmination - Gerry and the accident and his dropping out of the quest? John driving through all the barriers?

15. The cemetery sequence? The irony of John being able to arrive at Sue's sister's place? The irony of the sexual encounter and John's final appearance at the door?

16. How well did the film sketch John's character: age. type. work. purpose,, friends throughout New Zealand. the drug scene. parties. his attitudes, friendship with Gerry, the father figure. decision to carry on as part of the gang. his sense, stupidity, loyalties? The larrikin ending?

17. The contrast with Gerry as the young unemployed, daredevil. wanting some kind of achievement, nothing to lose, relationship with Shirl? His humorous (but perhaps trendy) attitude with the imitation of the Marx Bros? The significance of the name of the gang - Blondini - and the way that he used it?

18. The character of Shirl - the girl on the road? Contrast with Sue and her sister?

19. The effect of this kind of light-hearted road movie? The cheeky attitudes? Law and order? Popular folklore and the establishing of legends?

GRANDAD RUDD

Australia, 1935, 90 minutes, Black and white.
Bert Bailey, Fred Mac Donald, George Lloyd, William Mc Gowan, Kathleen Hamilton, Lillas Adeson, Les Warton, Elaine Hamill.
Directed by Ken G. Hall.

Grandad Rudd was the first of three successful spin-offs from Ken G. Hall's successful On Our Selection (1932).

Based on a play by Bert Bailey, On Our Selection had been filmed by Raymond Longford in 1922. The 1932 sound version was very successful and the characters popular. In the manner of later sequels and television series, the characters are decked out again - without quite the panache of the original. They go through comic motions which are entertaining but without the spirit of the first film. There are a lot of amusingly contrived sequences, an image of rather cantankerous people out in the bush, a villain from South Africa involved in drug-smuggling and a rather posh-sounding heroine. The entertainment value is still there in a rather dated way.

1. The impact of the original film? Entertainment value? Deriving from Steele Rudd’s stories? The play by Bert Bailey? Capitalising on the success of the original? Retaining its spirit? The manner of later television series?

2. Production values: the stars, black and white photography, the country locations? The musical score?

3. The image of the Rudds? Relationship with the original? Their being transported in time to the 130s? Dad being older and retired? Mum very old? The sons and their wives? The heroine and the hero - with the international villain lurking in the background? Work on the farm? Traditions? The Australian agricultural and farming spirit?

4. The comic tone of the film, the hardness of the characters and their attitudes? Dad and his meanness, laying down the law, ruling people's lives? The sons and their fear of their father? The wives and their complaints and standing up to the old man? The question of his will and expecting him to die? The old man outwitting his sons e.g. getting them to sing to the cows. putting up the rent etc.?

5. Dad as the patriarchal figure? Humour. kindness. hardness? Bright ideas like improving the milk output? The focus on money? Mum and her memories, the softer touch?

6. Dave and co. and their work on the farm, ganging up? The contrast with Dan and his return to the farm? His wanting the money?

7. The humour of courting traditions? The comic portrayal of Amelia Banks? Her throwing herself at Dan? The families contriving their meeting? The wooing? The party - and the comedy of Dad returning home and the comedy with the baby? The build-up to the wedding?

8. The Banks family and the preaching about teetotal attitudes? Mr. Banks drinking with Dad and returning drunk?

9. Betty and Henry Cook? Cook and his trying to outwit people and cheat them? The romance? Betty spurning Tom? The irony of the actress telling the truth about Cook?

10. The build-up to the wedding? Dad's intervention? The exposure of Cook? His being trapped by the actress and by Dad acting the cable? The happy ending?

11. A pleasant glimpse of farming life? The importance of the cricket match and the trick photography, the satire on the playing of cricket? Satire on cricket itself? The blend of farce, comedy, melodrama?

A GOOD THING GOING

Australia, 1977, 78 minutes, Colour.
John Hargreaves, Veronica Lang, Chris Haywood, Miles Buchanan, Simone Buchanan.
Directed by Arch Nicholson.

A Good Thing Going is one of the best of the Australian telemovies. This was sponsored by Film Australia and Channel 9 and had its premiere at the Melbourne Film Festival, 1978. After screening, it received critical acclaim and a number of Sammy Awards especially for its leading actors. The film captures strongly the atmosphere of Blacktown and the western suburbs of Sydney. Filmed there, it has an eye for accurate detail.

It also shows persuasively the difficulties of family life in the suburbs, the ocker attitudes of husbands and mates and the repercussions of drinking and mateship. A wife takes a strong stand and walks out on her husband and son. The repercussions are very difficult for her. The husband and his friends still remain genuinely obtuse. Not only does this telemovie entertain and interest, it rouses fairly strong feelings and this is the measure of its success as social observation as well as social criticism. The cast is indeed excellent.

1. The quality of this telemovie? Content, style, impact of themes and treatment?

2. The techniques for presenting a slice of Australian life for the home viewer? Characterisations, situations, techniques and dialogue for presenting unpleasant insights for home viewing?

3. The quality of the film as a slice of life? Its effect on those who watch it -identifying, change, rejecting or accepting its themes and critique?

4. The significance of the title, its reference to the marriage? The indication for relationships, family, responsibility? The critique of contemporary suburban marriages and way of life? The tone for the themes?

5. The portrait of Sydney suburbia: drinking in the clubs, the houses and their set-up, the suburban streets, shops, school? The style of talking, the cross-section of people, preoccupations and issues with their day-to day way of life? How authentically presented?

6. Initial focus on Phil and Terry; their drinking, the strip show, the atmosphere of the club? The presentation of the ocker way of life? The beer drinking, the striptease girl, the reaction of the men? The sequence of Phil going off and spending the early evening with his girlfriend? The comment on the quality of his marriage? The transition to his arriving home drunk, his reaction to Jane and her reaction to his behaviour? His blaming her in self-defence? His defensive and self-righteous attitude by attacking her? The narrow vision of his way of life and the impossibility of his seeing otherwise?

7. The sequences portraying Jane's exasperation. would the audience understand this? The bedroom sequence and the lovemaking., the breakfast sequence, the fights and the apportioning of blame? How hard had Jane tried to make the marriage work? Her decision to leave and the way that she handled it, was it credible? Her keeping in touch with the children. looking at them from the distance? Her work in the shop, the party and the encounter with Phil? The needs of her children and the importance of the ferry ride and the zoo outing especially with Damien's reaction? The repercussions of her leaving and the reasons for her return? Phil’s not understanding it? How much insight into the problem of the suburban wife and the limitations available for handling the situation well? The suburban housewife as victim?

8. The portrait of the children as ordinary young suburban children, boy and girl, their good points and their bad, their potential? The sequences of Damien at school and his brooding? Their handling the situation at home with Dad's not fulfilling his promises, their disappointment? The bond with their mother and their reaction to her leaving? Helping their father cope with meals. clothes etc.? The importance of the outing with their mother and Damien's reaction? The violent outburst against Baxter? The effect on the audience of seeing the children behave like this?

9. How strong a portrait of the suburban husband in Phil? His blindness towards his wife and family and their reactions, his motives for his marriage, work and friendship? His self-preoccupation and the focus on the bike? His enjoying Terry's company more than his wife's? Terry's influence on him? His trying to cope with his wife's departure, things going wrong, the reclaiming of the furniture etc.? Visiting the shop and trying to persuade Jane to look after the children while he went for the bike rally? Their talk in the pub and his lack of realisation of how she felt? His expectations, his reaction to her returning home, his confessing his faults - but could he see what really was required?

10. Terry as the mate type? Egging on Phil, the loudmouth reaction, the annoying of Baxter every visit, drinking? His lack of timing, his advice, the arrival with the girlfriend and their going?

11. The kind neighbour who looked after the children and her way of handling the situation, keeping in touch with Jane, offering advice to Phil? Such sequences as the burial of the dead bird?

12. The portrait of Baxter as a neighbour, an incidental character but throwing light on life in suburbia? His complaints, angry reactions, his taking Phil's money for the broken windows?

13. How interesting a portrait of a way of life? The attention to detail and atmosphere? How real and authentic? The urban problems identified? The value of seeing this slice of life?

GONE TO THE DOGS

Australia, 1939, 83 minutes, Black and white.
George Wallace, Lois Green, John Dobble, John Fleeting, Ronald Whelan, Alec Kellaway, Letty Craydon, Kathleen
Esler, Howard Craven, Harold Meade, Lou Vernon, George Lloyd, Harry Abdy, Reginald Collins, Jack Settle.
Directed by Ken G. Hall.

Gone to the Dogs was the second George Wallace vehicle made by Ken G. Hall. The first was Let George Do It. Wallace, a popular vaudeville comedian, had made several film for Frank Thring, Sr.: His Royal Highness, Harmony Row. Wallace collaborated with Hall's regular writer Frank Harvey for this popular concoction which included a number of jokes, farcical situations and song and dance routines - in the popular Australian context of racing, greyhound racing.

George Wallace was an amiable personality - the little awkward man, somewhat foolish, a comparison with the comics of vaudeville and silent films. Huge John Dobbie is a good companion to Wallace, along the lines of Of Mice and Men. Stage musical star Lois Green joins with song and dance routines. Others in Hall's regular supporting cast join Gone to the Dogs. There are some humorous routines in the zoo where Dobbie and Wallace do gorilla routines, a chase through a haunted house and a mad plane flight. The musical number, Gone to the Dogs, is choreographed and rather elaborately filmed along the lines of American musicals e.g. of the Judy Garland- Mickey Rooney Babes on Broadway, Girl Crazy style.

1. Characteristics of Australian comedy? The '30s and Roy Rene and George Wallace? Background of theatre and vaudeville? Funny one-liners, situations, farce, song and dance? Comparisons with American and British comedians of the time?

2. The film as a George Wallace vehicle: personality, size, pratfalls, awkwardness, the little man, the simple man, the honest man, song and dance, all's well that ends well?

3. Black and white photography, the choreography for the musical number, the speeding up of the greyhound racing. the races. the zoo, the haunted house, the plane? Special effects?

4. George and Henry - their friendship, the boarding house, the people at the boarding house, the greyhound kennels, the zoo and the keepers, the head of the zoo and his disapproval of them, Mr. Inchape and his son and daughter? The comedy of the gorilla routine? The chase through the zoo? George as bashful with Irene Inchape and the mock romanticism? The laboratory assistant and his taking over and the experiment? Henry and his ventriloquism and the scene with Aloysius, the dog, in the hotel? The kidnapping of the champion dog? George and Henry's pursuit? The trip through the haunted house and their escape? The humour of the plane trip? The happy ending and the winning of the race? The comedy duo?

5. Henry and George and the variation on the Of Mice and Men couple?

6. Henry and Jean as hero and heroine? The vet, their quarrels, wanting to find the formula? The romantic song and the Gone to the Dogs routine? Mrs. McAllister? The pleasant people at the boarding house? The races and the final success?

7. The range of villains, spies and their plans? Dr. Sundermann as the mad scientist? His henchmen. especially mad Jack and the stealing and changing of the dogs?

8. The Australian image, ordinary people, attitudes, the races. good and bad, values?

GONE TO GROUND

Australia, 1976, 75 minutes, Colour.
Eric Oldfield, Bud Tingwell, Elaine Lee.
Directed by Kevin James Dobson.

Gone To Ground is one of several telemovies produced by Robert Bruning in the late '70s. Popular thrillers, they established a group of telemovies which took their place in the developing Australian industry. They are fast-paced, melodramatic and somewhat implausible, but well photographed and acted - popular entertainment. They provided groundwork for actors, technicians, directors. This film was directed by Kevin Dobson who made a number of telemovies e.g. Demolition, worked in television series and such feature films as The Mango Tree (1977) and Squizzy Taylor. The screenplay is by Bruce Wishart who contributed a number of screenplays for these telemovies e.g. Is There Anyone There, Plunge Into Darkness. For this kind of telemovie, the cast is good and the film is well acted. Photography is by Russell Boyd (Picnic At Hanging Rock, Gallipoli etc.)

1. The style of Australian telemovies in the late 170s: action, energy, melodrama, suspense entertainment? Characters? Locations? Colour photography? Pace?

2. The title and the explanation given about the hunt and hiding?

3. The basic ironies of the screenplay - themes of set-up, manipulation, revelation of the truth, violent poetic justice?

4. Jim as hero - the threatening letters, the skateboard attack, his waiting wife, the reliance on Harry, the holiday, the searching for the old man, the gradual atmosphere of menace, the sniper, Harry's death? Jim having to cope? His relationship with his wife? The mystery about his past?

5. How well developed in a brief time was the character of Jim - as ambiguous hero? The mystery of his trust in Harry, his being hunted and yet not killed? The relationship with Grace? Ma Bishop? His reaction to Harry's death? His telling the truth to Grace and his wife? The flashback of his stealing the car, enjoying the speed, killing the children? His being protected by Harry? Criminal racketeering? His sense of conscience? His grief for his wife's death? The build-up to the confrontation with Harry?

6. Harry as a smooth businessman type, relationship with Grace, the revelation of his affair with his secretary? His helping Jim and the audience not knowing why? Antagonism towards Bart? The holiday house, the sniping? His death? The irony of his reappearance and attempts to kill Grace? The confrontation with Ma? His escape: the irony of his being hit by Jim? Ma's shooting him? A sketch of a credible smooth racketeer?

7. Grace and the tensions of the marriage, her having to cope, her reaction to Harry's attempt to kill her, her facing the truth?

8. The old man and his caretaking of the place, the uselessness of his death? Ma and her tough attitudes towards him, humorous touches? Her trying to help, keeping watch, saving Grace, the confrontation with Harry at the end and the execution of poetic justice?

9. The secretary and her smooth running of the office, her part in the plan, killing the sniper, arranging for Bart's arrest? Her arrest?

10. The quick pace, glossing over the improbabilities, working satisfactorily at a telemovie level in establishing character, issues, suspense, appearances and reality echoing the contemporary amorality of the business world?

THE GOLDEN CAGE

Australia, 1975, 75 minutes, Colour.
Ilhan Kyululu, Sait Mendsoglu, Katie Sheil, Ceser Rozerio.
Directed by Ayten Kyululu.

The Golden Cage and A Handful of Dust are two short features by Turkish writerdirector Ayten Kyululu. They were produced with the assistance of the Australia Council - and contribute to some understanding of Turkish migrants trying to establish themselves in Australia.

The theme of ethnic groups in Australia has not been explored very much in the Australian features of the '70s. Tom Cowan made Promised Woman, a look at a bride brought out from Greece and then rejected by her fiance and having to cope in Sydney. Caddie and Cathy's Child, both directed by Donald Crombie,
focus on Greek migrants as does Paul Cox's Kostas. There are many worthwhile contemporary stories to be filmed in the light of Australia's multicultural and multinational situation.

These films are beginner's work - but as such show a great deal of sophistication and knowledge of film-making. At times they are wordy, at times they move to the merely melodramatic. At times there is too much contrivance. A Handful of Dust, though short, makes more immediate impact because of the moving performance by Vedat Cevikoz as a dignified and victimised middle-aged Turkish woman. The two men at the centre of The Golden Cage, while sympathetic, do not elicit the same kind of audience response.

Kyululu had the assistance of a number of people who were to make their mark in the resurgent Australian film industry - Esben Storm and Richard Moir helped with A Handful of Dust; Russell Boyd photographed The Golden Cage and Philip Noyce was assistant director. These films illustrate the experimental films of the '70s which had value in themselves but which developed into a group of feature films of small budget but serious intention.

1. The continued work of the writer-director? The development from A Handful of Dust? Filming in 1975 and the precedents in the industry in Australia by then? Russell Boyd's colour photography? The musical score - blend of eastern and western music?

2. The film's contrasting Sydney and Istanbul, Australia and Turkey? The devices of editing for intercutting? The devices of memories and evocations of Turkey? The emphasis on distance between the two worlds? The contrasts of style of the two cultures - especially with the picture of St. Mary's Cathedral, Sydney, and the mosques of Istanbul and the overlay of sound contrasting the two cultures? The differences in manner, dancing, the sounds of the cities, food - e.g. the men eating meat pies during the lunch hour in Sydney? The importance of the visual impact of the detail? The impact of the range of music and sounds? The flashback techniques for indicating themes as well as the feelings and insights of the characters?

3. How well did the film focus on the problems of migrants? Dreams, money, background in the old country, family ties and expectations, pressures, customs and the translating of customs to Australia, work, accommodation, friendships, loneliness, interaction with Australians?

4. The insight into the migrants' lifestyle, attitudes, hopes, fears? How persuasive was the portraying of pressures on the two men and their contrasting reactions? How well did the film present the two men as the focus of the themes? What they had in common? Differences?

5. The pace of the film and its frequently being drawn out, the final rushing of plot material? The quality and style of the moralising?

6. The initial focus on the two men? Their different personalities? Their lives intertwined? Mutual dependence? The contrast of their response. attitudes towards achievement and dreams? Living, dying? What was the audience left with after meting these two men?

7. Murat and his hopes in Australia, his memories of Turkey and the girl in Turkey? His visiting again for his sister's wedding and fulfilling of the traditions? His work in Australia, the building up to buying the truck? The outing with the prostitute yet his memories of the past? His relationship with Ayhan, lending him money, listening to him? The reconstructing of their arrival in Australia - airport, the hotel in Darlinghurst, card-playing, lavatory work, money obligations? Murat's establishing himself? His loneliness but a sense of direction? His response to Ayhan's throwing himself in the harbour? His finally having to claim Ayhan's body? The possibility of his making a success of his life?

8. Ayhan and his memories of his arrival, and his later helping the newly arrived Turks when seeing Murat off at the airport, the hotel and its memories, work in the lavatories, his work in the restaurant, the attraction towards Sarah and his advances, receiving the butts of Sarah's escort, the talks with the Vietnamese pianist, his seeking advice from Murat and money from him, his moods, depressions, being rescued from the harbour, Sarah and her phone number, the visit, the tentative approach, the liaison, dream of marriage and his letter home, the pressures from family for her to become a Muslim, the visit to St. Mary's Cathedral, to the drug party, the continued liaison but the estrangement, his brutality towards Sarah, her leaving, his discovering that she was pregnant, her family bashing him, his drinking and his wandering up to the rooftops during the camera session, his falling and the final glimpse of him lying on the slab dead?

9. How typical were these two men of the ordinary migrant? Their not being special but their having their own needs, ambitions and dreams? Abilities to cope? Memories, depression, hopes?


10. Sarah and the introduction to her at the restaurant, her illness, Ayhan's infatuation, her visits with the mocking businessman, giving her phone number, the visit and the talk, the sexual liaison, her attraction towards a Turkish man, the possibility of her living in Istanbul, the visit to the cathedral, the clash in the bedroom and her leaving? What they had in common, what was so different? The differences of religion, the status and expectations of Australian women and freedom? Her standing by when he was bashed? Her having her child? The film's comment on the Australian's reaction to the Turkish migrant?

11. The detail of Turkish customs, marriage, sending money home? The visual contrast between Sydney and Istanbul - water, bridges, buildings, mosques and cathedrals, people and crowds, families? The new buildings of Istanbul and the apartment blocks similar to those of any city?

12. The picture of Australian working conditions, hospitals, cleaning jobs, work on the harbour, conditions and pay, the loneliness of the migrant during lunch hours? Restaurants?

13. The Vietnamese pianist and his chorus comments, his moralising with Ayhan, especially at the bus stop?

14. The Australian types: the wealthy businessman, the people at the party and the singer, the hostile old lady talking to Ayhan about Sarah, Sarah's brutal father and brothers?

15. The value of this kind of film for insight into the problems as well as emotional response to them?

GINGER MEGGS

Australia, 1982, 100 minutes, Colour.
Paul Daniel, Gary Mc Donald, Ross Higgins, Gwen Plumb, Harold Hopkins, John Wood, Hugh Keays- Byrne, Terry Camilleri, John Clayton, Candy Raymond.
Directed by Jonathan Dawson.

Ginger Meggs is an entertaining film version of Jim Banks' cartoon character and his adventures. The film is very much geared to the young audience - with a touch of nostalgia for the parents. The film can be compared with producer John Sexton's version of Syd Nichols' Fatty Finn.

The film is set in the '40s/'50s atmosphere and there is an odd blend of realism and caricature in the portrayal of the characters. Garry Mc Donald has the central role as Gingers father. Drew Forsyth exaggerates as Tiger Kelly. Paul Daniel is effective as Ginger - though not particularly like the cartoon character. The film has a strange musical score - anachronistic for the period. It seem superfluous and far too contemporary. Filmed on location in Bowral and Moss Vale, the film has a gallery of Australian actors and actresses in supporting roles.

1. An entertaining children's film? Style, characters, situations? The background of the comic strip and its appeal?

2. Ginger as a larrikin? His relationship with Tiger Kelly, Minnie, his friends? Getting into trouble with his parents? Humorous situations? Observation on the Australian family, growing up in a country town in the '40s, '50s? A period piece of Australiana?

3. The adaptation of the comic strip to three-dimensional characters? The effectiveness of actors portraying comic strip roles? Characters or caricatures? Similarity to the originals or not? Audiences allowing for the dramatisation of a comic strip?

4. Audience interest in and identification with the period? Use of Bowral, Moss Vale locations? Streets, shops, houses, school? The circus? A real world? A nostalgic memory, fantasy world?

5. Colour photography and the use of strong colours? The detail of the way of life of the times - advertisements, shop goods, radio etc.? The contribution of the songs and the music? The more contemporary style transposed to decades earlier? The lyrics?

6. Ginger as attractive boy hero? The larrikin hero, tough but nice, love for his mother and father yet getting into trouble, being sent to his room? His love for Minnie? His friends in the gang? Rivalry with Coogan? The scrapes with Tiger Kelly? Fights, gallantry, heroics? His age, boys in the audience identifying with him and his style?

7. The Meggses: Ginger getting into scrapes, Mr. Meggs telling Ginge about his boxing, the quiz show and his winning the radio, the present for his mother? The monkey as a pet, losing it, searching for it? His missing his meals? His mother's tears and urging his father to discipline him, the discipline - and their relenting? Their plans for him? Anger? His running away from home? Coming back? The fishing and saving face for his father? The lights? The play and his rehearsal, the encounter with the circus, his final performance? His parents' reaction? Parents as types?

8. Ginger and his parents and the causes of trouble, Minnie and his fighting, the trick by Coogan with the ink over Minnie and her mother, the disguise as girls at the party, the horse, Romeo and Juliet and the rehearsals, the performance? Ben and his friendship, help? The gang? Coogan and the fights - Ginge's revenge with the ice cream? Dirty tricks? The police, Wentworth and the rich family? Tiger Kelly and his tricks? Alex, friendship, Ginger running away? Searching for the monkey? The dog and the monkey? The circus: Captain Hook and his act, the Flying Foxes?

9. The kids in the gang: the bogs, the girls in the school, activities around the town, at school itself? Ginger allegedly telling off the headmaster etc? Minnie as prim heroine? Ben and his friendship, wagging school etc? Alex and his friendship, Alex's mother?

10. The adults: the headmaster and his dithering attitudes, Mr. Crackett and the play, the lady conducting the choir and the humour of school choirs? The police, the neighbour and the fishing, the ice cream parlour, the circus? The Flying Foxes and the robbery? The bicycle chase?

11. The set pieces: school. the chasing of the horse and the rescuing of Minnie, the bike rides. Tiger Kelly and the fights and shambles, the party and the uproar, the circus acts, the rehearsals, the play - and John Meggs asleep?

12. A nostalgic piece of Australiana?