GEORDIE/ WEE GEORDIE

UK, 1955, 93 minutes, Colour.
Bill Travers, Alistair Sim, Norah Gorsen, Doris Goddard,
Raymond Huntley, Duncan Macrae.
Directed by Frank Launder.

Geordie is a delightful British comedy full of Scottish humour and charm. Wee Geordie studies a body-building course by correspondence and succeeds so well that he grows up to the size of Bill Travers. He becomes a champion harmer thrower and goes to the Olympic Games in Melbourne, a boy from the heather lost in the huge world. Bill Travers is excellent as Geordie. Much of the humour comes in the Alistair Sim, bumbling, absentminded style and in witty dialogue. The film came out a year before the actual Olympics in Melbourne in 1956.

1. Could you pin-point the reasons why this film had such charm and delight? Why was it popular?

2. Did the film give a picture of real people, in a real Scottish setting?

3. How was the friendship of Geordie and Jean shown in their climbing to the eagle's nest? How did Geordie's shortness really become clear to the audience here and make us feel sorry for him?

4. Were you pleased that Geordie's correspondence course was such a success?

5. Why did Jean taunt Geordie with his exercises? Was he too self-centred with them?

6. How important was the sequence of Geordie's carrying his father after his heart attack? How did it help in the development of the film?

7. Did you enjoy the Laird? Why?

8. What kind of man was Geordie - too simple, too naive, too lost outside his own home territory?

9. Why did he join the Games - competition amongst men, Jean's help?

10. Was Helga merely a cardboard character to help plot complications? Why?

11. How did you feel when Geordie marched at the beginning of the Games in his kilt? Why was he so popular?

12. Was Geordie right in deciding to give up games after the Olympics? Did he deserve the village's ignoring him on his return? Was it right for this film that everything ended happily?

THE GAMES

UK, 1969, 94 minutes, Colour.
Michael Crawford, Ryan O'' Neal, Charles Aznavour, Jeremy Kemp, Stanley Baker, Elaine Taylor. Athol Compton, Kent Smith, Mona Washbourne, June Jago.
Directed by Michael Winner.

The Games is filled with a number of cinema cliches, but nonetheless keeps one's interest and entertains in a fairly undemanding kind of way. Of course, it could have been a much better film, but it settles for the common denominators of entertainment. The film concentrates on four eventual contestants for the Olympic marathon at the Rome games. The American segment is the weakest with Ryan O'Neal as a glamour-boy who is not really very interesting until we discover he has a bad heart condition; the Australian section is a caricature -although the details may seem absurd, the attitudes might not be so far from the truth (but the photography is pleasing); the Czech section is sentimental and plays on the cliche of the individual at the service of the Party. Charles Aznavour is completely sympathetic here and audiences would be on his side. The British section is given the most thorough treatment and is the best as well as the grimmest. Stanley Baker and Michael Crawford do very well as ambitious coach and milkman-champion. Screenplay is by Erich (Love Story) Segal; music is by Francis (Love Story) Lai - and Ryan O' Neal is there (although it all happened before Love Story). Director Michael Winner is only adequate here. He has done much better with The Jokers and I'll Never Forget What's 'is Name.

1. Was this film on the side of the Games or not?

2. Did it show an adequate picture of the people who are involved in the games, their attitudes, training, feelings? Or was this all exaggerated for the sake of a story?

3. The English sequence - how did the film build up a convincing picture of Harry Hayes as games' material? What kind of man was Bill Oliver? what power did he have over Harry? Had he the right to have so much power? Was he unreasonable, cruel, driven to too much ambition to see his dreams fulfilled in Harry? Why did he look so sad and pathetic at the end? What was the message intended?

4. The Czech sequence - why was Pavel asked to run again? Did you find this credible? What kind of a man was he - with his family, his training, his past achievement as 'Iron Man'? Was he humble? Why was he so popular with the crowds? What had he achieved by the end of the film?

5. The American sequence - was this just a ballyhoo picture of Americans or was it realistic enough? What kind of person was Scott? Did he have any personality or depth? Why was he pushed so much by his photographing friend? Was he realistic about his heart condition - or did you find the whole part of the plot contrived? what had he achieved at the end of the race? What did the film show about the use of pep pills (and Pavel persuading him to throw a pill away during the race)?

6. The Australian sequence - was this too exaggerated? Was Sonny a sympathetic character? His promoters? What motivated them? Did they have any human feelings? Was Sonny too subservient to them - 'yes, boss' etc., and coming wherever his promoters wanted him to come in a race? What did you think of the apartheid implications? (Is Australia really as racist as this?). Were you glad when Sonny won? Why did the film have him win the race?

7. What was the film's comment on the Games organisation (financial backing, T.V. coverage) and the running of the race in such heat?

8. Is the marathon too inhuman a race?

GRENDEL, GRENDEL, GRENDEL

Australia, 1981, 94 minutes. Colour.
Voices: Peter Ustinov, Keith Michell, Arthur Dignam, Ed Rosser, Julie Mc Kenna, Ric Stone, Bobby Bright, Ernie Bourne, Barry Hill.
Directed by Alexander Stitt.

Beowulf was a hero, Grindle a monster. What if we looked (lightly and ironically) at humans - a funny lot - and society, war and religion from Grande’s point of view? Animator Alexander Stitt has given us a colourful, entertaining, often wise film with imaginative drawing and an excellent cast of voices headed by Peter Ustinov as Grindle. Julie McKenna? sings the title song attractively. Producer Philip Adams prologues with an illustrated lecture on our capacity and eagerness for facing our monsters. Too heady for children and for many adults, it will be much liked by animation devotees and those (not over-serious) fond of myths and symbols. Alexander Stitt has done a number of commercials, short features and the Life Be In It programme.

1. The cinematic achievement of the film: and its styles, character sketches, music, the creation of a comic world. funny touches of wisdom and ingenuity, the vocal characterisations? (And the prologue photos of Peter Ustinov and the recording the voices)? The delightful identifying of characters and voices at the end?

2. The impact of Philip Adams' prologue - its necessity, interest, creation of a mood for the film? The atmosphere of his entering the room and its being dark, the visual history of monsters. his overall comments on the range of monsters and their place in history? The psyche and the need for monsters? Human fears, projections, nightmares and ability to cope? The various monsters e.g. the Devil, Dracula as symbols of religion and society? Contemporary symbols of a war-torn world, a world of space exploration? Human beings needing monsters - to cope with politics, society, religion?

3. The Beowulf legend in itself and its being the stuff of heroic saga? A memory of man and his heroism, achievement, creation of society? The place of religion, ritual and monsters of evil? The saga poetry and the origins of society?

4. The impact of reversing the saga and presenting a comic monster? The audience laughing and not being afraid? Understanding the plight of monsters - their being humanised and their feats being gently mocked? The view of how sill men look from the monster's point of view? Human pretensions, self-deception and abuses? Wisdom by parody?

5. The comic tone - the initial date with Tuesday, 515 A.D., Somewhere in Scandinavia? The mood of the title song and the lyrics? The animation of the various words? The indication of Grendel’s mother? Grendel as a monster with a mission and his fearful impact on humans~? Peter Ustinov’s urbane charm as Grendel? The humorous drawing of Grendel and of the human beings - especially the voices and provincial English accents? The serious tone of much of the dialogue and the basic philosophising?

6. The portrait of Grendel - appearance and all that was made of this, the lumbering walk, the genial behaviour, acting like a monster and eating human beings - and throwing limbs down the well for Mother? The soliloquies and the talking with Mother and her silence? Grendel’s discovering human beings, their language and behaviour, thinking them silly? The experience of being caught in the tree? In becoming the great Bogey? Superstition, worship, ritual, Grendel on engravings? The importance of the dream and the encounter with the dread dragon - being terrified of the dragon and the dragon making the point about humans being terrified? The dragon and its humorous touch - song and dance routines, comic remarks? Explanation of Grendel's mission and to make men afraid? Grendel trying to put this into practice? Terrifying people but so homely? The dragon and the prophecy of the white wolf? The build-up to the final confrontation? The fight, the loss of the arm? Grendel becoming powerless? The preparation for Grendel's attack by the song of the minstrel boy? (Grendel being rendered armless!) How enjoyable a characterisation of the monster? Presenting the ambiguities of being a monster with the light touch?

7. The portrait of the kingdom and its primitiveness? King Hrothgar and his aides? Their wandering around and hunting? Battles? Mistakes? The king lost in the bear trap and the confrontation with Unferth? His deal with Unferth and having him as his champion? The battles and Unferth's wise advice? The presenting of Unferth as hero? The gradual establishing of society, the marriage with the queen and the bold children? Hunting, survival? The increasing fear of the great Bogey? Religion and ritual? Humorous visual presentations of behaviour in the Dark Ages?

8. The supporting characters: Dung and Wiglaf? Support of the king, lack of perception, comic touches? Unferth and the building up of his heroic status? His help of the king? His infatuation with the queen? The queen and her role in the castle, her fears, her children?

9. The need for songs and the building up of self-importance? The arrival of The Shaper and his minstrel assistant? His influence in the court, the songs and Keith Michell's rendering of them? The magnifying of the king, the kingdom, society, monsters, heroism? The presentation of saga - with gentle parody? The Shaper and his role in the court, his leading vindictive religious ritual? His being poisoned by the king?

10. The boy and his assistance, his singing the song in anticipation of Beowulf's coming? Its light and humorous and satiric touch?

11. The way of life of the king and his assistants - hunting, fighting, family life, the castle manners, religion?

12. The inflating of their fear of the great Bogey? The projection of fears? The need to appease the great Bogey, fight it, liberate themselves from it? The summoning of Beowulf and his dramatic winter arrival? The thugs in his entourage and their behaviour in the castle? Beowulf's dominance, control, self-importance. eying of the queen?

13. The build-up to the climax - Grendel's preparation, the singing of the song.. the fight? The trapping of the guards, Beowulf defeating Grendel? disarming Grendel? Grendel's regrets on what might have been?

14. Grendel taking his place in myth and legend? Beowulf's place? The ironic presentation of the origins, of grand sagas?

15. The conventions and expectations of animation as different from live acting? The possibilities-of being literal and the possibilities of being freer, suggesting and delighting, insights at an angle?

THE GREEN HELMET

UK, 1961, 88 minutes, Black and White.
Bill Travers, Ed Begley, Sidney James, Nancy Walters, Ursula Jeans, Megs Jenkins.
Directed by Michael Forlong.

The Green Helmet is yet another racing car story. The screenplay was written by Jon Cleary, based on one of his novels. It is fairly conventional material but given good treatment by such actors as Bill Travers and Sid James. There is nothing particularly new, the same themes of danger, death, rivalry, career and marriage, promotion of products. Since the film was made, such spectaculars as Grand Prix, Winning and Le Mans have made this film somewhat out-of-date and superfluous.

Other films from Cleary novels have been The Sundowners, You Can't See Around Corners, The High Commissioner and Scobie Malone.

1. An entertaining racing car film? As a product of the early sixties? Comparison with the later spectacular films of the 60s and 70s?

2. How conventional was the film - fraternal rivalry, the unknown designer's car, tyres, losses of nerve, fatal crashes, final win, romance? Were these presented in the conventional way - or better than average? Why the appeal of the racing car film to wide audiences? The car and its speed and glamour?

3. Black and white photography - appropriate for the film? The authentic locations especially of the race tracks? The special photography with the camera on the speeding cars? Special effects with the various crashes?

4. How credible was the plot in terms of realism, in terms of the conventions? The Rafferty family as a racing family? The background of Greg's father's death, his mother's grief, her extracting a promise from her sons that only one would race at a time? The encounter with the Americans, the testing out of the tyres? Ritchie and his background in making cars? The preparations for the race, difficulties, death, final triumph? Why does this always appeal to audiences?

5. The focus on Greg Rafferty, his skill as a driver, his smashes and his nerve? His interest in working with Bartell? His falling in love with Dianne? His criticism of Bartell's tyres and Bartell's reaction? The bond with Ritchie and the preparation of the cars? The humane touches, especially in contact with Ritchie and his wife? His response to his mother and her pressures for only one to race at a time? The rivalry with his brother Taz? His being upset with Taz’s reaction? The retracing of his father's final route and his grave? The irony of Ritchie's death and its effect on him? His final decisions as regards the race, Dianne, leaving his career?

6. The presentation of Mrs. Rafferty as the grieving widow, the elegant lady in England, her religious motivation, her love for her sons, her meeting the Bartells, her accepting the inevitable?

7. The presentation of the Bartells - Mr. Bartell as the typical American businessman, his hopes, his designs for breaking into the tyre market? His high-pressurised salesmanship, gruff manner? His love for his daughter, her failing in love with Greg? The conventional romance within the racing situation?

8. The depicting of the supporting characters - Taz and his resentment and rivalry, his final reconciliation with Greg? The other drivers, especially Zaraga and his death? Ritchie with the humane touch - the Australian background - and his skill with cars, the pathos of his death? Kitty and her support of Ritchie, her fear of injury, the news of his death? The importance of introducing Jack Brabham for some authenticity?

9. The racing sequences and their vivid presentation and audience response to these?

10. The traditional values incorporated into the racing car drama - heroism, romance, adventure and excitement, glamour, competitiveness, the desire to win? How well did the film present these and give themes for reflection?

THE GREAT MacARTHY

Australia, 1975, 100 minutes, Colour.
John Jarratt, Judy Morris, Kate Fitzpatrick, Sandra McGregor?, Barry Humphries.
Directed by David Baker.

The Great MacArthy: What will non-Victorians make of this football-worship comedy? In fact, what will Victorians make of it? It begins like an Aussie Monty Python sketch, veers into the lavatory and corny overacting, shows us the humorous and ugly side of the Victorian Football League, its patrons, its TV commentators and TV commercials and, by the end, somehow or other is in a local version of Fellini psychological liberation combined with the enigmatic ending of 'Blow Up'. It is a bit hard to sit through with such mixture of styles and acting. Judy Morris and Barry Humphries are excellent and John Jarratt, is a kind of innocent abroad in a rather unlikeable Melbourne.

1. How enjoyable and interesting a film? How successful? The film was not a critical or box-office success. Why? Themes? Too local? Styles? The focus on the title on Macarthy himself and his greatness? The original novel was A Salute to the Great Macarthy. What kind of salute was this? The film looked conscious of its style; comment on the use of colour, musical themes, atmosphere of realism, Australianism, documentary styles, especially for the football sequences, the transition to fantasy? The editing to blend the various styles?

2. The impact on Victorians? Humorous, reflection of the way of life, critique? The film for non-Victorians and their understanding? Was the film too localised? Or did it transcend its local limitations?

3. The focus on the themes of Australian Rules; as a sport, as a business, the men involved, sportsmen, businessmen? The long tradition of Australian Rules in Victoria? Could the audience universalise these sports and business themes for all sports or countries?

4. How important were the themes of society, greed? The aims of the film presenting a story, character, critique? Macarthy as a symbol of this kind of world? The tone of the pre-credit sequence with its liveliness, style, humour? The establishing of Kyneton and the bush? The importance of football and football playing? The types who play it? Status? The suddenness of the kidnap? The balloon as an apparition? The celestial overtones with the flashing lights? The personalities of the kidnappers and their style? The promise in this pre-credits sequence and its fulfilment?

5. How attractive a young man was Macarthy himself? His strengths of character, weaknesses? As a young man from the country being introduced to the city? Being kidnapped? His attitude to the VFL? His involvement in football, love of the game, training? Teamwork? His interaction with the other members in the team? His study? The personalities of the coaches, the business men and the contrast with him? How did he stand out as the innocent in the city?

6. How did Macarthy change during his stay in the city? What were the main factors in the change? City life and sophistication, complications? Football? His being manipulated? Study and the involvement with Miss Russell? What type of woman was she? Study, sexuality? The humour and satire in the sex scenes?

7. The contrast with Vera as a type, her response to Macarthy, eg. the drive-in sequence? The contrast with Andrea and her society background? Attitudes to sexuality?

8. Comment on the film's portrayal of business men and types? Colonel Boyle-Miller? and his home, attitudes, position and status? Attitude towards Macarthy? Comment on the 'sex-romp' sequences and their appropriateness to the film? Comic aspects?

9. The presentation of sport, goals of sport, mystique, participation, audience hysteria? The competitiveness of sport, the skill? The uglier side of sport? How well did the film portray the matches, the cinematic technique used to communicate the game? Television influence? How comprehensible were the matches for the audience?
10. The build-up to the ending? Macarthy in a fantasy world? Withdrawing from reality? The comic-book overtones, the existential parable of overtones? Macarthy alienated and wandering? An appropriate ending for this salute to him? His decline and disillusionment? The corruption of innocence?

11. The quality of the Australian jokes, the butt of Australian jokes, the attacks? How much valuable Australian self-understanding through comic modes?

GREEKS BEARING GIFTS

UK, 1989, 105 minutes, Colour.
John Thaw, Kevin Whateley.
Directed by Adrian Shergold.

Greeks Bearing Gifts is an entertaining Inspector Morse murder mystery. It has an exotic setting, not only Oxford and its Greek Restaurants, but the background of classic investigations and the reconstruction of ancient Greek Triremes - as well as hustling businessmen wanting to bring one to England for a theme park. There are the usual complications, mixed motivations, wrong suspects. The film evokes the high table at an Oxford college, the inward looking life of the Dons, the gossip and suspicions. It also focuses on women advising people about their problems on the media(A theme in other Inspector Morse stories). Lewis and Morse work together well and the film comes to a dramatic-climax. An efficient and entertaining contribution to the series.

1. The popularity of the long-running series? Television movies? With style? The popularity of Morse and his personality, enigmatic and mannered style? The personality of Lewis? Their relationship? The solving of the crimes? Intricacy of the plot? The psychological dimensions, the mystery and clues? Police work and solving the mysteries with their own abilities? The work of Colin Dexter?

2. The Oxford settings, the city and landscapes, the cityscapes, the buildings? Comments about Oxford and Oxford society? The ironies about Oxford and the dons? The university city? Ordinary people? Their interconnections? So much beauty – and so much crime?

3. The quality of the mysteries, character-driven? Sufficient information, sufficient clues? The exploration of character and clues? Greek history and the title? The triremes and the Oxford interest in history?

4. John Thaw as Morse, his personality, the changes over the years, yet remaining the same? The mystery of his name? His crusty manner, the bachelor (but romantic at times)? His own authority – exercised over Lewis – and his reaction to authorities? Promotion or not? The changing of his attitudes towards Lewis, bossing him, patronising him about education and culture? The issue of music? Drinking ale? His car? Quietly at home, at work? With Lewis, understanding the situations and characters, the deductions? His being a good listener – but critical?

5. The contrast with Lewis, the family man, the ordinary policeman, education and lack of education, his being put down by Morse – but enjoying his comeuppance now and again? Music and his ignorance? The first reactions, Lewis being patient? His admiration for Morse, having to do so much leg work, to formulate hypotheses? Working under pressure? Collaborator and partner of Morse?

6. The police authorities in Oxford? The medical examiners – and Morse and his attitude towards the female authorities? Sexist and patronising? Changing?

7. The quality of the film as a crime thriller, a thriller with intelligence and demands on the audience? The dons and their world? Business and the theme park?

8. The introduction to the crime, the credits, the background in Oxford, beyond?

9. The range of personalities, motives? Truth and concealment? Jealousies? Deceits and angers? The academic and religious backgrounds?

THE GIFT HORSE

UK, 1952, 101 minutes, Black and white.
Trevor Howard, Richard Attenborough, Sonny Tufts, James Donald, Joan Rice, Bernard Lee, Dora Bryan, Hugh Williams.
Directed by Compton Bennett.

The Gift Horse is a conventional war story, very popular in the early 50s, the period of such stories as The Cruel Sea and The Wooden Horse. Trevor Howard is generally stiff-upper-lip as the captain whose background includes mistakes and a court martial and who suffers the loss of his son in action. Richard Attenborough is the union leader, working below decks and getting the rights of his fellow sailors. Sonny Tufts is the Yank who wants to join up to be near his girlfriend. James Donald is the Canadian officer who initially clashes with the captain. Bernard Lee is the below-decks sailor with an ear for a good story. The romantic interest is provided by Joan Rice and Dora Bryan. Compton Bennett was a competent director of many dramas in the 40s and 50s in the UK and the screenplay was by William Fairchild, a specialist in this kind of story and in collaboration with William Rose and Hugh Hastings, who also wrote many screenplays during this period.

1. Conventional war story? The spirit of the 40s and England's involvement in the war? The perspective of the early 50s and the assessment and the tribute to the men and women in service?

2. Black and white photography, life on the ship, in the ports of Derry, in London? The musical score?

3. The title, the reference to the ship, its being old, dirty, inefficient? The captain and his improving its status? Its involvement in protecting convoys? Its final mission and its contribution to the defence of England and the attack on France?

4. The characters and their stiff-upper-lip and loyal British behaviour: the captain, widower, scenes with his son, his son's death, stern with the men, wanting orders obeyed, making the ship clean, the listening with justice to the men, to Daniels and his union representation, the clash with Wilson and the court martial, his being given further command, his mistake and the destruction of the ship he was protecting, the officer and the grounding of the ship, his going to his defence, vindication, his mellowing, his drinking with the men, going into action, the final mission and its successful achievement? Daniels and his efficiency, the legal rights, union representative, the discussions with the captain, the brawls, his relationships, his service? Wood and his friendship with Daniel, the telling stories in the bar, the typical man below decks? Yank Flanagan, his joining up, his girlfriend, finding that she was married, his proposing to Glad, the marriage, getting her away from the bombs, the irony of her being killed in Exeter and the baby? The brawls, loyalty? Lieutenant Jennings, Number One, his resentments towards the captain, his efficiency in his work, getting his own command, flirting with June, the bet, the dinner, chatting the women up, meeting June, the romance? Captain Wilson, the clash with Fraser, the court martial, his giving him commissions, defending him? The final mission?

5. The scenes of life on the ship, work, sailing, combat, mistakes, grounding the ship, repairs, leave, the brawls, the men going into action, the final achievement? This film as one of many like this from this period?

GIORNI (DAYS)

Italy, 2002, 80 minutes, Colour.
Thomas Trabacchi, Riccardo Salerno, Davide Bechini, Monica Rametta.
Directed by Laura Muscardin.

Days is a film about an HIV-positive man. It was written by two women, the director as well as Monica Rametta who plays the hero's sister. The film focuses on Claudio, a bank clerk, who has been HIV-positive for many years and continually goes for check-ups to the hospital as well as taking a great deal of medication. He shares a home with Dario. They are to transfer from Rome to Milan. At the same time, he encounters Andrea, a young waiter, and begins an affair with him. Andrea is not concerned about Claudio's condition and is not interested in "safe sex". It means nothing to him and is an expression of his love for Claudio.

This has an effect on Claudio, who begins to clash with Dario, is antagonistic towards his mother, exasperated with his sister who is in and out of relationships. He also gives some of his medicine to Andrea when he gets sick. However, he cannot cope and runs away from everyone. A year later he hears about Andrea's death.

1. Impact of the film? The focus on an HIV-positive man? His situation, his relationships, health, infecting a partner? Inability to cope with the pressures of his situation?

2. The Roman settings? The seaside house? The ordinary life in Italy?

3. The bank, Claudio's work there, with the staff, the transfer, the preparations for Milan?

4. Claudio in himself, his age, experience at the bank, his relationship with Dario and its steadiness, their sharing a home, the ordinariness of life? His chance encounter with Andrea, losing his bank card, the phone call, meeting Andrea by accident at the restaurant? Seeing him, the beginning of the relationship? Dario in Milan? Going with Andrea to the seaside house, the romanticism of the interlude, Andrea's devotion, Claudio's love, moroseness, inability to commit himself? The puzzle about the safe sex?

5. Dario, companion to Claudio, the move, the ordinariness of their relationship, the visits to Milan, his coming to Rome, his exasperation with Claudio and walking out?

6. Andrea, young, his explanation of his family background, the encounters with Claudio, meeting him at the restaurant, the relationship, his decision about safe sex? It not seeming important to him? Running the risk of infection, getting sick, Claudio caring for him, going back to work? Claudio hearing of his death?

7. Laura, her own relationships and family, imposing herself on her brother, staying with him, getting him to go to see their mother? The disastrous dinner and the mother puzzled by her son's lack of communication?

8. The people at the hospital, the medical care, the doctors? Irene and her illness, friendliness with Claudio, the impact of her death?

9. A brief film focusing on characters and issues?

THE GREY ZONE

US, 2001, 104 minutes, Colour.
David Arquette, David Chandler, Harvey Keitel, Alan Cordunner, Steve Buscemi, Mira Sorvino, Natasha Lyonne.
Directed by Tim Blake - Nelson.

The Grey Zone is based on a play by Tim Blake - Nelson. In writing the screenplay, he has opened up his play, although many of the sequences seem full of dialogue acted in an existential British drama style. However, in using Bulgarian locations, he has created an atmosphere of Auschwitz- Birkenau, the huts where the prisoners lived, the factories where the women worked, the crematoriums, the showers and the furnaces? The film is made in a naturalistic style which means that it immerses its audience in the day-to-day life and running of Auschwitz towards the end of 1944.

Tim Blake- Nelson gets good performances from his cast, even from Harvey Keitel with a forced Germanic - English accent? David Arquette, usually in comedies, gives a more serious performance. Mira Sorvino and Natasha Lyonne are almost unrecognisable. Alan Cordunner (Arthur Sullivan in Mike Leigh's Topsy Turvy) portrays the Hungarian doctor who, in order to save his wife and child, works as an expert assistant to Dr Mengele on his medical experiments.

The film is based on a true story, focusing on the groups of Jewish men who actually received the Jewish prisoners from the trains, stripped them, telling them to put their clothes on a recognisable hanger so that the could get them, herding them into the gas showers and then sorting their property as well as putting them in the furnaces. They themselves were offered temporary benefits, especially food and a certain amount of freedom in the camp, and then, after four months, were executed themselves. There were 13 such Kommando groups in Birkenau. This is the story of the twelfth which actually tried an uprising.

One wonders why such a film was made over fifty years from the end of World War II and the end of the camps. It is too grim for many Jewish audiences. Perhaps it is necessary to retell the unbelievable stories of the concentration camp atrocities in each generation.

1. The telling of an Auschwitz - Birkenau story in 2001? For an audience at the beginning of the 21st century? For Jewish audiences, older Jews with memories? For younger and contemporary audiences who do not know the story or have no personal feel? The importance of examining the past to interpret the present?

2. The film based on a play, the strong dialogue from the play, the writer-director opening it out, showing us the details of life in Auschwitz-Birkenau?

3. The locations in Bulgaria, the reconstruction of the camp, the countryside, the factories? The atmospheric score?
4. The title and its perspective, especially for the Kommandos as they worked for the Nazis and shut the doors on their Jewish brothers and sisters? The introduction and information about the Kommandos? The privileges that they gained, food and freedom, survival, yet their eventual deaths? The question of human nature wanting to survive and therefore take on seemingly impossible tasks? Conscience? The film based on the eyewitness testimony of the doctor who assisted Mengele?

5. Hoffmann as the central member of the Kommandos for understanding what they did? His relationship with Max? His seeing the old man whose family were destroyed before him, wheeling the wagons? His attempted suicide? Max smothering him? Calling the doctor? The effect on Hoffmann? His work with the arrivals from the trains, the protesting man, bashing him to death? Taking his watch, his wife screaming? Yet the contrast with wanting to save the girl who had survived the gas chambers? The complexity of his attitudes, the grey zone in his own consciousness?

6. The portrayal of the camp and the details of its daily life and drudgery, the naturalistic settings and camera style? The buildings, going outside, the changing rooms, the furnaces and the showers, the factory where the women worked? The contrast with the officers and laboratories of the doctor?

7. The naturalistic detail of life in Birkenau: the trains, the passengers crowded, arriving, getting ready for the gas chambers, the stripping, the clothes, the men locking the doors, the screams? Sorting the clothes, burning the bodies? Their compensation in freedom and eating well?

8. The portrait of the soldiers, the Nazis, the guards, the interrogation of the women, torture, the executions of the men by shooting, the women being shot as hostages, the woman running to the electrified fence? The exasperation of the officer who didn't get the information about the uprising and the use of the powder?

9. Hoffmann and Max, the big bald man and his role of leadership, Abramowicz and his freedom, clothes and hat, moving around? The different roles of leadership in the group, influences? Abramowicz and his information about the uprising? The hurried starting of the uprising, the riots, the shooting, the attempts at escape, the explosives?

10. The women in their huts, the bonds, taking the powder from the factory, being tortured but not revealing the truth? The horror of their torture and deaths?

11. The girl who survived, bringing her out, concealing her, Hoffmann and Max trying to do a good thing? Bringing in the doctor?

12. The Commandant and Harvey Keitel's presence and style, command, his incessant drinking, attitudes towards the men, to the doctor? His supervising and prowling? His shooting Abramowicz? Keeping the doctor alive?

13. The doctor, his choices, family, working for Mengele, his skills, his comforts? Going to the smothered man? The men not talking to him? Helping to revive the girl? Giving the commandant the information about the uprising, surviving, watching the executions of the men and the girl running down the road?

14. The uprising and its futility, the deaths? The surviving men lying of the ground, Hoffmann and Max talking, bonded together in death? The girl watching, running out to the gate in freedom, her being shot?

15. The impact of the Holocaust on film, its reality and effect? Perceived by later generations? That it never happen again? Themes of guilt? Understanding?

GOSFORD PARK

UK, 2001, 127 minutes, Colour.
Kristin Scott Thomas, Clive Owen, Ryan Philippe, Derek Jacobi, Maggie Smith, Alan Bates, Emily Watson, Helen Mirren, Eileen Atkins, Stephen Fry, Jeremy Northam, Laurence Fox, Kelly MacdDonald?, Richard E. Grant, Bob Balaban, Camilla Rutherford, Sophie Thomson.
Directed by Robert Altman.

This is a very elegant entertainment. For more than 30 years, American director, Robert Altman, has made a succession of impressive films, M*A*S*H, Mc Cabe and Mrs Miller, A Wedding, The Player, Short Cuts and, for me, his masterpiece, Nashville. Altman takes on projects that have a broad scope with large casts and skilfully interweaves many plotlines into a seamless whole. We usually feel that we have been immersed in the life of a range of characters and a new world has been opened up to us.

Altman has now made his first British film. He has chosen a weekend in one of the stately mansions of England, November, 1932 as his setting. He has been well served by actor-writer, Julian Fellowes, in a screenplay that is wittily satiric as well as intriguingly intricate. The large cast was also encouraged to improvise as they developed their characters.

The first years of the 1930s was a period of contradictions in England. The Depression was in its early phase but the upper classes were hanging on to their privileges despite often being forced to survive on allowances from wealthy relatives or marrying into the industrial class. They took for granted that they should be waited on and pampered by a retinue of servants. It was the final decade of elaborate 'Upstairs-Downstairs' living - brought vividly to the small screen in the series of the same name as well as in the film, The Remains of the Day.

Altman brings an egalitarian perspective on as well as a sardonic treatment of his aristocrats. He invites us to observe the goings on from the point of view of the servants who are in every scene assisting or working and gossiping below stairs. Not that there is not a great deal of hierarchical status and snobbery there as well as to who runs household or kitchen with strict demarcations. It is a slightly morbid experience for us to watch the class distinctions of seventy years ago. We find it both fascinating and repellent.

Gosford Park also pays homage to the murder mysteries of the period. One thinks of Agatha Christie. However, Altman correctly observes that this is not so much a 'whodunnit' as a 'that it was done'. There is a minimum of detection and no denouement where the cast gathers and the killer is revealed. Rather, we have to observe the solution for ourselves. Stephen Fry's rather fatuous inspector is a parody of the sleuths of the time.

What is special is the ensemble of British actors that Altman has assembled to play upstairs and downstairs. There are over twenty principal roles. This makes it hard to comment on all the performances. We will all have our favourites. Some who stood out for me were Kelly Mc Donald as the young Scots maid through whose eyes we see the action and judge the characters, Maggie Smith exquisitely biting as the snobbish Lady Constance, Emily Watson as the chief maid, Helen Mirren as Mrs Wilson who runs the household and Michael Gambon as the arrogant and murderable Sir William.

Gosford Park is a film to savour in its words, its images and its performances.

1. An entertaining comedy of manners? The background of
upstairs/downstairs traditions in British society? The tradition of the mansion in the country with the assembly of guests and the Agatha Christie-like murder mystery? Audience interest in this period of British history, the '30s?

2. The work of Robert Altmann, his style, setting a group in a particular setting, their not being there entirely of their own will, seeing what happens, the interactions? The personal interactions, social, clashes - even violence and death?

3. Julian Fellowes and his aristocratic background, being commissioned by Robert Altmann to write the screenplay? The combination of Englishman and American in their perceptions of this world? Immersing the audience in this world, offering a critique? The point of view of the screenplay from downstairs? The decision to have servants present in every scene, observing, making a comment, offering some kind of critique of what was happening? The servants critical of upstairs, yet depending on the aristocracy for their livelihood? Their strong hierarchy below stairs, mirroring the aristocrats, the importance of losing their personal names and being known by their masters' and mistresses' titles? Memories of a vanished world?

4. The 1932 setting: the mansion in the country, the family, the shooting party, the assembly of guests? The presentation of the way of life, the influence of World War One and its aftermath, inherited wealth, new wealth from factories and business? Aristocrats clinging to the past, expectations of jobs, memories of empire? The reality of the Depression and its losses? Aristocrats on allowances and dependence on the newly-rich? The traditions of service, the aristocrats' presumptions, the servants' presumptions in continuing in work that their parents did? The reasons for this dichotomy in society? The passing of the '30s, the modern era, the coming of World War Two and the shattering of this way of life?

5. The wealthy and their portrait: the opening in the rain, Mary and her having to open Lady Constance's thermos while in the downpour, Constance referring to 'breaking in the servants', her saying that she had no snobbish bone in her body - but the range of snobbery within the guests? Their rooms, clothes, their whims for washing and ironing clothes and then changing their minds, the preoccupation with food and drink? The importance of status of having servants (and the Nesbitts not having one)? Their being pampered, gossiping among themselves, gossiping with the servants? Likes and dislikes? Disdain? Dependence on rich relations? Meals and decorum, the ladies leaving the gentlemen? The protocols of the shooting party, the meal in the outdoors? Adjourning to the library, playing bridge, listening to Ivor Novello's songs? Sexual encounters and sexual liaisons? Their expectations of their way of life?

6. The contrast with the servants, their status, comparative poverty, yet their security with their masters, the security in the rituals? The details of work below stairs, ironing, washing, shoe-polishing, cooking, menus, clothes and dress? Their attachment to their work and to their employers?

7. Ivor Novello as the only actual character in the film? His ordinary background, the theatre and film? Lady Constance and her reference to flops? His comment that he made his living out of impersonating the aristocracy? Amusing, an observer, the range of his songs, the medley and the disdain, especially by Constance? Yet the servants wanting to listen and coming upstairs to enjoy the songs? Mary and her idol-worship of him?

8. The American as out of place in this context, brought with permission, brought by Novello? The producer, wanting to understand the English, puzzled by their manners and attitudes? The discussions about the movies, producing Charlie Chan? Their comment that most of them would not see the film? His homosexual relationship with Henry? Using Henry for observing upstairs and downstairs? His being on the phone all the time, doing the deals, the American way contrasted with British reserve?

9. Henry Denton, the Scot with the odd accent, his aloof manner, wandering around downstairs, observing, learning the rubrics of the servants? His relationship with the producer, the homosexual liaison? Yet his aggression towards Mary and her rejection of him? Lady Sylvia, his being a gigolo, coming with the milk? His later spurning her? The reaction when it was revealed that he was an actor, upstairs and downstairs spurning him, yet his being able to move freely still and observe? The audience observing through him?

10. Sir William and his manner, roughness? His relationship with the maid? His brusque manner, with the dog and petting it, the food? Constance and her allowance? The brittle marriage to Sylvia, his daughter? The relatives, the background of World War One and his not being involved, his money? The shooting and his not being good at it, his injury? The callousness of his background, the truth about the factories, the women and the children? His death? Sylvia and the cutting of cards with her sister as to who was to be his wife, her acceptance of wealth, her loose relationship with her daughter, her sisters, Henry and the sexual liaison, callous after her husband's death? The aftermath and seeing the guests off?

11. The military man and his wife, snobbish attitudes, his performance in the war, a shooter, attitudes and behaviour? His relationship with his wife, the relationship with Sir William, with Sylvia?

12. Tony as the up and coming young man, his place in the household, his wife and relationship? His desperately wanting the business deal in the Sudan? The contempt of Sir William? Humiliating him at dinner? The failure and the exasperation - and his potential for killing Sir William?

13. The Nesbitts, Mabel as wealthy, her husband marrying her, having no money, his brutality towards his wife, humiliating her in public, the servants observing the humiliation in the room, his constant comment on her manners, her dress? Not having a servant? His blackmailing Sir William's daughter and putting the pressure on her? Offering to mediate for the Sudan job? Callous? His wife, background, humiliated, listening to Novello, her final exasperation with her husband?

14. The younger generation, Rupert coming and wanting to marry Sir William's daughter, his hopes, bringing his friend, their coming late, playing billiards, allowed to come in to the meal? The friend and the sex with the maids downstairs? A future and the future generations?

15. Lady Constance and her relationship with Sir William and Sylvia? Dependent on the allowance, trying to bring it up at the meal table? Her being snubbed? Gossiping with Mary, trying to break her in, her snobbery and callous attitudes, to the American, to Ivor Novello's singing? Her comment on food, the bought marmalade? Her relationship with Mary, not wanting to testify in the murder and the truth about her dependency coming out?

16. Mary and her perspective, audience identifying with her? The opening humiliation in the rain, her mistakes in the corridors, Constance wanting gossip, her friendship with the head maid, the wise advice, sharing the friendship? Her interest in Parkes, his kissing her, her working out the truth? Wanting to help, cover-up? The discussions with Mrs Wilson and Mrs Croft?

17. Life below stairs and its detail, the interactions of the servants? Altmann keeping this world in continual motion except when they were hierarchically seated at the table?

18. Mrs Wilson and her running the household, her hierarchical attitude, her efficiency and knowledge, the contrast with Mrs Croft? Her interactions, seeing the photo, the truth about Parkes, her final disdain of Sir William, killing him? Her weeping, losing her son, the bond with Mrs Croft? Sisters with similar but different histories? Mrs Croft and her running the kitchen, making do with the menus?

19. Parkes, aloof, choosing to be in service, his being his own man, his mother and the story about the orphanage? At the hunt? Reading, attracted to Mary, kissing her? The truth about the killing?

20. The butler and his running of the household upstairs, prim, severe? The maid and her infatuation with him? His appreciation of Ivor Novello? His drinking, the interrogation, the story of his conscientious objection? Sir William's servant, his place in the household, devotion to Sir William, even after his death?

21. The head maid, her knowledge of the household, sharing the room with Mary, helping her and discussing things with her? Work, her relationship with Sir William? The insult at the table, her faux pas in naming him? Her being humiliated, sacked? Her leaving the household - and getting the lift to London and the possibilities of the movies?

22. The women servants, below stairs, their work, gossip, sexual encounters? The range of menservants and their observations, interactions, gossip?

23. The death in the library, Altmann not treating it as the focus of attention, his reliance on audience knowledge of this kind of story? Stephen Fry as the inspector and the spoof of the Poirot-style self-assurance? The assistant and the interrogations? The range of questions, the inspector missing all the clues? The reaction of the aristocrats to being questioned?

24. The solution to the murder mystery, the police failure, Mary understanding what happened? The departures, the effect of the weekend on the guests, the servants - and the audience?