STEALING HEAVEN

UK, 1988, 115 minutes, Colour.
Derek de Lint, Kim Thomson, Denholm Elliot, Kenneth Cranham, Patsy Byrne, Rachel Kempson, Angela Pleasence, Bernard Hepton.
Directed by Clive Donner.

Stealing Heaven is a romantic mediaeval drama which focuses on the relationship between the celebrated theologian Peter Abelard and his love for Eloise. The story has a long tradition, is the stuff of romantic stories - including those told about the couple who are buried in the Pere Lachaise cemetery in Paris. However, the history of the Catholic church has taken a dimmer view of Abelard, his theological innovations, his teaching method, his relationship with Eloise. St. Bernard was a foe of Abelard.

This film shows Paris in the 11th. century, a small city with its university and theological courses, Abelard as an innovative teacher who did not lecture but rather used the Socratic questioning method for learning. Supported by the Archbishop of Paris but with the hostility of the chancellor of the university, Abelard was a lay philosopher who was expected to lead a celibate life. He meets the well-educated Eloise as he lives at her uncle's house. They fall in love.

Eloise is the strong-willed character, a questioning person, not feeling bound to the straight and rigid legislation of the church. Abelard, however, is more traditional, repents of the relationship, and his eventual castration on the behest of E1oise's uncle, is seen as God's justice for him. He decides that they both must enter religious orders. The film shows the subsequent years as each of them lives out their life, still in love with each other, but dedicated to their work.

The film has a great deal to say about the history of the church, the questions of law and relationships, freedom of intellectual pursuit, authority in the church. The film is written with a 20th. century perspective, especially that of the '70s and '80s.

Direction is by Clive Donner who directed the mediaeval epic Alfred the Great. (He also directed very many comedies, spoofs as well as adaptations of Dickens' novels.)

1. The mediaeval world, characters, situations and issues? The history of the Catholic church? The perspective of the later 20th century?

2. The use of Yugoslav locations, the countryside, the abbeys and convents, the re-creation of the mediaeval city, dwellings and streets? The attention of set design, costumes? An authentic feel? The score -and the use of sacred melodies?

3. Audience knowledge of Abelard and Eloise? Their history? The church, regulations and traditions? The teaching of theology? The title of the film and its relationship to their experiences? Beliefs?

4. The Catholic church, hierarchy, the sense of the sacred, the secular? The Archbishop of Paris and his rule, church leadership, the mayor of the city? The university and its chancellor? The diocesan chapter and the canons? Church law, the sacraments? Liturgy? Study, theology? Celibacy? Religious life? Sin, guilt, confession, repentance? God's justice?

5. The opening and Eloise dying: the convent and its ritual, her calling for the crucifix, throwing it, the feather and her phrase: 'I understand'?

6. Eloise as strong and wilful, with Sister Cecilia, the questions about God's genitals? Her relationship with the abbess and the abbess's support of her? The archbishop and their travel, the discussion about the Gadarene swine? Her arrival and meeting her uncle, the delight in his house, in Paris? The background of her study? Attitude towards her uncle's business with the relics? Friendship with the archbishop? The accident in the street and the boy dying, her attacking Abelard for taking the money, her anger? Her apology? Her attraction towards him? The range of suitors, her uncle arranging marriages? The picnic, the hunter, pleading with her uncle to cancel the contract? Fulbert relenting? The dinner with the archbishop, her serving, her anger, and going to her room? Abelard following? His living at their home? The archbishop allowing him to tutor her? The outings? the discussions? Christmas, the relationship? Love and passion? Riding the horses, at the river, the feather of the dove? Their meetings? His repentance? Their religious discussions, Eloise as sceptic? Jourdain and his devotion? The secrecy of their relationship? The maid and her observation? Blackmailing Eloise for the dress? Fulbert discovering the truth? Her pregnancy? Escaping from the city, going to Abelard's sister's? The birth of the baby, the decision to call him Astralabe and the path to the stars? Abelard's absence, their coming together? The news of his castration, her going to Paris? Her cursing her uncle? The discussion about the future, going to Abelard, his holding to tradition, seeing God's punishment and justice? Her fighting it, having to accept? Present at his vows? Her going to the convent, meeting Sister Cecelia as abbess? Taking the feather and putting it in the crucifix? Her life, her vigorous work, Abelard's visits? Suger ousting the nuns and their travelling through the snow? The new building, growing old? Abelard's visit, the meeting with her son? Her death and the realisation of the meaning of her life? A strong portrait of an attractive and intelligent woman, a passionate woman? Free, attitudes towards God, faith, the church?

7. Abelard as a strong character, his physical presence and bearing, his lectures, the exhilaration and exuberance, the questions and the dialogue with the students? Living with the students, the singing, drinking? His explanation of his commitment and his celibacy? The students hiring the prostitute and her staying the night? His not consenting? The chancellor and his jealousy? The archbishop and his support? The arrest? The re-action of the students? His meeting Eloise in the street? Giving her the answer about the Gadarene swine? His decision to go and live in Fulbert's house, the attraction of Eloise? His tutoring her, their discussions, the dinner and his following her, falling in love? The sexual encounter? His sense of sin? Going to the archbishop? Going to the monk and not receiving absolution? Their further meetings, encounters, riding, the feather of the dove? The truth emerging? Confrontation with Fulbert? His continuing his lectures? His sense of divine justice, taking Eloise and escaping? His return, reinstatement? The violence of the castration? A shell of a man, Eloise's coming, his bitterness and sadness? His decision to become a monk? Not persuading Eloise otherwise? The archbishop and his vows? Eloise and the convent, the visits, the building, Suger transferring him to Brittany? Old age, the visit with his son? The finale and the custom of the kiss? Buried together?

8. Fulbert as the Canon of Paris, his business in relics, a merchant, his reputation? Delight in having the archbishop to dinner? His regard for his niece (and suggestions of incestuous desire)? Her suitors? Letting Abelard tutor her? His anger at the truth, the archbishop warning him, hiring the castrators, the archbishop ousting him from Paris, the bitterness of Eloise's cursing him?

9. The archbishop as a humanist, the contrast with the chancellor? His regard for Abelard? Delight with Eloise? His warnings against Fulbert, ousting him? His acting as the Mayor of Paris, the decision for reinstating Abelard to bring money and commerce to the city? His confessing Abelard? The meet- of Chapter and its solemnity? Receiving Abelard's vows?

10. The chancellor and the controversy, his jealousy of Abelard, his work with the archbishop, the curfews in the city? His victimising Abelard and Eloise? His becoming a bishop and appointing Abelard as Abbott?

11. Jourdain and his friendship, faithfulness to Abelard and Eloise, his devotion to her? Helping her to safety? The proposal of marriage and his being her servant? Having her son in his service?

12. The sketch of the students, their attitudes, the theological arguments, the intensity of their interest in questions of Heaven and Hell, guilt and responsibility, sin? The practical jokes, paying for the prostitute for the night? Helping Abelard and Eloise escape?

13. The maid, her observation of the situation, her blackmailing Eloise for the dress? Fulbert noticing it and the emergence of the truth? The old nurse and her devotion, helping the pair escape?

14. The background of the development of theology, Abelard's contribution, the hostility of the church authorities the demand of clear doctrine, his encouraging questioning? Eloise and the boldness of her questions, interpreting scripture? The contrast of her perception of the Old Testament God of Vengeance and the New Testament God of Love? The tradition of celibacy for the philosopher? Fidelity to celibacy? Faith, repentance and punishment, atonement? Themes of freedom, love and happiness?

SUPERMAN - THE MOVIE

US, 1978, 143 minutes (151 in 2001 restoration), Colour.
Christopher Reeve, Marlon Brando, Gene Hackman, Susannah York, Margot Kidder, Valerie Perrine, Glenn Ford, Phyllis Thaxter, Jeff East, Jackie Coogan, Mark Mc Clure, Ned Beatty, Trevor Howard, Maria Schell, Terence Stamp, Sarah Douglas, Harry Andrews.
Directed by Richard Donner.

Superman is highly entertaining, but what a mixture of styles - and responses often changing gear - a 50 minute prologue of the 2001 Star Encounters kind, with Marlon Brando declaiming current religious sci-fi themes, then - a homely American interlude for Superman's youth. Reprise Brando/Krypton and Superman is ready for enjoyably heroic action (Gene Hackman and Batmanesque villainy!) and comic-strip derring-do that finally owes much to disaster trends, plus Peter-Pan-like? interludes as Superman and Lois Lane (Christopher Reeve and Margot Kidder suiting the roles well) soar poetically o'er city and clouds. Portentous, adventurous, tongue-in-cheek Geoffrey Unsworth photography, John Williams' score, walk-on stars, spectacular effects.

1. A satisfying entertainment and spectacle? Audience expectations because of publicity, budget? A successful film?

2. Why the appeal of Superman and this kind of film in the late 70's? A thirties hero, the comic strip heroes and their attitudes towards good and evil, the background of science fiction, the religious implications of science fiction? The tongue-in-cheek partly satiric background? The positive approach to values, persons, heroism in the late seventies? How satisfactory is the film Superman as a saviour-figure for attitudes at this time?

3. The importance of the technical aspects of the film and. their contribution? The use of Panavision screen, the richness of colour? The musical score and its background of heroism and triumphalism? The skill of the editing and the pacing? The visual impact of the prologue, the credit sequence and the sense of outer space, the visualizing of Krypton, its destruction? The echoes of visual art, American art traditions? The satiric decor of Luthor's house and palace? The reliance on the disaster trend and the special effects of destruction? The technical effects for Krypton? delightful aspects of the technical achievement? Credibility?

4. Superman as comic strip hero? The popularity of comics? The directness of their presentation, the simplification into basics? Their effect? Comic strip heroes, heroics? Clear lines, identification? The contrast with the long Panavision cinema treatment of a comic strip hero? Similarities to the strips, changes? The effect of the amplification?

5. The interest in heroes at the end of the seventies? The change from anti-heroes? The disillusionment with cover-ups and the drive for honesty, the challenge of good and evil? How well did Superman fit into this atmosphere?

6. The appeal of science fiction, science fantasy? The presentation of a better world, a different world? Comparisons, comparing values? Warning?

7. The moralizing tone of the comic strips? Clear good and evil, clear evil? A picture of the world, the need for the hero to save it, to right wrongs, avenge the oppressed? The moralizing tone of the film - the Krypton sequences, Jor-el and his bequest to his son? Superman not to interfere with the running of the world? His mission to the world? Large scale heroic good, large scale diabolical evil to be confronted? How well did the initial moralizing tone pervade the film? Superman in action?

8. The introduction of the theme of 1938, old-fashioned films, comics, old issues? Nostalgia and memories of delight? The transition to The Daily Planet and then the planet Krypton? The visual sense of space, the passing through space and time? Krypton itself and its position in the universe, the visuals of the planet? The immediate impact of Marlon Brando as Jor-el? His tone, his declamations, his role as judge and prophet? His role in the court and the condemnation of the revolutionaries and their exile? His position with the authorities on the planet? His judgment and then his being disregarded with his warnings?

9. The overtones of God in style and language, God Father, the sending of his Son? The religious echoes of the sending of Christ, the religious echoes of the saving of Moses and the sending of Moses? The presentation of the Krypton court, the issues of revolution and the echoes of Lucifer and his revolution and his language? Struggles of power in Krypton? The court and their condemnation, the appearance of the faces, the villains being thrust down - to reappear again and challenge Jor-el's son?

10. Why did the judges disregard Jor-el's warning? 'Their ov7n arrogance and their destruction? Their command and his obedience? Krypton and the visuals of its destruction - and the special effects of its crystalline shape and the spectacle of its disaster?

11. Jor-el and his wife? The saving of the child? The building of the crib and its visual image of Christ's crib? Moses and the rescue? The heritage of learning that was given by his father and his going through space and learning and absorbing this? The union of father and son - the God-like overtones of this mutual presence?

12. The transition to 1938 and the change of atmosphere of the film? The contrast of the familiar earth and America with Krypton after its destruction? The Kents and their ordinariness, old-fashioned style, driving along? The meteor and its impact? The car and the accident? The finding of the child, the Kents' desire to keep it, the folksy attitude and language and then Superman lifting the car? The introduction of Superman to America? His growing up in the American style o the times? Ball games, elates, rock and roll? The importance of showing him having to work, the kicking of the ball, the running past the train and challenging his peers? His father rebuking him for showing off? The bond between father and son and then Mr Kent dying? His mother's grief, the funeral? The equivalent of Superman's hidden life and growing up before his public life? His decision in the night? The tableau of the farewell to his mother in the fields and the echoes of American art?

13. Superman's mission and learning his identity? The creation of the Krypton image in the Arctic? The ever presence of Jor-el despite his death? The many years of instructing his son and the collage of sound and sights for this instruction of 3uperman and getting him read it? A hidden life before an Epiphany? The Epiphany sequence with Superman dressed ready for his mission?

14. How did the film shift style for New York - the hustle and bustle of the Daily Planet, the seventies, New York and its crowds, the modern style and rush? The editor and his push, Lois and, her work - her articles about the rapist (and her mis-spellings), the photographer? The situation at the Daily Planet for Superman's disguise?

15. Audience response to Clark Kent and his disguise - awkwardness, the many comic sequences, Lois's reaction, the editor's favourable attitude? Lois and her reaction about the job? The antagonism between the two - the basis for her love for Superman?

16. The pacing of the film in New York - the spectacle of the helicopter incident, Superman's rescue and Clark's decision (and the humour about the unsuitable telephone booth?), capturing the thief walking up the wall, the robbers and bringing the boat to the city? Popular reaction, the police, the papers?

17. The bringing of Lois and Superman together after his rescuing her? The humour and tongue-in-cheek interview about Superman and his humanity and powers? The humour of the innuendo? The transition to Peter Pan style and their Superman flying over the city? The lyrical style of this section of the film - the song poem by Lois of Read my Mind? The pace, tone, romance, revealing of Lois's character?

18. The presentation of Luthor as a diabolical villain opposed to Superman, Yet his stupidity? Hi two assistants and his choice of such gullible people to help him? His palace style under New York the mock heroic and trashy style? The policeman and his being killed by the train? Wealth, the pool? Yet his shrewdness in understanding Kryptonite? How to destroy Superman? The theft, changing of the missile ranges and the humour and ease of himself and his assistants in their disguises? His over-confidence? His cleverness in summoning Superman and his arrogant villainy in trying to destroy him? The betrayal of his assistant? The final arrest and his being imprisoned? Gene Hackman's portrayal of this kind of villain - as a match for superman? His diabolical mind and plan for evil?

19. His stupid assistant and the comic Batman style of humour? his glamorous assistant, her help in the plans? Her rescuing Superman and failing in love with him - and all unreachable men? asking him to save her mother?

20. The counterpoint with Lois and. her investigations, the danger with her car, the strong sequence of her dying? rhe humour of Superman's stopping the world and flying around it and time over again? Lois's attitude towards Superman and not realizing he had saved her life? A happy ending for Lois and Superman?

21. The scheme of Luthor for the destruction of the San Andreas fault, the build-up of the rockets, their going off course? The disaster aspects of the earthquake of the fault, the train and Superman holding the bridge together, destruction on the Golden Gate, the destruction of the dam and the rescue of the photographer? The pace and audience identification with Superman and his super-human rescues? The need for such kind of heroism? The quality of this adventure?

22. The tidiness of the ending? The film as a work in itself - yet needing a sequel especially for the Krypton villains? For Lois and Superman? Superman's final wink to the audience and anticipation of a sequel? The overall effect of this kind of popular escapist entertainment with serious undertones?

SHY PEOPLE

US, 1987, 113 minutes, Colour.
Jill Clayburgh, Barbara Hershey, Martha Plimpton, Don Swayze, Pruitt Taylor Vince, Mare Winningham.
Directed by Andrei Konchalovsky.

Shy People is an offbeat drama about an isolated family living in the Louisiana swamps. Barbara Hershey, playing the mother of several sons, won the Best Actress award at the Cannes Film Festival. Jill Clayburgh portrays a fashionable New York journalist for Cosmopolitan, related to the Louisiana family, who goes down to interview them and to write a story. She takes her precocious daughter, Grace, played by Martha Plimpton, to get her away from a lover and from the drug world.

The film contrasts the two classes and styles of living. The portrayal of the sons and the memory of their dead father is quite striking.

Originally written with a European setting by writer-director Andrei Konchalovsky (Maria's Lovers, Runaway Train, Duet for One) with Polanski's co-writer Gerard Brach, the film was transferred to New York and to Louisiana.

It had mixed critical reactions, some fascinated by the characters and the worlds explored, others put off by the strangeness of the whole proceedings.

1. A piece of Americana? European origins and sensibility? interpretation of America, lifestyles, people?

2. The New York opening, the contrast with the bayous of Louisiana? The Sullivans' home and the town? The city and the topless bar? A strange mixture of worlds? The musical score, songs?

3. The title and Ruth's explanation of shy people? People who are hot or cold? And the final quotation from the Book of Revelation?

4. Diana, as a photographer, following Grace and learning about her at school, her lover, the drugs? The discussion about going to Louisiana? The flight? her sophistication, fussiness? Interest in her family? The arrival, hiring the boat? The clash with the poacher? Her experiencing the strangeness of the place, the initial encounter with Ruth? Having to prove herself? The beginnings of communication, hearing the story, sharing the meal, the portrait of Joe Sullivan? Looking at the photo album and puzzle about the effaced character in the photos? Going on to the bayou with Ruth to take photos? Ruth's story, that Joe was alive? Her reaction to Grace, trying to get her to have a sense of responsibility? Helping with the sewing, going to the police, the snake in the boat? Going to the sheriff? To the television shop for Candy? Going to the bar, seeing Ruth in her violence? The return home and Ruth telling the true story of Joe and his cruelty, of saving them from the flood? The crisis, the search for Grace, the boat overturning, the ghostly presence of Joe helping her? The listening to Ruth about her whole life? Leaving? Taking a stance with Grace on the plane, their reconciliation?

5. The portrait of Ruth: initial indifference, the washing, wary, the identity of Diana, her own identity in this family, wanting people who were hot or cold, her hard life? Marrying Joe at 12, the fire, the shooting? His disappearance, visiting him on the bayou? Knowing that he was there? Stopping going? Her home? The place of Joe at the table, his portrait? How he would do things? Her relationship with each of the boys? Tommy and his being put behind the bars? Paulie and his not being quite right? Mark and Candy? Ignoring Michael? Candy and her boredom, pregnant? Ruth's control of the whole household? Waking in the night, sewing Mark's wounds? Going to the sheriff with Diana, picking up the snake in the boat and throwing it out? Seeing the city through her eyes, industry, the song about freedom? Going to the sheriff, lack of satisfaction? Going to the bar to kill Jake? In the bar, the shooting of his hand? Quoting Scripture as she destroyed all the drinks? Her anger and Michael's appearance? The arrest? The journey home (with the TV gospel program)? Her stubbornness, telling Diana the whole story? The crisis and Grace's disappearance, confronting the boys? Telling the truth about Joe, hating him yet his saving them?

6. Grace and her age, school, relationship with her mother, the lover, drugs? Deciding to go, fascinated by the mouth organ player, the crabs in the boat, Jake? her disgust at the place, having to stay, the turtle soup? With each of the boys, the Walkman and lending it to Paulie, to Candy? Freeing Tommy, staying at home while Ruth was away? With the boys, the sex, Mark attempting to rape her, drugs, the flirting with Joe running away, the boat, the waters, lost? Her mother rescuing her? Going away, the drugs in the plane, the clash with her mother, crying, her mother taking a stance? Reconciliation?

7. Mark and his work, the clash with Jake, relationship with Candy, her pregnancy, the fog in the night, the wound, the stitches? At home with Grace, the drugs, the sex magazine, going amok, trying to rape Grace? Paulie and his not being quite right, the two-headed turtle, the Walkman, drugs, plane, his apprehension for Grace? Tommy locked up, getting out, attracted towards Grace, flirting, sex and drugs, urging Grace to run away, telling his mother the truth about Joe? His being beaten? Michael and his absence, running the topless bar, seeing his mother's behaviour, his returning home, smashing the television, the true story about Joe, taking his place?

8. Candy, her presence, bored, wife, pregnant, sitting around, the Walkman, arguing, wanting the television? Ruth's hold on her? Buying the television, watching it? The crisis, the breaking of the set, her puzzle?

9. The glimpse of the city and industry, the cottage from the boat, seeing it from Ruth's eyes - yet her flint-like face?

10. The sheriff, listening? Unable to help? Jake at the bar, his hand being shot?

11. The family reunited, Ruth saying that the boys could be free, Michael returning home, the reconciliation, taking Joe's place? Their future?

12. A portrait of a different group of people? Human nature? The protective mother? The visitors from the city trying to interpret this way of life? Audiences sharing this?

SHADOWLANDS

UK, 1985, 100 minutes, Colour.
Joss Ackland, Claire Bloom, Rupert Baderman, David Waller.
Directed by Norman Stone.

Shadowlands is a beautifully made BBC telemovie (based in Wales) on the life of Anglican scholar, novel writer, religious writer, C.S. Lewis. It focuses on his relationship with his wife, Joy - her death from cancer was the subject of his A Grief Observed. His autobiography was called (with acknowledgement to Wordsworth) Surprised By Joy.

The film re-creates the period of the `30s and '40s. It boasts excellent performances by Joss Ackland as Lewis and Claire Bloom as Joy. David Waller is also effective as Lewis's brother.

This is an intelligent film, a portrait of an intelligent and religious man, hi-s shift from intellectual conviction to heartfelt doubt. and heartfelt certainty in the existence of a loving God. It is also a portrait of love and family.

1. The impact of this BBC telemovie? The intended audience? Impact on audiences?

2. The period, Oxford, Britain in the '40s and '50s? The city, the university campus? Radio in that period? Musical score?

3. The title and images of light and shadow, C.S. Lewis's life and experiences? The Narnia novels?

4. Audience knowledge of and appreciation of C.S. Lewis? How much information? His writings? His religious thought?

5. The introduction to Jack: the dons talking, the common-room and the atmosphere of academic Oxford? His radio career and programmes, rehearsals, topics? Marriage and the banter amongst the dons? Lewis and his scholarship, the novel ('roman'): the rose, plucking the rose and falling in love? His questions of the students and their replies?

6. C.S. Lewis and his creative literature, imagination, children's books? His growth in Christianity, common-sense, reason? Theory and practice? A reserved man, the death of his mother, his brother and the bonds between the two?

7. The significance of the letter from Joy, waiting at tea, the walk and Joy's impact, the pleasing visit, the boys, their starving and Christmas? Advice? The effect on him? The reflections on the experience and his discussions with his brother? His brother's opinion?

8. Joy's return, the divorce? The story, the house, the bond and frankness? The decision to marry? Harry? Formal?

9. Joy's illness, the fall, hospital, the operation? The seriousness of the illness and the truth? Suffering and pain? Moving in and out? Jack and his search? The boys, home, sharing? Religious reflections, on death and heaven? The scream?

10. Lewis and his experience of A Grief Observed? Surprised by Joy? Sadness, the funeral? The words of the clergy? The faith loss? His brother and sharing his grief? Douglas and the books, their weeping together? The walk with David and diving into the water?

11. C.S. Lewis and his relationship with God? The devil? The myths and Jesus? Reason, death and suffering? Cerebral religion and experiential religion?

12. Portrait of a significant English figure? Scholar, creative writer, Christian?

THE SEEDING OF SARAH BURNS

US, 1979, 120 minutes, Colour.
Kay Lenz, Martin Balsam, Cassie Yates, Cliff de Young.
Directed by Sandor Stern.

The Seeding of Sarah Burns is an interesting telemovie focusing on experimentation with fertility and with surrogate motherhood. Since the film was made in the late '70s, the subject became much wore openly discussed. The experimentation and success with in vitro fertilisation made the subject even more topical.

Kay Lenz is attractive in the central role of Sarah Burns who agrees to have the ova implanted in her and to bear another couple's child. Cliff de Young is an engaging hero. Martin Balsam is very good as the doctor.

The film uses the style of American telemovies with the touch of soap opera. However, it does it quite effectively and communicates with the wide television audience.

1. The importance of this kind of telemovie? As dramatising important medical, ethical and moral issues? The emotional response to such dramatisation? As an aid to understanding of the issues?

2. The film and its contemporary tone - thinking itself a bit ahead of time with its focus on experimentation and fertility? The 70s, the 70s style, apartments, music entertainment, art work, hospitals W0

3. The audience understanding of and response to issues of surrogate motherhood? The transplantation into the womb? Moral issues, ethical issues? Developments in science and medicine - corresponding to human capacity for these advances? The possibilities of genetic engineering and fertility? The psychological and emotional realities?

4. The introduction to Sarah, audiences identifying with her? An attractive girl, her style, apartment, friends, relationships, work, the typing pool? Her looking at the information and volunteering for the experiment? Audiences interested in what was to happen to her? Experiencing the pregnancy and its repercussions with her?

5. A strong character, her reading the doctor's report, her interview with him, her offer? His discussion with her and her being accepted? The walk along the beach and the discussion of the issues, the implications? The conditions and the legal repercussions? Her waiting for the wife to become pregnant? The implantation? The joy of pregnancy? The experience of motherhood? Living alone, the encounter with Tim? The outings, the meal, her clash with him, unable to tell him the full truth? The bond between the two, his feeling that he was the father? Her attack on him? Illness and his support? Her wanting to keep the baby? The psychological transformation? Her running away? The hospital clash with the mother of the child? The experience of birth, the love of the child, the realisation that it was not hers? The effect of the pregnancy experience on her? Her future?

6. The doctor and his experiments, his interviewing Sarah, the medical and ethical issues, his discussions with the couple, the wife's medical health and their hope for a child? His care for Sarah? Discussions with Tim? The final clash about whom the baby belonged to? Participation in the birth?

7. The sketch of the couple, their wanting a child, the wife's medical history and inability to carry the child? Their agreement to the surrogate motherhood? Medical and moral issues? Emotional issues? The wife feeling jealous of the pregnant mother? The difficulties? Her final confrontation with Sarah in the hospital?

8. Tim - his girlfriend, the apartment, his work, the girl leaving him, his weeping, supported by Sarah, the outing, the meal, Sarah thinking that he was presuming too much, his love for her, his wanting to be committed? Happiness in the relationship with her, feeling that he was the father? The discussion with her and the doctor telling the truth? His finding Sarah, the severity of his treatment of her and making her face reality? Future prospects?

9. The detail of the experiment, the pregnancy, Sarah's life, Tim's life, the sketch of the married couple and their anticipation of the birth?

10. The role of telemovies to entertain and instruct? Showing scenarios of moral issues? Highlighting the implications? The value of and emotional response to such issues?

SECRET OF MY SUCCESS

US, 1987, 110 minutes, Colour.
Michael J. Fox, Helen Slater, Richard Jordan, Margaret Whitton, John Pankow, Mercedes Ruehl.
Directed by Herbert Ross.

Secret of My Success is a star vehicle for television actor Michael J. Fox - who attempted to move to the big screen with Light of Day and Bright Lights, Big City. Only this film was a commercial success.

It is a variation of the working girl plot (which was a variation on the All About Eve plot). The young ambitious man from Kansas moves to the big city, expects success, initially fails, takes extraordinary initiatives and beats the business people at their own game. He is a mixture of unscrupulousness and sensibility.

The film is a glossy presentation of New York and the business world from director Herbert Ross, best known for a number of musicals and versions of Neil Simon's comedies. Richard Jordan enjoys himself as the weak boss, Margaret Whitten is excellent as his dominating wife, Helen Slater is charming as the executive whiz caught up in business and emotions.

Much of the film is played with the speed and style of French farce, especially the ending with bedroom farce. This gives an amoral tone to the amoral plot -which, of course, has the touch of American moralising. There is a bright musical score and a use of songs with lyrics like 'Walking on Sunshine' to the plot and the hero's development. There is also a lot of sexual imagery and symbolism which also gives a tone to American success in business.

1. A yuppie film? The yuppie ethos? The American dream? Success from rags to riches, from Kansas to New York?

2. The Kansas settings, the cross-cutting to the opening in New York? Use of New York City, the skyline, the buildings? The contrast with the country estate? The importance of editing and timing for the fanciful elements? The use of the score and songs, lyrics 'Walking on Sunshine', 'Secret of
My Success'?

3. The title, the focus on Brantley? On success? The variation on The Sweet Smell of Success and its irony?

4. The Kansas sequences: Brantley at work, his parents, the plan, their warnings? Tickets? His phone call from New York, the robbery in the street and the shootings, his telling his mother it was television?

5. The portrait of Brantley: Michael J. Fox and his presence, size, style, humour? In Kansas, his ambitions? The arrival in New York, the voice over and comments, the failed business? His range of interviews and being the exception? His mother and the letter to his uncle? Going to the firm, story, his uncle seeing him, giving him the job? In the mail room, the boss wanting to be God, his friends? Learning the work, starting to read the memos, getting an understanding of what was going on? His warnings against becoming a 'suit'? Driving Vera home, flattering her, the swim, the sexual encounter? Discovery of who she was? The beginning of the sex farce? His seeing Christie and being infatuated by her? Her memory haunting him? His decision to become Whitfield? Getting the office, his brazen ness in getting into the suit, ordering all the equipment for his office, Jean as secretary? The timing for his change from mail room to office, the holding of the lift, getting caught with his clothes off and pretending to exercise? Going to the movies, his contribution about fund cuts? The encounters with Christie, awkward? Discussions, the espionage for his plans? His persuading Christie over a meal, their attraction, sexual encounter? His double life, the pursuit by the boss? Covering his identity? With Uncle Howard? Howard inviting him to the weekend to be with Vera? The weekend, the complications, meeting contacts with Vera, with Christie? The bedroom farce, in bed with Howard, the mix-ups and solutions? Fired, reconciliation with Christie, the new plan, his financial friends, the takeover, the clash with Davenport? Vera as president and his success? The American dream story?

6. Howard and his presidency, ignoring of Vera, infatuation with Christie? Interview with Brantley, giving him the job? The puzzle about Whitfield? His exercising, the executives on the roof, the treading machine? The pressure on Christie to spy? The weekend, the proposal? His setting up Brantley? Search for Whitfield? The bedroom farce, the solution? The irony of his being ousted from the job by Vera?

7. Vera and her wanting to be young, her vanity, the car ride, flattered by Brantley, the swim, sex, the truth? Visiting him in his apartment? The search for Christ-le? The weekend, introducing Brantley to her friends? The bedroom farce and the truth? Business as business and her becoming president and sacking Howard?

8. Christie and her attractiveness, the executive, In the male world? Her seriousness, clash with Brantley? Listening to him as Whitfield, the clashes, the meal and being persuaded? Discussing with Howard, his proposal? Confusion, the weekend, the bedroom farce and the solution? Brantley angry with her about the espionage? Reconciliation, the takeover?

9. The workers in the mail room, the boss and his dominance? The friend and his help, the chase, Vera infatuated with him?

10. The minor characters, Sheila and her being an actress, her comments about expense in the restaurant, the members of the board and their behaviour, Howard's assistant and his domination of Davis, Davis's vindication?

11. The mixture of business comedy, the American dream, mixed identities, bedroom farce? Sexual symbolism and tone? The message of the film - tongue in cheek morality, amorality?

SCREAM OF THE WOLF

US, 1974, 74 minutes, Colour.
Clint Walker, Peter Graves, Jo Ann Pflug, Phil Carey.
Directed by Dan Curtis.

Scream of the Wolf is a brief telemovie directed by Dan Curtis, the man responsible for the Dark Shadow series as well as many telemovies using classic horror stories like Dracula. He also directed the semi-autobiographical and insightful When Every Day was the Fourth of July. This film is based on a Richard Matheson script, Matheson being a celebrated screenwriter of a range of horror stories including Corman's Poe series. This film is a variation on the classic Hounds of Zaroff theme. Peter Graves is a stern hunter. Clint Walker has reason to look serious. The film touches on the werewolf mythology - and the themes of arrogance and human superiority.

1. Interesting and entertaining thriller? The build-up of the deaths? The investigation? The hunt? The ironic revelation of the truth?

2. Los Angeles settings, atmosphere, the subjective shots for the killings-? The ordinariness of Californian settings contrasting with the finale and the confrontation?

3. The title, the echoes of werewolf themes, the variation on the theme?

4. The deaths, the mystery of the animal, the police investigations and frustration, the advice of John, trying to get Byron to investigate, the further murders? The build-up to a confrontation?

5. John writer, hunter, friend of the police chief, his relationship with Sandy, the attempt on her life, his becoming involved in the investigation, attempts to enlist Byron's help, memories of past hunting trips, their separation? His involvement, Sandy's suspicions of Byron as a werewolf? The finding of Byron's servant dead, Byron and the truth, the final hunt, Byron challenging him, to shoot him in the back, his decision?

6. Byron as hunter, loner, not being involved? His servant? His theories about hunting, being alive? The irony of the set-up, his creating the mystery, his wolf and the pads, his taking control of the wolf? His contempt for his victims? The attack on Sandy to provoke John? The final confrontation, his theory of the superior beings, of predators and hunters, of the prey doing the unexpected, John's being chased, the shot?

7. The police and the investigation? Sandy and the routine romantic relationship?

8. Themes of myths and werewolves? Violence and death? The arrogant super-man?

A SCREAM FROM SILENCE (MOURIR A TUE-TETE)

Canada, 1979, 96 minutes, Colour.
Julie Vincent, Germaine Houde, Paul Savoie, Monique Miller, Micheline Lanctot.
Directed by Anne Clare Poirier.

A Scream from Silence is a film from Quebec in the late 1970s. It is very disturbing indeed. While it is a feature film, it also takes on the aspects of documentary, focusing on the issues of rape and its effect on the victim. It is very graphic in its presentation. The film also makes the point about making a film on such a subject and its effect on the film-makers.

The film has a strong female perspective, from writer and director to the cast. It is interesting in retrospect to see that this film was made at the end of the 1970s – and is still very relevant in succeeding decades. It could be compared with an American variation on this theme, Not a Love Story, directed by Martha Coolidge.

1. The purpose of the film? Documentary, didactic film, moralising? How well did it achieve its intentions? For a feminine audience? for a male audience?

2. The qualities of the Canadian production? Technical credits? The Canadian atmosphere - directly for a Canadian audience, reference to Canadian law? Its more universal appeal?

3. The qualities of the film as a feature film - potential for entertainment? The documentary style of the film - its sense of realism? The interview techniques - realistic interviews, the symbolic sequences at the end? The importance of the background of the director and the editor and their discussions about the film and its effects? Their choices for including sequences?

4. The revelation that the film was based on a real story? Audiences believing this, hesitant? The dramatisation of the story? The dilemma about the ending? The director stating that it was based on fact? The fact of the suicide?

5. The impact of the credits - the focus on the men, the descriptions? The later interviews? The slanting of the film against these men? The focus on rape, women's rights, injustice and oppression? The law?

6. The importance of the realities of law, the sequence in the court and the issues raised? The possibilities of protection - the final focus on the whistle - realism, symbolism and the significance of the whistles at the end?

7. The feminine point of view of the film - balance, militant? Communicating a sense of outrage, the feeling for women and the in justice of rape? The points of view of the director, the editor? The victims and the dramatisation in the courtroom? Susanne and her story, her ordinariness, the effect on her life? relationships, her death? The feminine point of view on rape, theories about the effect of rape, death?

8. Women as a significant minority in society, rape victims as a minority? The statement of the case in favour of their situation?

9. How well did the film dramatise the basic rape situation - Susanne and her work, walking home, the focus on the man himself, his appearance, manner of speaking, his contempt for Susanne as a woman? Her later reflections on this? His brutality, fear, hatred, violence? The lead-up to the physical rape? Sexuality? The comparisons of Susanne's news and interviews about the rape, from the police, from the director of the film? The impact of the talk about rape compared with the audience watching and dramatised situation? The camera taking the subjective position of Susanne and the man in some ways and raping the audience? The effect of dramatic technique?

10. The aftermath, Susanne returning home, contacting Phillip, the doctor and his questions about venereal disease? The photos and their indignity? The police interrogation and its manner, detail?

11. The personal interviews with Susanne and her remembering the situation, her comments on its effect on her? The significance of the sequence where her hair was combed and cut? The significance given to it by Susanne, the return to normality? The importance of the interview with the director?

12. Susanne and her not recovering? Work, relationship with Phillip, listlessness, not eating? The clashes with Phillip and the effect on him? His attempt at patience and sympathy - and his inability to sustain it?

13. The effect of the film of the court sequence - the different groups of women, the children, the masks and the telling of the individual stories, the focus on incest?

14. The reality and unreality of Susanne's suicide? Its being shocking? The effect on the audience?

15. The visual treatment of the rape situation - the styles of documentary, of a pornographic film to bring home the bluntness and the reality of the situation?

16. The helplessness of the rape victims? The place of women in society, the film and its indictment of society? Call for reform - its validity, cogency?

SCHIZO

UK, 1976, 109 minutes, Colour.
Lynne Frederick, Jack Watson, John Leyton, Stephanie Beacham, John Fraser.
Directed by Pete Walker.

English director Pete Walker has a penchant and a reputation for odd horror thrillers. Schizo and The House of Mortal Sin were written by British Film Institute critic David Mc Gillivray. The central characters are mad - audiences are fascinated by watching the madness act itself out in bizarre and gory killings. Father Meldrum of the 'House of Mortal Sin' provides a textbook of offences for moral theologians (and there are continuous references to updating and Vatican II). Schizo is a straightforward and, at times, as sensational as it sounds. Titles are plain and Walker is not prone to subtlety in theme or treatment. But who really expects subtlety anyway?

1. The sound and tone of the title? Sensational? Offensive? The importance of the prologue and the explanation of schizophrenia? Credible, scientific, adequate for this thriller?

2. How enjoyable and successful a psychological thriller, crime thriller, a mystery? The blend of all these facets? Audience interest, involvement, the audience repelled by the theme and the brutality?

3. The overtones of the horror film: the atmosphere of madness, deaths, gore? How straightforward the presentation? Exploited?

4. How fair was the deception of the screenplay: the focus on Hasken, the contrast with the focus on Samantha Jean? The angles on the truth, the leading audience expectations? Were sufficient clues given for the truth? The impact of the truth when it was finally revealed?

5. How attractive a heroine was Samantha, audience sympathy in seeing the notice, her wedding and Hasken's sinister behaviour? Her attractiveness at the skating rink. her career, her nice manner? The wedding and her fears? Her not concealing it from Allan or from Beth? Her sense of Hasken's presence, in the house, the irony of her deceits and her lack of knowledge of what she was doing? Reading back into the events and her interaction with characters, the truth and the revelation of her madness? The motivation for killing so many people? The contrast with her pleasantness in the early days of marriage, dependence on friends, seeming helplessness? The build-up to the final confrontation with Hasken? The ironic confrontation of her taking the knife on the honeymoon? How strong a character study of this kind of schizophrenic person? Credible or just for the sake of the thriller?

6. The portrayal of Hasken and his sinister behaviour at the opening, the knife, his trip, his presence in the street, the phone, enquiring after Samantha? The knife at the wedding and the reaction of everyone? His sinister presence around the house? The fact that he was shown after all the deaths? The screenplay misleading the audience? The importance of his confrontation of Samantha and the revelation that he wanted the truth? The ugliness of his death? Even Beth being misled by her visit? How strong a character portrayal of a tormented man trying to justify himself? Or a type for a thriller?

7. The importance of the two flashbacks to the murder of Jean's mother? The truth in the mind of each? Again, audiences being misled? Satisfyingly?

8. The London setting as an authentic background for the thriller: the world of skating, marriage, parties, friends? Beth and her place in society, Leonard and his psychology? The kind of world in which Samantha was at home?

9. The build-up to the wedding, Allan and Samantha as a happy couple? The horror with the knife? The steady build-up of deaths: Leonard and his being consulted, the visual presentation of his throat being cut? Joy and the atmosphere of the seance, the sinister revelations about Samantha, the camera stalking Joy as she went away, the brutality of her being bashed? Mrs. Wallace as a sympathetic character, her work around the house, the irony of the jammed door? Her enthusiasm for the seance? The horror of the knitting needle through her eye? Her presence in the cupboard and the irony of the postcard from Rome? Hasken's presence around the house, the way this was visualised subjectively from Samantha's point of view, the terror of her hiding in rooms etc.? The build-up to the confrontation in the factory with her having seen the factory and its many spikes? Hasken's coming again to confront Samantha when the audience thought him dead? How plausible a blending of the psychological, occult, domestic?

10. How well drawn was the character of Allen, as a foil for Samantha? As part of the puzzle? Beth and bonds of friendship, as a justification - especially in seeking out Hasken and cutting his face? Leonard: his character, his death? The build-up towards the end and the irony of the couple going off on their honeymoon?

11. The importance of pace, psychological plausibility, the blending of grisly horror. Good entertainment for fans of horror thrillers? Or not?

SCENES FROM A MARRIAGE

Sweden, 1973, 168 minutes, Colour.
Liv Ullmann, Erland Josephson, Bibi Anderssen.
Directed by Ingmar Bergman.

Scenes from a Marriage is based on a six part television series made by Ingmar Bergman for Swedish television. The screenplay of this material is available in printed form. This version runs almost three hours and is a satisfying film version. Ingmar Bergman's world is often remote, strange, allegorical. Here it is very real: city, streets, cars, phones - and very real people. This very serious film shows a housewife undergo the bewilderment of a marriage challenged by an unimaginative husband who is not at all as she imagines him to be. Supporting characters generally highlight (most tellingly) the major theme of marriage.

The sadness of modern relationships, lacking a code for establishing an everlasting and unique bond that a man and woman desire, is all too evident. Bergman's perceptive dialogue, at times achingly real, and the expert performances of Liv Ullmann and Erland Josephson ensure the highest quality drama. Preceding this film was Bergman's Cries and Whispers. He followed it with The Magic Flute and with the excellent Face to Face, eliciting an even greater performance from Liv Ullmann.

1. The significance of the title: the scenes: (i) innocence and panic; (ii) sweeping thins under the carpet; (-ill) Paula; (iv) vale of tears; (v) the illiterates; (vi) in a dark house in the middle of the night? The significance of these titles and the clues they gave to the nature of the scenes? The inter-play of all six amongst themselves and their build-up?

2. Comment on the structure of the film: the fact that there were six television episodes, they have been compressed, the use of television techniques and close-ups, the use of six parts, the creation of the time span and its success? Audience response to this? Audience involvement? How successful was the film in involving the audience?

3. With whom did the audience identify? Johann or Marianne? Why? Which of the two characters was more sympathetic? Or interesting? Could the audience shift identification? Why?

4. How was this film a portrayal of the typical man and woman of the twentieth century? The insight into a twentieth century man, twentieth century woman? Their capacity for relationship, quality of relationship? Their adequacies and inadequacies? The reality of love, its inadequacy, the discovery of love? Social pressures and circumstances and lack of character vitiating relationship and love? The quality of marriage on these bases? The importance of family, children receding when there are difficulties between husband and wife? Man and woman's capacity for love and hate?

5. What were the standards on which this couple lived? How adequate were they? What were their most important values? What sustained them in their struggles..- their love and their hate? Did they have any transcendent values, or were they very fixed in what they understood? Did they want transcendent values? How much pain was there in their living out of their values? The irony of the resolution in its seeking for permanent and unique love and yet their social inability to achieve this? What comment was being made on the morality of love and marriage? Its status in modern society? Truth and appearances? Hypocrisy and reality?

6. The importance of modern Sweden for the impact of the film? This as an ordinary world, houses and streets, cars and telephones, city and country houses, dinners and visits etc.? The quality of city life portrayed? Its ordinariness and its influence on people?

7. How successful was the film in beginning with the interview? The nature of the questions about marriage, audience curiosity identifying with the questions, the types of reply, Johann's verbosity, Marianne’s hesitation? The nuance of the personalities as portrayed in the interviews? Their love and lack of love, touch and lack of touch etc.? Selfishness and self-centredness?

8. The importance of the discussion about the magazine article: the laughing at the beginning of the meal to the harrowing interaction? Peter and his wife as typical visitors? The quality of their marriage mirroring Marianne and Johann? The lack of success and their fighting, the bitterness and the tears, truth in drunkenness. the insights in this interaction? The contrast of Johann and Marianne talking during the washing-up assessing the other marriage and not their own?

9. By this stage of the film how important was the theme of appearance and reality? Truth and formalities? Forms and conventions?

10. How did the film build on this with the portrayal of domestic detail for example, the details of getting up in the morning, the influence of the in-laws, the phone calls and the hesitations, the daughter's going off to school? How important was this for giving a rounded picture of the marriage?

11. How did the film give a picture of Johann and his work? Was this convincing? The emotional complication of his interaction with the woman assistant? The discussion of his poems? The romanticism in his poetry and the woman's comments?

12. How did this contrast with Marianne and her work? The significance of the woman married for twenty years asking for a divorce? The insight into marriage and divorce during these sequences? The insight into Marianne?

13. Comment on the reality of divorce as portrayed in the film? The woman, Peter and his wife, Johann and Marianne? Why divorce? The repercussions of divorce?

14. The question of fidelity and its importance in life? The background of Marianne and Johann's relationship? Her early divorce? Their living together and marrying? Marianne's assumption that all was going well? Johann's deception? The shock of the announcement of the break-up? Johann's self-centredness? The details of their interaction and the emotional response of the audience? Marianne not knowing, the horror of her world breaking up, her phone call to Frederick and his knowing all the time?

15. The actual walking out sequence? The night before and Marianne's trying to hold Johann? The dramatic impact of the walk-out for them both and their future?

16. How important was it that we did not see Paula? Her hold over Paula? The fact that she was younger, her moral attitudes, Johann’s romanticising of her, contrasting her with Marianne? How real was his love for her? Infatuation and dissatisfaction with his wife?

17. Was the film right to omit the six months immediately following the walk-out? Taking up the marriage six months later? What had happened to them both? The interaction of two people who were now distant? Marianne's wanting to hold Johann? Johann's self-centredness and off-handedness? The discussion about the divorce, the night together?

18. How important for revealing Marianne was her diary? The meal and the build-up to this? Johann's offered interest? Marianne's believing him? The fact that he slept? The importance of Marianne and the images? What insight into her personality did they give, visualizing her childhood, adolescence, the technique used to convey the passing of time and the development of character? The contrast with Johann who slept, had no images and no visual memories?

19. The divorce sequence: the love, bitterness, testing each other, Marianne testing Johann and the bitterness, being lovers, the discussion about their lives, the role of Paula? The intensity of hurt and pain, Johann's physical violence and purging himself of the hatred of Marianne? What was achieved by the violence of this sequence?

20. How did Marianne change into the new woman? Her capacity to think for herself and feel for herself, not pressurized by her husband or parents? The contrast of the new Marianne with the Marianne of the marriage?

21. What future did they have? The future in terms of the framework of false marriages on the part of each? How did this affect their lives?

22. Were they any better because of their experience? Do people improve through experience? The fact that they were not making a success of their marriages?

23. What was your response to their facing each other after years and spending the time together? Their infidelity to their partners (although why did they marry them?) The yearning for reconciliation, for unique love, or permanent love?

24. Marianne's worry whether she had ever loved or not? The quality of Johann’s reply? Was this enough for the ending of the film?

25. What picture of the ideal marriage finally emerged? The eternal and unique as the ideal? Pessimism as regards its fulfilment in real life?

26. How excellent was this film? In its treatment, themes, the reflection of the age, the quality of the dialogue, the adequacies and inadequacies of modern people? A humanist masterpiece about modern relationships?