SALSA

US, 1988, 93 minutes, Colour.
Bobby Rosa, Rodney Harvey, Magali Alvaredo.
Directed by Boaz Davidson.

Salsa, like Breakdance and Beat Street, is one of those exuberant dance/ competition shows with minimum plot. It was directed by Boaz Davidson for the Canon Group. He made The Lemon Popsicle series. Robby Rosa has to portray one of the most narcissistic heroes on screen, obnoxious and macho, hard on sheltering his sister, turning on his best friend. But he is a lively dancer. But all turns out well and the hero of course has a change of heart.

1. A popular dance film? The verve and energy of the film and the dancing?

2. Los Angeles, the Hispanic atmosphere? The happy and musical atmosphere?

3. The dance and its verve, the routines, musical score, choreography, competition?

4. Rico at the centre of the film: seeing him during the credits at work and the dancing with his fellow workers, the importance of Salsa, the practices with Vicki, his relationship with Vicki, going to the Luna Nightclub, his mother's pride? His friendship with Kenny and having him as part of the family? His strictness about Margarita going out? Infatuated by Lola, the sexual encounter? His dreams, going to the ad for the trip to Puerto Rico? Yet his self-consciousness, looking at himself in the mirror, singing 'Blue Suede Shoes'? His fights? His being taken on by Luna, the training for the dance, her using him? Her boyfriend? Wanting Kenny to protect Margarita? Clashing with Kenny? Margarita and her defiance of him at the dance? Her accident, going to the hospital? Their going to get him and take him, back to the competition? The reconciliation? Likable and unlikeable? The reconciliation with Vicki and winning?

5. Ken and his friendship, working together, sharing things together, covering for him - especially with Lola? The birthday party? His falling in love with Margarita, dancing with her, on the bike, the fight with Rico, pleading with him to go back? The reconciliation?

6. Rita at school, friendship with Lola, going to the nightclub, falling in love with Ken, the dance with the homeless men, defying Rico, at the final dance, the accident, joining with Kenny to get him back?

7. The sketch of the mother, her love for her children, support of Rico, challenging him?

8. Lola and her friendship, sexy, rivalry with Vicki, drunk at the party?

9. Vicki and her dancing, love for Rico, ousted by La Luna, the break, the reconciliation and winning?

10. Luna and her age, tough, Orlando waiting on her, getting Rico as the partner, the rehearsals, her haughtiness, the competition, Rico asserting himself, rejecting her?

11. The basic plot, the atmosphere of Los Angeles and the Spanish culture, music and dance? The basic optimism of the film?

SALT OF THE EARTH

US, 1954, 94 minutes, Black and white.
Rosaura Revueltas, Will Geer, Juan Chacon.
Directed by Herbert Biberman.

Salt of the Earth is a film about striking miners in New Mexico in the early 150s. It was based on an actual strike of 1951 in Silver City. The makers of the film were all blacklisted during the '50s after the Un-American? Activities Committee served subpoenas on so many Hollywood producers, directors and writers. Herbert Biberman, the director, served a jail sentence. Michael Wilson, the writer, and Sol Kaplan, the music composer, were also before the Committee. They found it very hard to work during the '50s and even to get sufficient technicians to work on this film.

The film was widely distributed on 16 mm in America but failed to get theatrical release for several decades. It was first screened in Australia in 1980. The film uses non-professional actors who are very persuasive in embodying the Mexican miners and the clash with the companies. There is a professional cast including Will Geer as the Sheriff and an excellent performance from Rosaura Revueltas as Esperanza the heroine. The film is certainly socialist in its point of view. However, it also is significant in its presentation of racial issues in the '50s in the United States and even stronger on women's rights and the role of women in society and in work. In this way, the film fits into later decades very well. By focusing on a family, the film is dramatically persuasive as well as interesting for its social themes.

The production by Paul Jarrico, also blacklisted, was for an independent productions corporation as well as the International Union of Mine, Mill and Smelter Workers. The Local 890 of Bayard, New Mexico, contributed to the making of the film. Strikingly photographed in black and white, moving in many ways as well as socially stirring, the film stands along with a number of films about strikes and capitalism. Harlan County, U.S.A., an Oscar-winning documentary of the mid-'70s, parallels it in many ways. Feature films on strikes and unions include F.I.S.T., Bound For Glory, Norma Rae. Salt of the Earth is interesting as giving an indication of social tensions and film-making in the '50s.

1. The title of the film, its use by Esperanza at the end, the scriptural overtones, the linking of the Scriptures with a socialist point of view? The ordinary people binding together and inheriting the earth? The socialist, communist hopes? The political stances of the film? Its persuasiveness as drama?

2. The difficulties of making the film, the blacklist background of the makers? Difficulties in exhibition? The critiques of many reviewers and the condemnation of the film as Russian propaganda?

3. The moral of the film and its persuasiveness? Did the film preach or persuade by the drama and the human issues? The family situation, racial themes, the place of women? Capitalism and industry, the people and the right to strike? The need for better social conditions?

4. The black and white photography and its impact, the use of light and shadow, mine sequences, the Mexican homes, the location photography, prisons etc? The stirring nature of the score - highlighting the themes, too melodramatic or not?

5. The blend of professional cast with non-professionals? The quality and persuasiveness of the acting?

6. The background of strikes and the work of unions in the United States? The role of the companies, the rights of the workers, collective bargaining? The need for negotiation? The history of violent clashes? The perspective on this strike, its historical base in the 1950s? The presentation of the strike and the issues and the people in the light of the tradition of American films about industry and strikes?

7. The presentation of the large companies? Their work, head offices in the eastern states, the personnel and the negotiators, the harsh tactics? The lack of compassion? The focus on financial interests? The owners - and the presentation of the President and his African safari? Did the film offer a biased presentation of the companies and their attitudes towards the miners? Did it reflect accurately situations in the United States?

8. The presentation of the workers, their harsh conditions, the lack of enforcing regulations? Mexican workers and Anglos? Their work situations, bad fuses, explosions and injuries, brutal foremen? The home situation - especially the campaign for better sanitation? How sympathetically were the workers presented? With force, sentimentally?

9. The presentation of union meetings, the international union and its representatives and advice? The men and their conduct at meetings, their rights, the decisions about going on strike, staying on strike, tactics? The exclusion of women? Women at the meting and their gaining rights? The role of the pickets - the men and the women? The influence of the police - laughing, brutality, exasperated? Prison? The songs and the keeping up of morale of the workers? The tactics used against the picket lines e.g. gas? The final tactic of evictions? The strategies used by the workers against the companies to save themselves? To work within the law?

10. The presentation of violent methods of the companies, of the workers? The options for non-violence? The need for heroic withstanding the difficulties - lack of work, morale, lack of food? Support from other unions?

11. The significance of focusing on Mexican families in the United States? American Mexican relationships? The attitudes of the Anglos? The focus on the families, their social background, religion? Their being an oppressed group? Lack of facilities, sanitation? Hard work for the wives? Language difficulties? Their being patronised by the Anglos? The solidarity of the families for their rights?

12. The sympathetic Anglos - Barnes and his role as adviser, his work at the meetings, his friendship with Ramon? His wife and her participation in the picket line etc.? The possibility of good relationships between English-speakers and Spanish-speak?

13. The film's focus on Esperanza? Her role as narrator - the emotional tones to her commentary, her descriptions? Audience sympathy and identification with her? Her work in the home, a woman in the Spanish tradition, subservient to her husband? The importance of the radio and her drudgery at how all day? Her care for the children? Her pregnancy, the delivery of the baby, her care for it at the picket lines, prison and the problem of the milk? The significance of her birthday being forgotten and the joy of her celebration - it giving joy to her memories? Esperanza's dignity as a woman, her place in the community, the other women asking her to help on the picket lines and her decision to participate? Her fidelity as a wife and mother? Her quiet nature, retiring, obeying her husband? Her going to the meetings, her proposal that the women go on the picket lines and the strategy for the vote? Her presence at the picket lines, the birth? The changing of her attitudes? Her knocking the gun from the policeman's hand? Her going to prison? The strong telling of her husband about the issues, the place of women? The eviction sequences? Her triumph at the end? Her character embodying and symbolising the issues?

14. Ramon - as a man in the Spanish tradition, with his friends and fellow workers, in the mines, against the foremen, the bosses? His exercise of leadership? His role as father, husband? Taking his wife for granted and the comments on this? His place at the meetings, his pride? His action on the picket lines? His exasperation at the women in prison? His response to Esperanza's telling him of the issues? His going to the hunt and his return? His reaction to the evictions? His change of attitudes from the experience of the strike, being out of work, being dependent on others? His having to take care of the home - cooking and washing and what he learnt about the role of women?

15. The significance of what the film had to say about men and women and their roles? The reversal of roles and each able to do the other's work and learn the obligations and demands on the others?

16. The detail of the screenplay, the editing and the building up of atmosphere - such sequences as Esperanza's feast day and the celebration, the various sequences at the picket lines, the attacks of the police and their violence, the men at the hotel reading about the President, the various-meetings, the home sequences? The card game and the dance, the eviction sequences?

17. The significance of drawing the parallel of women's rights with those of the oppressive attitudes of Anglos towards Mexicans? How persuasive the argument?

18. A portrait of people - the way they were photographed, their ordinary situations, sufferings, joys? An insight into human nature? The hope of the ending?

SALON KITTY

Italy, 1976, 129 minutes, Colour.
Helmut Berger, Ingrid Thulin, Teresa Ann Savoy, Bekim Fehmieu, John Ireland.
Directed by Tinto Brass.

Nazi Germany has become a frequent and potent symbol for corrupt society. It is well explored, if very frankly, in this study of power and sexual exploitation. In the late 1960s, such films like The Damned, ended pessimistically. This one (with Ingrid Thulin and Helmut Berger again) begins pessimistically, reminds one of Watergate and "bugging", but moves towards romanticism and a hope that individuals can wake up, expose and overcome the corrupt system. Blending with some of the visual freedom the 70s permits, the film portrays a slice of history as a symbol of authority, corruption of power and its impact on individuals.

1. Was this a good film or a bad film? Its overall impact? The duality of its style, the strength of its themes? A film of the 70s? The war and its issues seen in the retrospect of thirty years? A valid use of the permissive styles of the 70s?

2. The reasons for the choice of plot, the issues in the 70s? The possibility of making this film in this way only in the 70s? How acceptable the treatment? Accusations of pornography and obscenity? The main objects of attack in terms of sexuality, violence, use of power?

3. How was the salon a symbol as well as a place? The credits and the presentation of the pre-war brothel, the decadence of Germany in the 30s, the ambiguity of sexuality, the loss of control? The songs and their lyrics, the bisexual presentation of Kitty during the credits? The people at the brothel and their visual presentation, decadence and decay? The significance of the other songs, e.g. "The Morning After", its decor and choreography? Kitty also as symbolic, working within this salon? As seen here, with her girls, the choice of the girls, e.g. racial prejudices and lack of prejudice? Audience response to the place, persons, atmosphere? What audience judgements were made at the beginning of the film?

4. The salon as a symbol shedding light on the Nazi decision about its closing, its being transferred to more elegant surroundings, its use for Nazi political purposes? The Nazi estimation of human nature and its weakness? The decadence being exploited for political and military purposes? A better looking decor, possibilities of refinement of love, an atmosphere of lust? But while more decorous, yet more innerly decadent? Audience response to the Nazi use of the Salon?

5. Berger and his role in the film and what he represented? The particular characteristics of his personality, his role in the Nazi hierarchy, attitudes to superiors, to subordinates? His relationship with Kitty, familiarity with the salon, his personal tastes, decadence, sexuality? His masterminding of the plan?

6. The film's presentation of his putting the plan into execution: his choice of the girls to be working there, the presentation of them at their various homes, occupations? The film's singling out of Margaret, her family, the world from which she came, its respectability, its devotion to Nazism, wealth, interior decadence? As a symbol of the kind of recruiting?

7. The impact of the long sequences of the testing of the girls, the audience asked to be voyeurs? Sharing with Berger his testing of the girls and their sacrificing of their own feelings, their dedication to Nazism and its beliefs, the effect on the sexual behaviour, the misfits and the malformed people that they were meant to copulate with? Audience judgement on this?

8. The quality of the relationship between Berger and Margaret? His motivation? His wife and her lesbian tastes? His using of people, and yet his need for expression, outlet, frustration?

9. How sympathetic a person was Kitty? The pros and cons of her character, her work as a madam, her relationship with the girls? As exemplified in her songs? Her relationship with her Italian friend, the American journalist?

10. How well did the salon function for espionage purposes? The German officers involved, their own personal involvement and curiosity, dedication to their work? The recording of conversations, checking the girls' own reports? The effect on the girls, e.g. the pregnant girl and her wanting to have her child? The girl who eventually suicided7 The transformation of the girls? From military types, copulating with the S.S. men, Kitty's designing them and making them up as prostitutes?

11. Margaret and the focus on her in the salon? Her relationship with the pilot as a client7 His love and his lust? Her response to him as a person? The growth in mutual love? The change of atmosphere of the whole film when they went out of the salon, their walk, the scene at the station, the farewell? The irony of the pilot's death by hanging? The way that it was reported to Margaret and the effect on her? Her murder of the informant? The repercussions for the salon, on Kitty, on Berger and his cover-up?

12. The change of atmosphere when Margaret returned home? The puzzle of her parents? Kitty's arrival and the reconsideration of the work? The growing awareness of what the salon was being used for?

13. The effect on Kitty of the awareness of the use of the salon? The challenge to her? Audience sympathy for her repulsion for the espionage and the use of the salon? The use of the American and the Italian to set the trap? The details of preparing the plan?

14. The effect on Margaret and the change in her character as she went to trick Berger? The significance of his long speech, the revelation of himself, the condemnation of National Socialism in the lack of belief in its hierarchy? The irony of her reporting to the subordinates, playing it and her malicious enjoyment of trapping Berger?

15. The significance of his death at the baths? The utter futility of his life? Lack of achievement? The achievement of Kitty and Margaret and their associates as able to bring down a corrupt and fascist system? The tone of optimism in this turn of events?

16. The achievement of the film in raising political issues in the 70s, connecting them with the historical past, human nature and its innate drives of lust, power, cruelty and violence, death? How valuable is a film like this?

SALO or THE HUNDRED AND TWENTY DAYS OF SODOM

Italy, 1975, 117 minutes, Colour.
Paolo Bonacelli, Giorgio Cataldi, Caterina Boratto, Laura Betti.
Directed by Pier Paolo Pasolini.

Salo is the last film written and directed by Pier Paolo Pasolini. A novelist and poet, he began writing screenplays and eventually directing in the early sixties with such films as Accatone and The Gospel According to Matthew which he dedicated to John XXIII. He made a number of films on Greek mythology including as Oedipus Rex and Medea. His contemporary films with their films include Teorema. In the seventies he made the trilogy of The Decameron, The Canterbury Tales and The Arabian Nights. These films were stories woven together or stories within stories illustrating human nature with an emphasis on sexuality and relationships. They were considered explicit for their time.

However, his final film in which he took the history of the Republic of Salo in 1944 and linked it with the 120 days of Sodom by the Maquis de Sade showed an inferno and an ugly picture of hell in the 20th century. The film is visually beautiful and visually horrifying. It is also obscene in its presentation of actions and the telling of stories. It was banned in many countries. However, it is difficult to see that for an audience able to sit through the film, that it would have any detrimental effect. Rather, it is an invitation to be horrified at the depravity of human nature and reflect on how this has been experienced especially within the context of World War II. Pasolini was to be murdered soon after the completion of this film, so the film remains as his final testament.

1. The impact of this film? Interest? Entertainment? Social representation, critique? Impact for an Italian audience, non-Italian? Interest in the films of Pasolini? Interest in films exploring the war and its meaning? War, Fascism, oppression?

2. The film was banned in many countries. Is this comprehensible? Its power of moving people, corrupting people? Too strong for audiences? Should audiences be free to see it?

3. The film as Pasolini's last film? Its place in his development of film-making? Of his interests? Of his understanding of the world, human nature, history? how pessimistic was he in his interpretation of human existence? His taking the experience of the Republic of Salo and Fascism during the war and combining it with the work of the Maquis de Sade? How well does this work? Pasolini’s bibliography during the credits?

4. The technical accomplishment of the film? The sets, decor, costumes? The contribution of the score? Colour photography, location photography - exteriors, interiors? The importance of the editing?

5. What basic comments on human nature was the film making? On World War II? On war? On Italy and the Italian character and temperament, Italian society, the experience of Fascism? What comment was the film making on morality, corruption, depravity? The setting was depravity and people not having any limits on their moral actions? Decadence unto death? The film's comment on this especially in the transition from sensuality to violence and destruction?

6. How effective was the structure of the film: the rounding up of the boys and girls, the introduction to the Fascist adults, the choice of the boys and girls? The various circles: the circle of evil, the circle of shit, the circle of blood? The gradual growing evil of each circle?

7. The portrayal of the elders - their age, roles of authority in the town, their experience of the war, their Fascist background. and politics, their selfishness, their use of their authority to impose their judgments and their behaviour? Why had they opted out of society? What did they fear? Why were they corrupted by the war situation to isolate themselves and give in to depravity? Is Pasolini saying that de Sade was right about human nature and its evil impulses? Of people taking the opportunity for self-indulgence - with what result?

8. The criteria for the choice of the boys and the girls? The chasing of them, the various situations in which the boys and girls were, their being taken away from their families? The atmosphere of turmoil, the atmosphere of the examination of the boys and girls, the emphasis on youth, sexual development?

9. The visual -presentation of the house, its aristocratic background, its rooms, decor? The staff running the house especially the cooks, the Fascist style guards?

10. Audience response to the rules as put to the boys and girls? The reaction of the children? The criteria on which the rules were based? Rules about licence and the effect of licentiousness?

11. The point of the women telling the stories? Their physical appearance, make-up, clothing, manners? The various tableaux Pasolini created of older and younger together around the room? What was the object of the telling of the stories? The effect on the audience, participation, response of humour, fear? Repulsion? The effect on the adults, on the children? involving urine, faeces? The elders and their self-indulgence? The eating of the faeces especially the banquet? What was Pasolini saying about this kind of behaviour?

12. The marriages and the emphasis on the physical features? The indications of elements of violence? The building up to death and the threats of death? The sequence of choosing the most beautiful and the victim of violence?

13. The various incidents of disobedience to the rules and subsequent death and violence? The girls and the boys and their liaisons with the staff?

14. The behaviour of the adults with the guards especially in terms of sexuality, homosexuality? The presence of the guards and the overtones of the S.S.?

15. The drag sequence and its impact, the elders dressing up as women, its purpose? The transition to explicitly homosexual activity?

16. The theme and the question of what was left after the sense appetite had been satiated? What was left for the elders?

17. How inevitable the beginning of the tortures? Audience response to such brutality, as rigged by such repugnant elders, the adolescents as victims? The length and detail of these sequences?

18. The judgment made by the adolescents themselves? The victimization of rape, offence against their will, torture and death? The response to such victims? The reaction to the victors? The final sequence and the dancing?

19. Before death, the young people, prayer-like, 'why have you abandoned us?' and the echoing of Jesus' prayer (followed by the glimpse of guards gambling ourside)?

20. What was the final stance of Pasolini as regards this world that he created? The watching of the final dance? The audience leaving with scenes of torture in their memories and this final dance?

21. The film as the testament of Pasolini? What had he shown, communicated, said and judged? His view of life, human nature, war, evil, 20th century society?

SALLY AND HER FREEDOM

Sweden, 1981, 102 minutes, Colour.
Leif Ahrle, Ewa Froling, Kim Anderzon, Gunnel Lindblom.
Directed by Gunnel Lindblom.

The two words of the title are significant. The film focuses on a young married woman, Sally played by Swedish actress Ewa Froling (Fanny and Alexander). The film opens with her at an abortion clinic and so raises the themes of pregnancy and abortion, women’s choice. The film also raises the issues of the relationships between men and women, husbands, fathers. To that extent Sally is representative of the generation of the 1970s.

The word ‘freedom’ is also significant. The film asks the question whether freedom means absolute liberty, freedom from constraints, the ability to do whatever one likes, or whether it implies discipline and responsibility, and accountability. Otherwise, freedom is self-centredness.

The film has a female sensibility. The director is Gunnel Lindblom, actress in many of Ingmar Bergman’s films including Winter Lights and The Silence. The film was written by Margareta Garpe.

1. An interesting and enjoyable film? Serious themes? The Swedish background and film-making? A film of the '80s - Swedish society, women, feminist themes?

2. Location photography, Swedish cities? The hospitals, the apartments, offices etc.? Audiences able to identify with this universal image of contemporary cities?

3. The feminine sensitivity of the film? The star and her performance, the writer and director and her sensibilities? Gunnel Lindblom and her writing and directing - and her performance and the role that she chose to take? Nora's comments on Sally? The focus on feminine issues, characters, perspective, problems? The feminist tone - its values, a critique? The feminine response to the film? Masculine response?

4. The portrait of Sally? As the focus of the film, audiences knowing her well? Understanding her feelings, her behaviour, her decisions? Her confusion? The opening in the abortion clinic and her reaction? Her hesitation, her wanting to be unconscious? Her being a number? Her riding home on the bike? The abortion as part of the day? The alienation from her husband? Her rejecting him? Her tantrums and his tantrums? The books that he was to take? Her love for her daughter? Her relying on her mother and using her mother? Her reactions to her mother and father's matchmaking? Her lack of regard for her father? Her statements about independence and freedom? The audience seeing her at work and her being involved in social work and advice? Her insensitivity to the Turkish woman with the large family and no money? Her discussing matters with Nora and relying on her help? Her using Nora as a mother-figure? The encounter with the teacher and her severity with him? Her attraction, the dates, Nora's party? The pressures of her husband ringing. his tantrums and her going to spend the night with him? Her coping with her daughter - especially when the teacher moved in? Did she really fall in love? The clashes? Her wanting a child and his not wanting the child? Her deliberately becoming pregnant and his reaction? Her relationship with her neighbour - the babysitting sequence? The discussions with her mother? The scenes with her grandmother - at the party, in hospital? The tensions at the birthday party? Her visit to her husband and his wife? Her tidiness etc.? Her daughter going to live with her father, gradually losing touch-with her mother? Her moods, the new pregnancy? The clash with Nora and Nora's telling her off? Her going to the abortion clinic and the circle being completed? Where would Sally go? How would be survive? Her freedom?

5. The importance of the group of episodes in the film, their cumulative effect and audience understanding of Sally? The strength of the performance and the feminine sensibility to the portrayal of Sally?

6. The portrayal of the men: Sally's husband and his work, ordinary husband, his statements about her pregnancy, his fatherhood, the rights to the abortion? His love for his daughter? Leaving, his phone calls and despair, the night with Sally, his new life and his greater confidence? The teacher and Sally's clash with him, the friendship, his divorce, his not having seen his daughter, his moving in, the seeming happiness of his relationship with Sally, her freedom? The growing tension, the scenes of their clash and exasperation? His visit to his mother? His attitude towards her pregnancy?

7. Sally's daughter - an attractive and strong performance, her home life, the details of her relationship with mother and father. coping with the separation. precocious attitudes towards the separation. the outings -and her attitude towards Simon? Her wanting a dog? Her living with her father. getting the dog, her friendship with her neighbour? The separation of mother and daughter?

8. Sally's father - a pleasant man, helpless? Her mother and old-fashioned style, care, hints at matchmaking, not understanding? The grandmother and Sally's mother looking after her, her being left with her mother, the illness and death sequence?

9. The portrait of women at work, social helpers - and the plight of the Turkish woman, Turkish traditions about having sons and daughters, pregnancy? Sally's neighbour and her attitude towards family life?

10. Nora as a strong woman, her helping Sally and listening to her, offering her friendship, standing in as a mother with support and advice? Her own experiences of abortion, family, her daughter, her tolerance of her philandering husband? The party? Sally's phone calls and demands on Nora? Nora's exasperation, telling her to stand on her own feet, highlighting her selfishness and lack of enquiry and regard for others?

11. Themes of pregnancy and abortion - abortion in Sweden, hospital style, the experience for the girls, the clinical aspects, the numbers, injections, the piped music, the operation, the attitude of the staff, their having to move out at the proper time, the refund on their taxi fare? Sally's first experience, her return?

12. Sally as representative of her generation? Typical? Why? Reaction to the older generation? Her longings, demands for freedom? Audiences identifying with Sally - or being critical of her?

13. The meaning of freedom - freedom from constraints, exercise of will or whim, discipline, responsibility and accountability, self-centredness?

14. How effective was the film as a portrait of a credible individual? As a comment on European society in the 1970s and 1980s?

SAINT JACK

US, 1979, 115 minutes, Colour.
Ben Gazzara, Denholm Elliott, James Villiers, Joss Ackland, Rodney Bewes, Mark Kingston, Lisa Lu, Judy Lim, George Lazenby, Peter Bogdanovich.
Directed by Peter Bogdanovich.

Saint Jack is not a box-office success, but an off-beat, well-made story of an American drifter in Singapore (with many parallels to Humphrey Bogart's Rick of Casablanca - updated to the permissive 1970s). Ben Gazzara, the genial Jack of the ironic title, makes a pimp's living, is lured into exploitive R & R work for American troops from Vietnam and into invading privacy for incriminating a Senator and forced to make some options for the meaning of his life. Co-written and directed by Peter Bogdanovich (who also has a good role), the film has an excellent character portrayal, an ageing English accountant whom Jack befriends, expertly played by Denholm Elliott. A richly textured specialist film.

1. An interesting and entertaining film? The ironies of the title? Jack as good and bad? The criteria for good and bad? The focus of Saint and the colloquial Jack? The symbolism of his surname - Flowers? The Italian background of his family, name?

2. The use of Singapore for the location of the film: its cosmopolitan atmosphere - the British in Singapore with their old traditions and longings for England, the new coming Americans and their takeover? The war in South East Asia and the presence of the Americans - and the parallel to the British in previous wars? The Chinese, the Indians, Sri Lankans? The population of Singapore and the rule of the Chinese? The microcosm that is Singapore?

3. The colour photography of Singapore - the streets, the markets, night life, brothels, bars, the Raffles Hotel, the sea, the countryside? The quality of the colour photography? Location atmosphere? What kind of a city was Singapore in the early '70s?

4. The contribution of the musical score - basic themes? The importance of the Louis Armstrong songs with the background of New Orleans (and the parallels with this view of Singapore)? The Merle Haggard and Johnny Cash songs associated with the American soldiers? The sensuality of Shirley Bassey's singling of Goldfinger?

5. The structure of the film: the space of three years, the focus on the encounters between Jack and William Leigh? Jack in his situation, changing way of life in Singapore, the changing presence of the Americans? William L6Igh's visit and the gradual deterioration of his health? The development of each character, the friendship between them? The framework of the beg-inning and ending: Jack and his ordinary life in Singapore - the experiences that he goes through and his return to that way of life? Better or worse?

6. The audience's immediate response to Jack? American manner and style? An American in Singapore, self-assured, his argument with his Chinese employers, friendliness with everybody, the taxi to meet William Leigh? His connections with the underworld, prostitutes? His acting as a procurer? His popularity? Rivals? His success e.g. the tour with William Leigh? Relationship with Monica? The build-up to his getting his own house, his success? Rivalries and his torture, the destruction of the house? The build-up to the encounter with Eddie Schuman? The change of pace, the work for R & R? The choices that Schurnan offered him - surveillance and high prices? His moral choices at the end? How well did the audience identify with Jack and move with him through these ambitions, friendships, crises?

7. How well drawn a character? Ben Gazzara's appearance and style? Manner? Way of speaking, catch-phrases? His explanation of his background? His possibility of doing better things? His being stuck in Singapore? His capacity for relating to people? His making money? His being an entrepreneur in the area of sex? Moral judgment of what he did? Moral judgment on himself? A genial kind of person - and the irony of Saint Jack?

8. How did the film reflect American society during the. 60s and 70s? The indications of the Vietnam wax and judging America by the war? The settled period when Jack grew up, the world attitude towards the United States, echoed in the films of the time? The Korean war? Jack and his service, his ambitions and education? The changing during the 60s? His disillusionment? Ending up in Singapore and using the Chinese as a cover for his own ambitions? The irony of America becoming something of a procurer? The image of the Americans in South East Asia and the war and the parallel with Jack? This being highlighted by the R & R scheme for the GIs? Eddie Schuman as the man of the 1970s representing the Nixon era? The attitude towards the GIs, their relaxation, fattening them for the slaughter'? Jack and the invitation to spy - the atmosphere of Watergate, tapes and surveillance, espionage, the blackening of people's names? The Watergate exposure - and Jack moving to a new phase of life?

9. How well did the film give details of this period of 1972-5: the years passing with William Leigh's visits, Nixon's visits to China and the newspapers, the progress of the war, the peace in Vietnam, the emerging of a new era?

10. How well did the film give insight into Singapore - a republic, the Chinese government and business interests, the links with Hong Kong, shrewd Chinese businessmen? The ordinary people of Singapore - taxi drivers, whores? The strictness of the appearances of Singapore e.g. fines for littering? The cosmopolitan East: Indians, Malays, Sri Lankans? The ordinary aspects of the Orient - and the exotic aspects of the Orient?

11. The contrast with the British in Singapore - and the memories of the past, the misfits from English society lording it over the Singapore people and being ignored? Their bawdiness, boredom, drinking? Their manner of speaking, English blah? The small group and their particular characteristics, sketching in of types? Unlikeable? Arrogant? The visit to Yates and Mrs Yates at the Raffles Hotel? The Raffles Hotel as a memory of the past? The attitude towards William Leigh? Their going to Jack's house and exploiting it? The finale with Leigh's death - drunk, sneering? Anxious about the death? Their presence at the funeral and the pompous singing of English hymns and the pointed contrast with the local funeral and religious, customs outside?

12. The effectiveness of Denholm Elliott's portrait of William Leigh? As a persuasive character in himself, the complexity of his character? Tentative, likable? The anxiety of his first arrival, the encounter with Jack, naive and nice, wanting to play squash, his heart condition? His ability with his work? Interest in Jack, offering him the drink, going around with him and fascinated by what he saw? Deferential to Jack? The Goldfinger episode and the audience prying with him? His fascination with Jack's way of life? Their running from the thugs? Jack seeing him off? Leigh's warning about the dangers? His return to find Jack succeeding with the house? His presence during its destruction? Jack's tattoos and replacing the tattoos with flowers? His final arrival and his collapse in health? His relationship with the English group over the years? The visit to the Raffles Hotel and his collapse? Jack's kindness to him and the prurience of the servant? The final visit to the hotel, the encounter with the English, the pathos of Leigh's death? His funeral? The sadness because of his dread of retiring from Hong Kong, the fishing in the west country? Jack's phone call to Mrs Leigh and sending her the ashes? A satisfying portrait of an ordinary man?

13. The emphasis on sexuality in Jack's world? Cinematic suggestion? Jack and his arrangements with people? The tour with William Leigh and the long sequence about the two women and the Goldfinger sex act? The glimpse of the tourists wanting to be fixed up by Jack? The Singapore people involved - the old women. the rooms, the houses? The contrast with the encounter with Monica and Jack's relationship with her? His own privacy, loving relationship with- Monica? Her working for him? The build-up to Jack having his own house? Its style, staff, the English being present there? The confrontation - with the midget about the sex magazines? The hostilities of gangsterism in Singapore? Eddie Schuman and his comments about Lincoln providing whores during the Civil War? R & R facilities for the American soldiers? The setting up of the camp? Questions of drugs? The women working there? Monica and her presence? The scuffles and fights and brutality? The use of sexuality as a political weapon? Jack prying on the Senator? The audience prying with him? His genial presence, the walk in the park, the picking up of the boy, the boy leaving the door ajar and Jack photographing? The role of sexuality in the film---exploitive, sensual, enjoyment, political weapon?

14. The portrait of Monica - the introduction, her Sri Lankan background, her life with Jack, presents, the sari sequence, her being with him at the camp, the decision to break up? Her regrets? His seeming detachment?

15. The portrait of Eddie - as an American type, wealthy, the cigars, the chauffeur? His scouting for talent for business interests, the American government? His style of talking? His investigating Jack? His knowledge about him and his career, name? The setting up of the R & R camp? His explanations? The drive through the gardens and the discussion about the change in Singapore over the years? His employing Jack to spy on the Senator? His hosting the Senator, giving the sign behind his back? The final confrontation and Jack's arguing against him, throwing the photos away?

16. The importance of the Senator sequence - its length, prurience, the victimisation of the Senator - and his, meriting it or not? The audience forced into sharing Jack's position after the destruction of the house, his having to survive, the need for money? The audience sharing his decision?

17. The Americans wandering through Singapore - the tourists, the war and the young soldiers in the street? The Americans at the camp, their songs, drugs and talk, brutality? The end of the war and the end of this presence in South East Asia?

18. How well did the film illustrate the good and bad in human nature? Insight? The comparisons between Jack and William Leigh? The portrait of the exiled British,? The Chinese? The Americans? The incidental characters throughout the film and their swift but effective delineation?

19. The audience immersed in a sleazy and corrupt world? Entertainment value? Insight?

THE SAILOR'S RETURN

UK, 1978, 112 minutes, Colour.
Tom Bell, Shope Sheideinde, Nigel Hawthorne, Clive Swift, Bernard Hill.
Directed by Jack Gold.

The Sailor’s Return is a striking film. However, it was very little seen.

The film has a 19th century setting. Tom Bell plays a sailor who returns to his home in England. However, he has married a wife from Dahomi and scandalises the people in his village. The film takes up interesting themes of the British empire, the colonialising of the British, the attitude towards Africans, especially in the 19th century, mixed-race marriages.

The film is strong on its detail of the English village, the psychology of the people there, the xenophobia, the inherent racism. The film has a very good cast, Tom Bell always a striking figure. Nigel Hawthorne is in support as is Clive Swift (Mrs Bucket’s husband in Keeping Up Appearances).

The film was directed by Jack Gold, an English director who began work in television, made a number of interesting films in the 1960s including The Reckoning and The Bofors Gun, began to make television films in the 1970s with Catholics. He also directed significant television features like The Naked Civil Servant.

1. An interesting and enjoyable film? Its dramatic impact? Humane impact? Qualities of production?

2. Colour photography, locations? The importance of the re-creation of period and its atmosphere? An authentic picture of the British past? The importance of detail in costume and decor and atmosphere? Audiences immersed in the period and the place? The musical score?

3. The screenplay and plot as a 19th century story with the style of 19th century novels? The establishing of character? The creation of situations? The emphasis on the social setting rather than the psychological? The picture
of a way of life? Comparisons with more subtle and psychological 20th century ways of storytelling?

4. The significance of the racial theme? Racism and integration in a 19th century British setting? in comparison with similar 20th century stories? The racial theme as unusual and arresting? The British and their isolation? Their curiosity about Africans? Delight, politeness? Criticism? Avoiding the black woman? Their cowardice, the attacks, the destruction? The final enslavement of the black by the British? Symbol of what was happening in 18th and 19th century Empire? The boots? The presumptions about race, prejudice? Attitudes towards British royalty - and the impossibility of transferring those attitudes to Africa? The importance about heritage and culture - from Dahomey and England? Race and religion themes?

5. The importance of African culture and dignity? Dahomey and its impact? Tulip? Adaptation and homesickness? Telling stories to Tom? Dreams, love, self-giving? Traditional religion and prayers? Hidden emblems: shells? The reaction to Christianity - fear of it? The visit to the church, the baptism, the talk with the vicar? The ratification of the marriage in the church? William's death and Tulip being trapped in Britain? The explanations of Christianity - the sense and the non-sense for the African? The comment on Christianity when listened to from the point of view of the African?

6. The atmosphere of the 19th century: the opening and the train, the shop, the employer and his bias, the open fields, the hotel and the life within the hotel, the local gentry, hostility, lyrical aspects of the quiet English countryside, the Church of England, the fights in the village, the boats etc.? The importance of this background for making the story credible? As seen from Tulip's point of view?

7. William Targett and the introduction to him? Tulip and her seeming to be a man? Revealed as his wife? The child? The basic love story and its credibility, humanity? The devotion to each other? Coming to the inn? The deal? The preparation for taking over the inn? Tom and his help? Fred (and the cowardice)? William establishing himself in the village, the help? His capacity for listening and drawing a clientele? Lucy and her anger? Harry and his love? The importance of the visit to the vicar, the clash? The baptism, the birth, the validation of the marriage? His absences, the fight and his being killed? A good man and a concerned man? A man of tenderness and humour? His broadness of view and his living without racial prejudice?

9. The introduction to Tulip: the background of Dahomey, her dress, adaptation to 19th century Britain? The incongruity of her wearing 19th century British clothes and behaving according to custom? The response of Harry and Lucy? Her love for William? Help in the inn? The reaction of the clientele? Tom and her hair? Billy and the two names? Her fear of the church? The vicar? Harry and the picnic? The confrontation with Lucy? Her happiness in the village? Her adapting to the customs - yet her dreams, her prayers, ritual ceremonies, her vision of the people and their being terrifying, the stone, the mushrooms - and the final disaster? The sadness of the funeral? Her son? Her walking back into the village and being lost there as a servant and slave? The portrait of a noble woman?

10. Tom and his being a nice young man, the detail of his work in the inn, the nature of his devotion, his weeping for Tulip?

11. Harry and his joy, the dance, the stories of the United States? Lucy and her snobbery and the visit?

12. Fred and the other members of the village - sympathy yet cowards? Their behaviour in the final struggle? The illness of the wife?

13. The build-up to the fight, the demonstrations against Tulip, her trying to manage without William? The final confrontation and William's death? The racial eruption of violence?

14. The film's portraying basic values of love, joy, family, work? Hatred and snobbery? The ultimate sadness with William's death and Tulip's enslavement? A comment on racism and Britain in the 19th century?

THE SAILOR WHO FELL FROM GRACE WITH THE SEA

UK, 1976, 105 minutes, Colour.
Sarah Miles, Kris Kristofferson. Jonathan Kahn, Margo Cunningham, Earl Rhodes.
Directed by Lewis John Carlino.

Hardly entertainment but a compelling study of love and evil. Transferred from Japan. Mishima's novel is now set in a beautiful English port, with Sarah Miles as a widow and Kris Kristofferson as the sailor. Mishima's philosophy of order in the universe with its amoral fascist imposition of that order can scarcely be visualised with the same subjective commitment as the author's. So, this version must remain a sympathetic version of a bizarre outlook on life and the audience must balance out the love of sailor and widow against the cruel justice mouthed and administered by the schoolboy chief and his henchmen. The treatment is not "realistic" but symbolic.

1. The impact of the film, involvement, interest?

2. Critics were generally hostile to the film. On what grounds could it be attacked? Adaptation of a novel, Japanese novel? Critics attacked the pretentious treatment.

3. This was the first film directed by the writer-director. He had previous experience in writing many films. How well did he adapt a novel for the screen?

4. The origin of the novel was Japan. It reflected the attitudes of Yukio Mishima and his, right-wing, fascist, self-destructive philosophy of life. How well did the writer adapt the Japanese ideas to the English setting? Japanese characters in a Japanese environment to English and American characters in an English setting?

5. The impact of the title, its indication of themes? Its reference to Jim, Jim's experience with Ann and Jonathan? The 'falling from grace' from the point of view of Jonathan and the Chief?

6. The importance of colour, Panavision? The recurring themes and the piano? The credits sequences and the seascapes? The importance of the atmosphere of the sea: visually, in sound? The cliffs. the water, the various moods of the sea, the varying times of the day? A natural world of the sea? The sea and the artificial world of the port, homes, the town, international shipping?

7. The presentation of the town itself, the Osborne household, the Chief's home, school, shops, cafes? How was the English atmosphere communicated via these locations?

8. The initial focus on Jonathan and audience interest in him? The detailed attention to darkness, the room, his getting up? His moving towards the meeting? The atmosphere of the night meeting? The introduction to the philosophy of the Chief and his hold over the boys? The atmosphere of a secret group, peer group, their code? For what purpose?

9. The initial indications of themes of intellect versus feeling and emotion? The Chief and his intellectual control and his educating of his peers? Their feeling and emotional response, as boys? The importance of the Chief's showing them the sex books and then lecturing them on their feelings? His theories of life, control, order, killing? Of holding the heart of something living in his hand?

1O. The personality of the Chief and his domination of the themes of the film? His appearance, age, precocity? His language, stern attitudes? The background of the absence of his parents? In his home? The school vengeance? His conducting of the meeting, the boys and their numbers? His confrontation with adults and his control? His confrontation with Jim and challenging him in his look and manner of speaking? His ability to act, his double talk with adults? A credible character, symbolic character?

11. Jonathan and his age and precocity as compared with the Chief? His being an only child, his relying on the Chief, his learning from him? The comparison with the other boys and their petty attitudes? Their boyishness? Puberty?

12. Jonathan and his relationship with his mother? The love between them, her control over him and her lack of control? Her puzzle about his outings, her rebuking him, locking him up? His moods and tantrums? Destroying the room and then tidying it again? The absence of his father? Attitudes towards punishing? His refusal to tell his mother? Mrs. Palmer and her observations on him?

13. How sympathetic a character was Anne Osborne? As a woman, the particular styles in Sarah Miles' performance? As a mother, widow? Her ability to cope with life, her loneliness? The manifestations of this, of her loneliness in her bedroom, make-up, before her mirror, the masturbation sequence? (Appropriately explicit, exploitive?) Seeing her with Mrs. Palmer, running her household, the sequences of her at work, discussions about antiques, her relationships with her staff? A rounded portrait of a woman?

14. The significance of Jonathan's finding the hole and his ability to pry on his mother? The effect on the audience, the effect on Mm? The audience prying with him? The visual effects of the camera looking through the hole, of the audience looking through the hole? An atmosphere of prurience, curiosity, puzzle?

15. The impact of the arrival of the ship on the town itself, on Anne, on Jonathan? The sunny day, the size of the ship, in the beautiful harbour? An atmosphere of beauty, the possibility of grace and fulfilment?

16. Anne taking Jonathan on tour and his enjoyment of it, his gratitude towards his mother, the bond between them? The encounter with Jim and the initial impact that he made? Kris Kristofferson's style and personality? What kind of person was Jim, as he revealed himself during the tour, impressed with Jonathan's knowledge, creating a bond between them? Anne and her gratitude? The inevitability of a bond, of a liaison? The enjoyment of one another's company and the way this was portrayed, the meal, the walk along the shore, the mutual talk about their own experiences and life, communication, love? The sexual culmination? (Appropriately explicit, exploitive?) The irony of Jonathan using the peephole and the audience sharing this prying with him? The presentation of human relationships, love and beauty? The puzzle for those observing? The atmosphere of the voyeur?

17. Jonathan and his admiration for Jim? The emotional effect, the counteraction with the sarcasm of the Chief? The theory of order, of grace, the universe? The significance of the title as applied to this experience of Jim? The importance of the device of Jonathan's diary, the voice-over narrative exploring the dilemma about the Chief's vision of the world, Jonathan's sharing of this, Jim's behaviour?

18. Jim's departure and Jonathan's happiness in his being a sailor? The importance of the devices used for the passing of time, the seasons, Anne and Jonathan about their ordinary life in the port, Jim and the voyage at sea, the letters, the map? The effect of the absence on each of them? on the Chief and his taunting of Jonathan? The dilemma and the hurt to Jonathan? The importance of Jim's vision and his searching for his visionary shark and the meaning of his life?

19. The impact visually of the return of the ship, the joy of Ann, the effect on Jonathan? On the Chief? Jonathan in his illness, the ambiguity of his reaction, his rudeness? Ann and her joy, going to meet the ship? Having the meal and the afternoon tea, the sexual overtones of the relationship of the two in the cafe, people's reactions and Ann's disregarding of these? The build-up of the liaison, love, proposal? The dilemma of communicating this with Jonathan? The exhilaration of the picnic and the rolling down the hill, the beauty of the countryside, the sea, an atmosphere for informing Jonathan? The ambiguity of his reaction?

20. The importance of Jonathan being caught spying? The hysterical reaction of his mother? Jim and his ability to cope? His fatherly reaction, getting Jonathan to apologise? The effect on Jonathan? (The irony of Jonathan imagining his mother telling him that it was all a joke? - the projection of his own imagination?)

21. The Chief and his decision for action against Jim? How well was the audience prepared for this with the incident with the cat? The Chief's lecture about life and having the heart of something living in his hand, the importance of the sequences where the boys dissected the cat? (The way this was visually and tastefully presented, though cruel and violent?)

22. The build-up towards the climax of the film: the cross-cutting and their ironies, Jim and Anne and their preparations for the wedding, the going to the various shops, happiness? The Chief and the boys and their plan for killing Jim? The effect of this cross-cutting?

23. How did this rise to a height with Ann going about her work and the impending sorrow, the ship and its leaving and Jim watching it? Jim telling his story in a fatherly way, the boys and their hypocrisy and their being pictured as typically English schoolboys, with their deadly intent? The long tracking away from them for the audience to appreciate what was happening?

24. What was the audience left with at the end? Pessimism? The sadness of life? Falling from grace?

25. How realistic was the film meant to be, how symbolic? Was the technique sufficiently blending realistic treatment and symbolic? The importance of slow movement, panning and tracking, the fluid observation of these events and characters on the part of the audience?

26. Themes of defeat, death, the order of the universe, idealism, precocious children, honour, education?

SAHARA

US, 1983, 106 minutes, Colour.
Brooke Shields, Lambert Wilson, John Rhys Davies, Horst Buchholz, John Mills, Perry Lang, Cliff Potts.
Directed by Andrew V. Mc Laglan.

Sahara is one of those spectacular action adventures that uses every desert cliche that it is easy to poke fun at and laugh at. Yet in its own preposterous way it is an enjoyable action adventure. Produced by the prolific Menahem Golan and Yoram Globus, the film has no pretensions to art. It was directed by Andrew V. Mc Laglen, veteran of many John Wayne and James Stewart westerns and such action films as The Wild Geese and North Sea Hijack.

The film is a vehicle for Brooke Shields - a very tall girl who has the chance to be both glamorous and, for the feminists, very active in being disguised as a man, joining in fist fights, driving a racing car, helping the desert tribes against their enemies. She is joined by Lambert Wilson, from Five Days One Summer, as the attractive sheikh. Sir John Mills appears as Cambridge - in a quite strange, even laughable role.

The desert scenery and the atmosphere of the late '20s are quite spectacular - from races to tribal fights to the final riding into the sunset. One might note that the film was set in 1927 - a year after Valentino captured world-wide audiences as The Sheikh.

1. Entertaining adventure? Traditional desert cliches? Derivative material? Designed as a spectacular entertainment vehicle for Brooke Shields? Working on that level?

2. Panavision photography, the American atmosphere, racing cars, Detroit affluence? The Sahara, the towns, the desert locations? Period, cars? Costumes? The spirit of ~he desert? Ennio Morricone's atmospheric score?

3. The film as a Brooke Shields vehicle: her image, glamour, action, age, romantic heroine - equal to the romantic sheikh?

4. The prologue with the massacre and the tribal wars? The leopards? The chase of the desert people, the gypsy boy and his survival, his helping Dale? His part in the story?

5. The transition to Detroit, the development of automobiles, testing cars, races? Detroit in the '20s? Business deals? Dale and her driving? The party, her tomboyish style, her daring? Her love for her father? The deals, the accident and his death? Her promise on his deathbed? An obvious setting-up for what was to follow?

6. Brooke Shields and the masculine-feminine style of her character? A girl driving racing cars in the '20s? Her being disguised as a boy, reaction to her, the fist fights? Her beauty? The sheikh seeing her in the town? The rules for the rally - and her enjoyment of revealing herself as a girl once they had started? Brooke Shields as a gung-ho heroine?

7. The atmosphere of Africa, the cities, customs, the exotic style, the nightclubs, the slavers and their capturing the women, the sheikhs and their way of life, affluence, power? The contrast between the American way of life and Africa?

8. The race and its competitors? The national groups? The Germans as the comic villains? The Italians? The British? The terrain, the valleys, the accidents? The two different routes? The Germans and their deal, the two cars - and the comic turns? Horst Buchholz and his comic role? The build-up to the ending and the victory? The appeal of vintage cars of the '20s?

9. Dale and her crew, the decisions, the massacre and the discovery of the bodies, the driving, Dale being abducted, kept, clashing with the sheikh's uncle, the discovery of Cambridge, the escape, the sheikh rescuing her, clash, the marriage ceremony, the romance, the promise? Dale's skill in using the dynamite? Her crew being tortured by the ants? The sheikh letting Dale go and her winning the race?

10. The picture of the tribes, their style, war, customs, marry, luxury?

11. Dale and the dynamite and the action sequences, the villain thinking she was a demon, his abducting her, the cage, the leopards and the pit, the rescue and the winning? -

12. The sheikh as a romantic type, his warlike uncle, the resumption of the war and his uncle helping him, the uncle's death? The visuals of the battle? The rescues? The perils?

13. The atmosphere of the end of the race? Dale's romantic choice -and the riding into the sunset?

14. Cliche material spectacularly presented, action, Valentino romance? Working on a popular level?

SADDLE THE WIND

US, 1958, 84 minutes, Colour.
Robert Taylor, John Cassavetes, Julie London, Donald Crisp, Charles McGraw?, Royal Dano.
Directed by Robert Parrish.

Saddle the Wind is an excellent Western, directed by Robert Parrish. He was to go on to make Wonderful Country with the same leading lady, Julie London. Parrish, a writer-actor, has not made so many films. The strength of this film comes from Rod Serling's screenplay. Serling was a master of cinema and television writing with such scripts as Requiem for a Heavyweight, The Planet of the Apes and many socially conscious scripts. Robert Taylor in his middle-age, developed into a stronger character actor than the romantic hero of the past. He brings a grim seriousness to the central role and Julie London brings a dignified sense of self assertion. However John Cassavetes, early in his career, is very striking as the younger brother. Themes of the open range, settlers after the civil war, brothers' rivalry and the those of the American gunfighter are all very strongly to the fore in an intelligent Western.

1. An effective Western? Colour, Cinemascope, the use of the title and the lyrics of the song?

2. Conventions of the western about the range and the clash between the cattle and the sheepmen and the settlers? The background of the pioneers, the farmers, the land-owners?

3. The American West and the atmosphere of conflicts of interest, conflicts of prosperity, consequent violence? Audience familiarity with these themes and the way they were presented in this film? What insight?

4. The quality of the film's presentation of the town and its way of life, the range itself and the cattle grazing, the fencing? The gun-fighters? The importance of the introduction of the gun-fighter and the focus on Chris and Tony?

5. The structure of the film with the two brothers? The initial joy as they returned from the ride, the admiration of the younger brother, the older brother's protection? The bonds between the two and the younger brother being brought up by the older? The souring of the relationship. the influence of the environment and its atmosphere, of violence and guns, leading to death?

6. Chris as played by Robert Taylor, his style? The revelation about his past as a gunfighter, his building on the past and becoming an owner, his responsibility to Deneen? A sombre character, his relationship with his workmen? The impact of the girl and his right to disagree with her? The repercussions of her presence? His reaction to the squatters and his just attitude towards them? His reaction to death: the gun-fighter killed by Tony, the harassing of the settlers, the death of the settler? The build-up to the confrontation between himself and Tony? The importance of his decision and his sense of gratitude and responsibility towards Deneen? His leaving, his final staying? The romantic background to this?

7. Tony presented as the younger brash cattleman, bringing the girl from the saloon without knowing much about her, his courteous style, his background as a child. the modelling on his brother, the challenge and violence, drinking and showing off, shooting the gunfighter with minimum provocation.. taunting the squatters with his friend and burning their possessions? How was the change manifest in him? The rights and wrongs of his stances? Deneen's attitude.. the girls, Chris's? His wanting to take-over and his trying to get the men on side? Was he doomed to failure?

8. The character of the girl? The type, background, her taking the opportunity with Tony, her behaviour in the homestead, reaction to Chris, her standing up for her rights? The possibility of building a future? Her realisation of Tony's attitudes after the killing of the gunfighter? How did she become a focus for the two men and their choices? The peaceful riding the range with Chris? Tony's uncertainties?

9. The portrait of Deneen as a man of principle on the range? A cattleman, keen on fencing? Hoping to amass his fortune and build his empire by just means? His protection of the settlers? The irony of his being shot by Tony? His magnanimity at the end?

10. The portrait of the people in the town, Tony's friends, the workmen?

11. The importance of the squatters and their rights? The background of the Civil War, legal possession, settling, the clash with cattle movements? The build-up to the confrontation and the desperate burning by Tony? The confrontation in the town under the protection of Deneen? The squatter's death?

12. How important was the background of the Civil War and the way that it was used in conversation, in challenge, a symbol of hostility?

13. The atmosphere of gun-fights and death? The confrontation between Tony and Chris in the mountains? Audience expectation of Tony's killing himself and reaction to it? His motivation?

14. The building of the future with Chris? The picture of the West, the picture of the American heritage? The significance of the title?