SUMMER HOLIDAY

UK, 1962, 109 Minutes, Colour,
Cliff Richard, Laurie Peters, Melvyn Hayes, Una Stubbs, Teddy Green.
Directed by Peter Yates.

Summer Holiday was one of several vehicles to popularise Cliff Richard in the early '60s. The Young Ones, Finders Keepers were other films for him. The films also gave opportunities for young directors to make British musicals e.g. Sidney J. Furie and with this film Peter Yates. They later had strong careers in Hollywood, especially Yates with such hits as Bullitt, Murphy's War, The Hot Rock, For Pete's Sake. Cliff Richard has been a durable British singer for more than two decades and the film is very pleasant obvious entertainment with production numbers, European locations, Cinemascope and colour. The film has a strong supporting cast including Ron Moody and David Kossoff. Very much a product of its time, interesting as an example of a British musical, the work of Peter Yates, a focus on the talent of Cliff Richard.

1. What is the main appeal of a musical? what audiences like musicals? This as an example of the 60s? Its appeal and impact now?

2. The appeal of Cliff Richard, the young audience, the youthful characters, colour, wide-screen etc.?

3. The use of locations, the tour of Europe, the varying cinematic and editorial styles, especially for the choreography and the travel?

4. The journey structure of the film and its continued interest? Athens as the goal, the initial preparations, the accident with the girls, stowaway, crises and climax, success? Easy audience involvement?

5. How real did the characters and situations seem to be? How unreal or contrived for the musical genre? Audience response to these contrived characters?

6. The quality of the music, songs and lyrics, choreography? The use of locations for the choreography? How well did the film use musical conventions?

7. The atmosphere of the opening, the preparations of the bus, the theme of the summer holiday?

8. How interesting were the boys as characters? Serious, humorous? The comparison with the girls? The initial dance, the different characters amongst the girls? Barbara and her first appearance as a boy, the revelation of the truth?

9. The presentation of youthful affection and the discussion of falling in love?

10. The satire on Barbara's lover and her possessiveness, her ambitions? Her bossing the agent around? The devious ways to stop the bus? The humour of the French court, walking up the mountain etc.?

11. How interesting and entertaining was the incident in Yugoslavia? The mistake about the bread, the marriage routine?

12. The climax and everything coming to a head in Athens? The British consul and his help? The humour of the press conference, the mother making the best out of very situation?

13. The appropriate happy ending? The entertainment value of musicals? The ordinary values that they appeal to in the ordinary audience?

THE SUGARLAND EXPRESS

US, 1974, 110 minutes, Colour.
Goldie Hawn, Ben Johnson, Michael Sacks, William Atherton, Gregory Walcott.
Directed by Steven Spielberg.

The Sugarland Express is a true story which looks far-fetched, this is a strange chase film, a naively innocent couple of petty criminals who want their baby and who get the whole of the Texas police force chasing, then trailing them and finally forming an escort procession. Director Steven Spielberg made Duel and here scores with his eye for local detail and colour which gives social and human conviction to his story. Naturally, he is also good on car and road sequences. Goldie Hawn and William Atherton endow their roles with a good blend of charm and stupidity. Michael Saks as the young police officer they kidnap interacts excellently with them. Worth seeing.

1. Why was this film so enjoyable? How much truth about people was there in it? How interesting a view of America did it give? What was its basic message? Did this all contribute to the enjoyment?

2. What was the final impact of the film? The emotional response to the story of two young people and the police? Is this the intention of the film, to get an emotional impact? What insight into America and the people did the film give? Was this part of the impact - of American society and its styles?

3. How effective was the title for this particular chase and procession? Comment on the use of colour and location photography, the atmosphere of the film, the cars, the guns, the prison backgrounds for the opening of the film and the implications of this.

4. How central was the character of Lou Jean? How attractive a girl was she? The personality and performance of Goldie Hawn? Our first impressions of her, her going to the prison, the fact of her prison record, her background and limited abilities, her lack of intelligence, yet her genuine sincerity, the effect of motherhood on her? Her ingenuity in the escape of Clovis? The fact that she was continually urging him on? How reckless a person was she? Reckless of other people's lives? How innocent was she? How ingenious? A calculated innocence? The parallels of Bonnie and Clyde and the model for Lou Jean and Clovis? Her relationship to the couple whose car was taken? Her attitude towards Maxwell Slide and how this grew into affection? Which sequences illustrated her character best - her love for Clovis, anxiety for the baby, her behaviour towards Slide, having a quest for stamps at the garage, sharing food, the night in the caravan, her reaction to the violence? why did she urge Clovis to get the baby even though it meant his death? How disillusioned was she by the end of the film, about the baby, American society, Clovis's death, Tanner and his keeping his word? Did the support of the people along the way help her?

5. The story is based on fact. Did you think it was credible? The escape and the hijacking of the car and the policeman? The police cars and the enormous number of police involved in the chase? The violence that ensued, the snipers and Tanner having to break his word about violence? The ordinary people along the way supporting, cheering, giving presents to Lou Jean etc.? What did this say about people and American society?

6. How interesting a person was Clovis? As a petty criminal, married to Lou Jean young, his sense of fatherhood compared with her motherhood? The nature of his escape and exhilaration? His recklessness about cars and people's lives? His being pushed by Lou Jean? How much initiative did he have or was he entirely pushed by Lou Jean? Did the audience get to like him during the film? Which sequences illustrated this best? The emotional impact of his being killed? Its uselessness?

7. Maxwell Slide: as an ordinary young policeman, as a typical American citizen, doing his duty, his involvement in the police chase and the crash, his being taken, being scared, were his reactions to Lou Jean and Clovis credible? His abiding by the book? The new situation shifting his values and decisions? His growing sympathy for them? Sharing the danger and experience? Being a victim of the violence? His sharing food, songs, the caravan? How happy and sad an experience was it for him? How disillusioning at the end?

8. Tanner: typical policeman? Was it necessary to call out the Texas police in force? (The Louisiana police and their souped-up car giving chase?), the violence that ensured, his reluctance for violence, his way of communicating via the radio in the car with Lou Jean and Clovis? The changing values in their communication by radio? The fact that he arrested the violent gunman? The fact that he was unable to keep his word? (Could he have kept his word without violence?)

9. What was the general impression of people in this film? The men in prison, the couple whose car was taken, the Texas police, the Louisiana police, the people in the shops, the snipers with their telescopic guns and their eagerness to shoot, the two who shot in the saleyard and were arrested, the ordinary people who watched?

10. Did you have any sympathy for the family who had adopted the baby? The danger for the alliance? Their anguish in giving up the baby? was it fair to make the adopted father so violent in his reactions? why?

11. What did the film have to say about good and evil, society and individuals, risks and chances, malice, the value of human life, families, the individual crushed by the state?

12. How well did the film utilise the cinematic techniques especially in the use of cars and the use of the highway, the sense of motion and movement, modern cars and communication? The contrast of the lay-by sequences with the moving sequences?

13. How impressive a film was this? Critics were high in praise. Audiences generally stayed away. Why?

SUDDENLY

US, 1954, 75 minutes, Black and white.
Frank Sinatra, Sterling Hayden, James Gleason, Nancy Gates, Kim Charney.
Directed by Lewis Allen.

Suddenly was a very fine film of 1954. A small budget, brief in running time, it nevertheless caught the dramatic atmosphere of an attempted assassination of the American president.

Frank Sinatra, after his Oscar-winning performance in From Here to Eternity, is credible as the would-be assassin. Sterling Hayden is sturdy as the town's sheriff. The screenplay recalls past assassination attempts on presidents - and is, of course, prophetic for the deal of Sinatra’s friend, President John F. Kennedy. (Sinatra was also to appear in John Frankenheimer’s The Manchurian Candidate in 1962, based on Richard Condon's novel, which was even more prophetic of the Kennedy assassination.)

The film highlights the tension in an ordinary family taken over by the killers, as well as the psychological pressure on the killers.

1. Impact of the film? '50s? Now? Its success, relevance?

2. Black and white photography, the town of Suddenly, the house? Action? Score?

3. The credibility of the plot, assassination attempts before 1954? (And later?)

4. The town, ordinary, its Saturday way of life? The patriotic stances of the population? Speeches?

5. Todd Shaw as sheriff, at work, order in the town, knowing everyone, the police, the message coming through, the arrangements, the arrival of he Secret Service?

6. Ellen, Pidge and Pop? Family on a Saturday? Ellen's bitterness about her husband's death in the war, Pop's patriotism? Her preserving her son from any dangers? The point made about over-protection? Pop and his background in the Secret Service, retirement? Fixing the TV? For building up for the confrontation with the assassin?

7. Frank Sinatra as Johnny Baron? Credible? Ben and Wheeler helping him? Arrival as the F.B.1? The background to the job, no names and information? Searching the house, Todd and the Chief arriving, the shootings? Holding the family? Tough with Todd and the boy, Ellen and her fear? Pop and his shrewdness? Harsh attitudes, setting up the table and the gun for the
assassination?

8. Todd, being shot, the Secret Serviceman dying, the removal of the car? The binding of Todd's arm, Baron putting it straight? Pop and the gun? The family held, reactions, fear? Judd's arrival to fix the TV, his disbelief? The passing of the time, the phone call, the Secret Serviceman arriving and Ellen acting? Pidge and his taunts, changing guns?

9. Johnny and his background, orphan, parents, the army, the Silver Star, his love of killing? The court-martial? No feelings? No feeling towards the president, thinking out the options, his shrewdness, handling the situation? Todd understanding his psychology, goading him, putting him on the edge? Ben going into the town, the meeting with the policeman, giving away the information, the shooting? Wheeler and his doubts? The electrification at the table, the gun? Wheeler's death? Ellen shooting Johnny? His 'Oh, no'?

10. Todd and his provocation, Ellen and the shooting, Pidge and his shrewdness, Judd and his electrifying the table, his death? Pop and his heart turn, shrewdness about the television?

11. The people in the town, the shooting, the alert, the train going through?

12. The aftermath, Ellen and her learning not to protect Pidge, the Secret Serviceman explaining? The town of Suddenly returning to normal? Assassination possibilities?

SUDDEN IMPACT

US, 1983, 112 minutes, Colour.
Clint Eastwood, Sondra Locke, Pat Hingle, Bradford Dillman.
Directed by Clint Eastwood.

Sudden Impact is the fourth in the Dirty Harry series - after Dirty Harry, Magnum Force, The Enforcer. It is perhaps the most grim and deadly of the films - raising moral questions about the police, the administration of justice, vigilante tactics. It also raised controversy because of its focus on a rape situation and revenge, the role of the woman taking revenge against men. It was complicated by the macho image of Harry Callahan and his use of his Magnum to right wrongs.

Clint Eastwood also looks particularly grim in this film (although it came between his rather amiable-Honky Tonk Man and the more intelligently intense Tightrope). Frequent co-star Sondra Locke is the heroine. As always, there is a strong supporting cast. At the end Harry Callahan is surrounded by light almost as a halo, seeming to glorify this outsider man of action.

Technical credits are, as always, very good and include a musical score by Lalo Schifrin and a song, 'This Side of Forever' performed by Roberta Flack.

1. The popularity of the Dirty Harry series? The changes through the '70s and '80s? The popularity of police series - the hero police, police corruption? Audience familiarity with police work, detection? The focus on crime, violence, abuse?

2. Californian locations? The use of night? Light and darkness? Shadow world? Pace? Special effects? The musical score? Theme song?

3. The title and its reference to Dirty Harry? Violence? The question of police administration and detection? Corruption? Cover-ups? The loner policeman and his impact? The sudden impact of violence and abuse on the ordinary citizen? Retaliation, vengeance?

4. Clint Eastwood's style as Dirty Harry Callahan: presence, appearance? Laconic manner of speaking? Seriousness? His reliance on his strength, on his Magnum? The clashes with the police superiors? The examples of his justice? The death of the gang boss? His being sent on 'vacation'? The ugliness of the murder investigation? The clash with Jannings? The intervention at the hold-up? The meeting with Jennifer Spencer? The investigations and Harry's manner? The continual killings? The photo on Jannings' wall? The interview with Rae Parkins? The arrest of Mickey? Mickey's being released? The death of his ex-partner Horace King? The episodes at the fairground? The aura of light behind Dirty Harry? His relationship with Jennifer? The truth?. The decision to let her go? Decisions of right and wrong? Moral decisions?

5. Jennifer Spencer as artist? The memories of the rape? Her sister? Audience response to the visuals of the gang and their brutality? Her traumatised sister and Jennifer's motivation? The killings and their violent style? The clash with Rae Parkins and her giving Jennifer to the Mob? Rae's death? The clash with Mickey? With Jannings and his telling the truth? The confrontation with Mickey and the rescue by Harry? Her being allowed to go?

6. The picture of the police - the authorities in San Francisco and their exasperation with Harry? Friendliness with him? The local police and Jannings' authority? Clashes? Jannings and his protecting his son? The clash with Mickey and his death?

7. The youngsters and their brutality towards the girls? Their covering up? Their being killed by Jennifer? Audience response to this vengeance? Rae Parkins and her lesbian background? Antagonism towards Jennifer? Her being shot? Mickey as psychopath, her clashes with Harry, his killing Jannings, the clash with Jennifer and the attempted rape, the taunts of impotence, the fairground and the battle (High Noon style at night) with Harry?

8. Themes of rape and murder? Their being part of contemporary society? The possibilities of law and justice administering revenge and justice? The role of the individual? Justice questions? Moral questions?

THE STUNT MAN

US, 1979, 130 minutes, Colour.
Peter O' Toole, Barbara Hershey, Steve Railsback, Sharon Farrell, John Garwood, Allen Goorwitz, Alex Rocco, Chuck Bail, Adam Roarke.
Directed by Richard Rush.

The Stunt Man actually has a great deal of spectacular stunt work, but it’s about a powerful director who manipulates a Vietnam veteran fugitive from the police, both in real life and for his performance for the film. Audiences see things from the fugitive's growing suspicious viewpoint and share the illusions, often not knowing whether what occurs is the film or the film within the film. Peter O’ Toole presides as the God/Satanic director. Steve Railsback (Manson in Helter Skelter) is very good as the fugitive.

Action writer/director Richard Rush propels the action, the characters and audiences along, enjoying the action and puzzling over serious themes of life and death, identity, risk. Rush has a background of writing and direction in the '60s of some Hell's Angels films with Jack Nicholson. His commercial films include Getting Straight and Freebie and the Bean. The Stunt Man received many Oscar nominations including Best Director, Best Actor.

1. The difficulties in the release of the film? Its being considered non-commercial? Held up for two years? The eventual release - success in America? World wide? Awards and nominations? The director working on the film for almost ten years?

2. The appeal of the film - in terms of plot, stunts? Its significance and exploration of themes of human nature, human situation, free will, control? Box office success? Critical success?

3. The focus of the title on Cameron? The implications because of the focus on films and film-making? The director as the stuntman par excellence? The hero as himself and as doubling for others? His reality and unreality? Identity and non-identity? Stars merely being faces for the reality of the stuntman? The stuntman being a face and a body for the director? The audience not seeing the stunts and the enigma of the stuntman? Audience admiration for his skills? An evocative title?

4. The mystery of the opening with its symbolism, location, character, action presented so swiftly? The focus on the bird, the roof, the town, the helicopter, the apple dropping, the police, the encounter with Cameron? This small segment indicating the intricacy, pace, fluidity and style of the film? Audience attention being arrested, imaginations activated? Alertness to reality and symbol? The cinematic nature of the film? Film's use of cinematic techniques and its manipulation of its audience? The importance of the devices for editing, the effects of editing for information, emotional response? Playing with audience emotional response? The musical score, the lively theme music? The song and its lyrics - and insertion into the screenplay?

5. The development of the plot: the introduction to Cameron on the run, Eli Cross and his direction work? Cameron running? Audiences identifying with him without knowing why? The episodes in the town, confrontation and the exhilaration of his escape? His outwitting his pursuers, the opportunity of the car, Eli Cross and his watchful presence? The crash? The realism and the filming? The gradual development of films and tricks? Audiences watching filming - with gasp and applause like the cinema audience? Cameron and his being continually tricked? For example, Nina and her fall? Eli saving him? The proposal for him to do stunt work? Police curiosity and investigation? The transition from Cameron to Burt and to Lucky? The making of the film, his training, doing ever more dangerous stunts? Eli and the discussions about making the film? Manipulating Cameron? The relation ship with Nina? The film crew? The changing of the writing of the film? The culmination in the final stunt? The dynamism of the action of the screenplay?

6. The audience sharing Cameron's view of what was happening? Feeling with him? His background, escape from the police, hiding from the police? His feeling towards Ell? Feelings of manipulation? The build-up to the final stunt and his suspicions of Ell? His trust in Nina, love, sense of betrayal? His finally being trapped? Rescued? The ironic laughter of the ending?

7. How well did the film portray Cameron as a character: his appearance, disguising his clothes after the escape? Watching the filming and being taken in? Rescuing Nina? His being persuaded to stay with the film group? The transformation of his appearance, makeup? His being fascinated and repelled? The details of his training? The execution of the stunts? His initial apprehensions, growing exhilaration? (The explanation about trick photography, the size of King Kong, the manipulating of film e.g. with the sunset?) The friendship with Nina, the sexual relationship, the disappointment? The makeup girl? Raymond and his standing in for him? Eli stimulating him into action, understanding, puzzle? His place in the symbolism of the film? His doing the stunts and not knowing what was happening to him? Keyed up, relief? His contributing ideas e.g. the dance on the wings of the plane? In and out of his character's clothes and back to himself in disguise? Wanting to leave, wanting to stay? The sequence with Nina on the tower? His reaction to Eli knowing everything? The discussion with Sam about Nina? His beginning to understand? Police pursuit and the irony of the manipulated film for their consumption? His finally telling his story to Nina? War experience, coming home, violence and disillusionment? The farce scenes with the paint? The build-up to the escape and his finally being tricked by Ell? The argument about the money at the end? The final admiration of the police? Three days and his being transformed? The craziness of the situation? (The importance of his being a Vietnam veteran and the aftermath of the Vietnam war - strong for himself, maladjusted in coming home? Eli's comments on people forgetting the war?)

8. The film as an image and symbol of the contemporary world? Ordinariness, realities and appearances, Vietnam and peace, violence and craziness, disillusionment, accidents and death, victims and victimisers? Escape, camouflage, reality and unreality, the nature of illusion, seeing and making assumptions, changing viewpoints? Eli’s theory of paranoia and cure? The existential challenge of life and action? Puppet characters and real characters? The nature of being real?

9. Peter O'Toole's performance as Ell? His godlike domination from the helicopter, his appearance, mannered speaking, the role of the film director, "If God could do what we could do, He'd be a happy man"? The satanic aspects of the director? Being godlike but controlling for evil and destruction? The relentlessness of the director - to keep filming even while a man was drowning? His theory about making anti-war film - and the irony of its being interpreted in the opposite way? The confrontation with Cameron on the beach, shielding him from the police, hiring him, changing his name? His pressure on his associates to accept him? Sam and his screenplay? The meals and the discussions? Ell's use of Nina, infatuation with her, their past? His past, his knowing what was happening? Throwing her at Cameron yet controlling her? His speeches. theories? The meals with the group and the to-ing and fro-ing of discussion? The fascination for Cameron? The transition from film to reality and his use of the film sequences for commenting on reality e.g. the scenes of Nina ageing, the cemetery? The control over Nina e.g. showing the bedroom scenes to her parents and pretending that it was an accident? The attitude towards Raymond and his behaviour, stunts? The sense of the outrageous e.g. the dancing on the plane? The build-up to the final sequence? His hovering and filming? His belief in his film? And the irony of the altercations about money at the end?

10. Nina as heroine - seeing her on the television ad, as the old lady and being rescued, her makeup? Docile towards Eli ? The background of their affair? Her place in the group? The friendship with Cameron? Sexual relationship and their discussions, choices? Her presence in the film itself, especially in the cemetery scenes? (And the comment on war and memories of war?), the sex scenes and their being shown to her parents? Her being made to cry? Listening to Cameron's story, the painting sequence? In the boot of the car? The chase in the mud? The finale and her being on Ell's side? Cameron adjusting to her realities? A future with Cameron or not?

11. Sam and the dilemmas of the screenwriter? Story, adaptations, gloom. playing it safe, his love of the outrageous, his advice to Cameron? A credible sketch of a screenwriting type?

12. The assistant manager and his doing Ell's will? The stunt trainer and the details of training Cameron, the tricks for the camera? The elaborate sequences on the building, falls and chases? The editors and their cutting? The makeup girl - as a type? Raymond as the leading man -his skills, his leaving the stunt work to Cameron?

13. The police, permissions for filming, Jake and his exasperation? Interviews? Watching the doctored film? Finally believing that Cameron was Burt?

14. The technical and technological aspects of film and filming, the exhilaration of filming and creating? Makeup and tricks e.g. the beach sequence and war? Explosions? Bombings? The flying plane and the dancing and yet its being on the ground as a machine? Editing and the comments on King Kong? Tricks to make actors and actresses emote? The build-up to the final crash and drowning? The divers?

15. The background theme of war, anti-war, the first world war, Vietnam? Heroes and heroism?

16. Film and outrageous creative art - budget. the scope of the imagination, stunts? The outrageous aspects of this film in itself?

17. Themes of exhilaration, action, violence? Power and control? Physical and psychological control? Art and reality?

THE STUDENT OF PRAGUE

Germany, 1913, 85 minutes, Black and white.
Paul Weggener, Lyda Salmonova.
Directed by Stellan Rye.

The Student of Prague is an interesting example of very early German film-making. It is very competent in comparison with silent films of the period - pre-Griffith. Paul Weggener - later to appear in such films as The Golem and to be a Hitler-supporting actor in The Third Reich, is effective as the student and his double.

While the sets are romantic and realistic (with some Prague locations), the atmosphere of the film is of the supernatural and the psychological: the reckless hero, selling himself for money, the evil genius taking possession of him and producing his mirror image, his double. The focus on the split personality and the conflict of good and evil was to become a mark of German surrealist films after the war, starting from The Cabinet of Dr Caligari. In fact, the film was remade in the '20s with Conrad Veidt and Werner Krauss, the stars of Caligari. The film has some power despite its being one of the early pioneer German films.

1. The quality of the 1913 production, impact in its time, today? German cinema history? Interesting and entertaining?

2. Black and white photography, fixed camera, movement and tableau, special effects, editing? The acting and styles - rhetorical, naturalistic, stage influence? The added score?

3. The background of the realism and the romanticism? The Prague locations? Yet the foreshadowing of the surrealistic films after the experience of World War One? Sets, costumes?

4. The spiritual and psychological themes: the double, the doppelganger, the good and evil facets of the one personality, the split personality, the nature of the conflict? Sin, the need for redemption, love and salvation? Destruction? The pessimistic end of the film? The evil outside controller? The importance of the de Musset about the double, the name, the mirror image, the sitting on the grave -and its visualising at the end?

5. The conventional aspects of the plot and their interest: the student as the man-about-town, ability to fight, recklessness, the woman in love with him, the need for money? His selling himself to the opportunist and deceiving himself? The evil owner and his manipulation? The girl and her love? The presentation of the nobility: the Earl, the Baron, the daughter, romantic complexes?

6. Baldwin in himself, wild, loving, fighting, giving himself away? Falling in love, the danger to Margit, the neglect of his lover, being accepted into the nobility, the confrontation, the truth for himself, wanting to be rid of his double? Killing his double yet dying? The evil Baldwin and his dramatisation? Symbol of evil?

7. The characters and their being sketched in silent style: the Baron, the fiancee, the heroine, the lover? The evil genius and his appearance?

8. The exploration of good and evil in the pre-war German context?

FIMPEN (STUBBY)

Sweden, 1974, 81 minutes, Colour.
Johan Bergman, Magnus Harenstan, Inger Bergman, Arne Bergman, Annelle Bergman.
Directed by Bo Widerberg.

Stubby is a Swedish children's film. It was directed by Bo Widerberg who achieved international fame with Elvira Madigan, Adalen 31, The Ballad of Joe Hill, and more recently The Man On The Roof. The theme of Stubby is sport. In this way most young audiences, especially boys, will be able to identify with it. The Swedish soccer team actually play themselves in the film which gives the film an atmosphere of authenticity. The film is probably the visualizing of every young sports-minded boy's ambition. Parents may enjoy it too, especially fathers.

1. How enjoyable and delightful a film? For what audience was it made? Impact on children, on adults? The nature of the differences? The differences? The different appeals?

2. The universal value of the football theme, its appeal? Dreams and reality? The Swedish emphasis of this f11mf including the Swedish Soccer Team? The atmosphere of authenticity for the fantasy? Its appeal to a non-Swedish audience?

3. The sense of realism that the film captured? Ordinary suburban life, interest in sport? The games themselves? The charm of the fantasy of a young child achieving such success? The fantasy of so many in the audience? How helpful is this to watch? Enjoy?

4. The film's presentation of the games, the skill with which they were photographed, the tension and atmosphere, commentators etc., news reports on papers and television?

5. The satire on sport promotion? The details of Stubby's being inaugurated into the team, his playing? The satire on the fans and their support, especially the man who discovered him?

6. How attractive a character was Stubby? A credible little boy playing soccer, his home life, his mother and his sister, his friends, even to forgetting to turn up for a match? His schooling and his sleepiness? How did his success affect him?

7. The pleasantness of a dream world, fantasy of success, the humour of a six year-old playing football? The humour in the paper interviews, television?

8. The personalities of the manager and the team? Their morale, co-operation, the humour of their reading the book to Stubby and going to sleep?

9. The importance of showing Stubby at school, learning, sleeping? The pride of the headmaster in his being a success? The interest of the school-teacher?

10. The build-up to the final match, the taxi driver and the discussion etc.?

11. The humour of the continual references to the 'star player' with which the film opened, his autographs, success, creating the atmosphere for the whole film by showing a successful man? His being out-manoeuvred by Stubby? His constant trying to get the thing right? His relationship with his girlfriend? The obsession and its humour?

12. The final message of the film, the comments of the schoolteacher about involvement and success?

THE STUBBORN MULE (Der Bockerer)

Austria/Germany, 1980, 96 minutes, Colour.
Karl Merkatz, Ida Krottendorf, Georg Schuchter.
Directed by Franz Antel.

The Stubborn Mule is an excellent film from Austria. Austrian cinema has not been prolific in the '70s and 180s but definitely makes a mark with this film. It is an attempt to review the period of World War Two in the light of the Austrian experience. There is regret about collaboration and Hitler's easy presence in Austria (as well as reflections on his Austrian origins). The film shows the plight of the Jews, collaboration with the S.A. and the easy swaying of public opinion. With its central character of a genial butcher, it also shows the humorous capacity for survival (not without fear) and the attitudes of common sense which shows the ultra-serious Nazi views as ridiculous. The film is a very satisfying blend of the serious and the comic.

The acting is excellent but Karl Merkatz in the central role of Bockerer, the butcher, is excellent - one of those strikingly memorable performances. While the film covers familiar ground, it is fresh its insight into the Austrian experience and in the warmth and irony of its treatment.

1. An interesting and entertaining film? A moving film? A blend of the comic, the humane? Insight? Message - learning the lessons of the Austrian experience of the war?

2. The atmosphere of Austria and Vienna? The re-creation of period, the focus on the street and the butcher shop? The use of contemporary newsreels? The score?

3. The film as the work of the Austrian film industry in the '80s? A film of quality? The importance of the Austrian viewpoint: the Anschluss and its easy acceptance by the majority of citizens? Austrian response to pre-war Nazi propaganda, the Munich peace etc.? The beginnings of the war and Austrian involvement? The S.A., anti-Jewish feeling, ordinary collaboration? The contrast with the ordinary citizen in Bockerer (and audiences identifying with him and his attitudes)? The humiliation of the Jews and their expulsion? The experience of war and lack of food etc.? Refugees? The experience of the Russian front? The bombing of Vienna? Post-war recovery and the variety of reactions in the after-war years? Austria's role in the '30s, '40s, '50s? People, governments, nations? The impact for the Austrian audience of the '80s - memories and the present? The impact of the film for a universal audience?

4. The strength of the anti-Nazi point of the film? Criticism with which audiences are familiar? Ironic mockery through the central character? The condemnation of fascist regimes and methods? The films viewpoint of the war itself and the tragic experience of war? Explicit collaboration, the collaboration of acceptance and non-resistance? The tolerant viewpoint of the film-makers? Human identification, especially through sadness and humour?

5. The introduction to Bockerer and the ironies about his having the same birthday as Hitler? The film's using the parallel of two Austrians - the megalomaniac and his destruction contrasted with the ordinary citizen and his humane contribution to people's lives? His work and ordinariness, his love for his wife and yet his disgust with her collaboration, his fidelity to her? His love for his son and horror at his belonging to the S.A.? His friendship with the neighbours and serving them in the shop? The encounters with Schebesta? The policeman who remained on the beat throughout the war years? His friendship with Rosenblatt and Hartinger, the cards and the disruption of the card nights? His shock and Hansi in uniform, his behaviour - even to kicking his father in public? Hartinger and his wife's disdain of the Jews? The encounters with Rosenblatt in the street and his going to farewell him? A genial middle-aged man? A man of humour, humanity and common sense? The strength and warmth of Karl Merkatz’s performance?

6. The Austrian situation and the Anschluss? Austria becoming Ostermark? The initial mockery of the troops in talking about Austrian lack of resistance? The brainwashing by the Nazis? The hopes that there would be no war and yet the comments on Chamberlain and Munich? The pictures of the Fuhrer, the flags, the newsreels? So many seeing Hitler as a saviour and bending over backwards to acknowledge this? The judgments on the situations of 1938 and '39 - then, with the help of hindsight now?

7. The focus on the S.A. and their cruelty? Hansi and his intensity? The Jews being made to lick up the blood in the butcher shop, scrub the pavement? The humiliations? The riots and the smashing of the Jewish shops? Hansi and his violence towards his father? The confrontation with his father and Hermann? His letting them go? The brutality, the Gestapo investigations and threats of torture? The S.A. officer and his homosexual hold over Hansi? Hansi's clash with his father in the brothel? His deciding to take a stand? His reconciliation with Elizabeth and living with her? The station sequence and his being drafted, his farewell to Elizabeth, to his father and the reconciliation? The irony of the officer being a chauffeur to a French occupying officer at the end the war?

8. The character of Hansi - the background of his upbringing, brutality, rebelling? The test of experience and his changing? His love for Elizabeth? The pathos of his death and the newsreels of the Russian front? The attempt at reconciliation of his mother with Elizabeth and its failure in the restaurant after the funeral ceremony? Elizabeth's death at the end of the war? The child and its being the cause of reconciliation? The child as the new Austria, perennial hope?

9. The background of the aristocratic Viennese and their lifestyle, permitting Hitler's presence, their disdain. sharing the attitudes of war victory at the beginning? Cards, food, wealth? Anti-communist attitudes? Their finally being in the kitchen listening to B.B.C. news in danger of their lives? Elizabeth from this background?

10. Rosenblatt and his work as a lawyer, Jewish background? Friendship with Bockerer? The card games and Bockerer's wife and Hartinger disdaining him? The visa and his possibility of leaving Austria? Carrying the bucket and mop to save humiliation? The farewell at the station? The humour of his return as Montgomery Royce - and Bockerer meeting him again with the bucket and mop? The film's comment on the Jewish situation?

11. Hermann and the resistance. the meeting, the chase and his imprisonment in Dachau? His wife having to pay for his urn coming back to Vienna -and Bockerer's visit, leaving the money? His disgust at Hansi's betrayal?

12. Schebesta and his accepting of the Germans, being more loyal than the Germans, his deceiving the Blau family and robbing them, his fanatic presence during the war, his finally going mad - and looking like Hitler? His escape from the asylum and his appearing in Bockerer's sickroom and re-enacting the style of the Fuhrer? His being taken away? The ironic comment of Austrians like Schebesta so identifying with Hitler, their idol, that they went insane?

13. Background characters: the Blaus and their wanting to escape and yet being imprisoned, the Madam of the brothel and her advising her prostitutes to continue but change all the names of things - as did the whole of Austria? The shoppers, the shopping lines? The sequence of the hanging of the long flag? The professor and his sociological research? An atmosphere of authenticity of the street around Bockerer's shop?

14. The bombings and Bockerer's grief that Hartinger would be killed - and his humorous survival?

15. The end of the war and Bockerer's collapse, his illness and the visit by Schebesta as Hitler? His response to his grandson and the possibility of building a new world?

16. The film's comment on the Nazis and their power, Hitler as an Austrian and his rise to German power, his betraying his word? The Nuremberg laws and anti-Jewish feeling and practice? The taking of Paris - and the newsreels with Hitler in Paris? The interpretation of the German presence in Russia and their ultimate defeat?

17. Anti-Jewish? feeling laws, bigotry, riots?

18. An interesting story? Interesting characters? A film of insight and truth?

STRIKE ME PINK

US, 1936, 95 minutes, Colour.
Eddie Cantor, Ethel Merman.
Directed by Norman Taurog.

Strike Me Pink is one of several Eddie Cantor vehicles of the '30s. Cantor succeeded in burlesque and made a transition to the screen. His vehicles are now dated but have many very good comic effects. He is the Jewish comedian, the Little Man, put upon and bullied. This is seen here in the opening sequences at the college. However, he is contrasted with the good-looking hero who is actually not very shrewd and somewhat dumb. Cantor is matched here with Ethel Merman and they join in a number of songs. The style and the photography of the songs (by Greg Tolland) is somewhat avant garde. There are the usual stereotype characters: the devoted mother, Clarabelle the heroine, gangsters led by Brian Donlevy.

Eddie Cantor does a number of comic routines and there are some effective chases. The finale on the roller coaster is quite exciting as well as funny. The material of the Cantor films is very similar to that of subsequent TV series for comedians. There is a pleasant blend of the romance and comic style. There was a biography of Eddie Cantor, called The Eddie Cantor Story, starring Keefe Brasselle, in 1953.

STROSZEK

Germany, 1977, 108 minutes, Colour.
Bruno S. Eva Mattes, Clemens Scheitz.
Directed by Werner Herzog.

Stroszek is a Werner Herzog road movie in which three strange characters travel the US on their way to Wisconsin. They are an old man, a prostitute and a harmless ex-convict, played by Bruno S, Herzog's star of The Enigma of Kaspar Hauser.

Herzog draws on his documentary background as well as his capacity for creating mythical stories. It is a glimpse of Germany and Germans a decade before the fall of the wall and the reunification.

1. The work of Werner Herzog? His exploration of themes in imaginative environments? His documentaries? Ability to visualise the psychological and fantasy? His work with Bruno S.? This film as summing up so many strands of his work? An enjoyable film? Contemporary issues? The European view of Germany and the contrast with the United States? A critique of American society and the American dream? A portrait of society, of individuals?

2. The picture of Germany in the '70s? Berlin? Apartments? Prison? Germany as imprisoning? The contrast with the United States? The mid-West? People being imprisoned in the open spaces of the United States? The realism and the symbolism of the locations and environments? Colour photography, authentic atmosphere? The musical score - especially the range of songs from the '60s?

3. Herzog's use of Bruno S.? His skill in Kaspar Hauser? His adaptation to a modern screenplay? His natural acting skills? His being directed and controlled by Herzog? A symbol of the contemporary oppressed German?

4. The picture of Europe? Germany in the '70s? The long traditions of Europe? Society, ordinary citizens, the experience of oppression? Victims of society? The comparison with the United States: the new world, the dream of success, the importance of having things? The discovery of the similarity of imprisonment in both Germany and the United States? How was the presentation of environment visually and thematically persuasive?

5. The character of Bruno: seeing him in prison, the reasons for his imprisonment, his history, possessions? Friends? The rules? His leaving prison and the exhortation - especially about drink? His honour and integrity? His coming back into the real world? His sense of isolation? A victim of the prison system?

6. His exhilaration in getting out of prison? The return to the bar? His room, the encounter with pimps, with Eva? His bird and his devotion to it? Friendship with Schietz? Music in the streets, the accordion? The range of people encountered? A pleasant person? Wanting to do well? The doctor and the baby? The money? The dream of success - shared with Eva and Schietz and the desire to move? The possibilities of going from the old world to the new?

7. The ugly side of Berlin: the thugs, the pimps? The drink? Brutality? The smash? Eva and her being bought? Her being saved by Stroszek? Her erratic behaviour, being bashed? The precarious life of the prostitute - and the need for money?

8. Schietz as an old man, a pleasant old man? The map? His hopes?

9. The trip to the United States and all its hopes? The music, New York, travelling to the west? The change from Germany? Things going well? The support of the nephew? Friendship? The loan, the house, comforts, Stroszek and his job?

10. Stroszek and his worries? Coping with his work? Eva and her job? With the truck-drivers? The banter and the moving towards prostitution?

11. Schietz and animal magnetism? The support of the nephew? His getting old?

12. The banker, Eva's moving out, the repossession? The gun, the robbery and the arrest?

13. Eva and her moving further into a world of unreality? Betraying Stroszek and Schietz? Moving out to Los Angeles? The pathos of her character?

14. Stroszek and his driving? The background of the Indians? The background of Indian ritual and tradition? His going to the Indian setting? Going in circles - life as a circle? The dancing chicken and the ride? The chairlift? Realism and fantasy?

15. The baby and its potential, the chickens and the chairlift?

16. Schietz and Stroszek with the Bonnie and Clyde touch? Herzog's conscious reference to film traditions? Making their behaviour credible or not? Symbolic?

17. The film as an allegory of alienation and dreams? Migration? Spiritual limbos? Cages and prisons? Pessimism? Life in circles?