THE STRIPPER

US, 1963, 95 minutes, Black and white.
Joanne Woodward, Richard Beymer, Claire Trevor, Carol Lynley, Robert Webber, Louis Nye, Gypsy Rose Lee, Michael J. Pollard.
Directed by Franklin Schaffner.

The Stripper is based on a play, A Loss Of Roses, by William Inge, author of such plays as Come Back Little Sheba, Bus Stop, Splendor In The Grass (all of which were filmed successfully). The film takes a conventional theme of the innocent young man yearning for love and his encounter with a woman of the world. Richard Beymer, popular in the early '60s with such films as West Side Story and Hemingway's Adventures Of A Young Man, captures the role of the garage attendant in a small town very well.

He is matched excellently by Joanne Woodward's hometown girl who has gone to Hollywood in high hopes after winning beauty contests but has missed out on opportunity. She returns home and infatuation and love begin. Robert Webber portrays the stereotype of the brutal man dominating the victimised woman. There is an interesting performance by Claire Trevor as Beymer's mother. She captures very well the love and fussiness and over-protectiveness of the widowed mother. The film is made strikingly in Panavision and black and white. It was the first film directed by Franklin Schaffner who went on to make a series of striking films including The Best Man, The War Lord, Planet of the Apes, his Oscar-winning Patton, Nicholas and Alexandra, Papillon, the underrated Islands In The Stream, The Boys From Brazil, Sphinx. The film works interestingly on the level of plot; but the screenplay is rich in symbols which suggest a lot of the meaning for this small town encounter. (The title is Hollywood transforming a play to gain box office - and Gypsy Rose Lee herself appears in a supporting role, rather older than in her heyday.)

1. The focus of the title, its tone? The fulfilment of expectations about striptease? The ironic presentation of the stripping? The significance of the original title, Lila's explanation of her gift of roses to her teacher, her wanting them back, her being refused and her learning that one never gets anything back after it is given?

2. The style of the early '60s, the slices of life films, the realistic and pessimistic tone, the issues of relationships, violence? The look at the uglier side of the American way of life? The beginnings of what calm to be called the permissive era? The value of this kind of film in exploring the seamier attitudes and behaviour in life?

3. The choice of Cinemascope for opening up the film on a wider screen? The choice of black and white photography? The atmosphere of the American middle west? The use of tableau, close-ups for highlighting the characters, their pain, interactions? Musical score? The use of the popular song for the stripping and its ugly irony?

4. The impact of the introduction: the strident music, the tourists, Lila looking like such stars as Kim Novak and Jayne Mansfield and being described as 'nothing? The revelations about her going to Hollywood, her screen test and keeping it in her handbag, the taking up of the therm of her being a nobody when Rick rubbed her in the dirt and poured dirt over her? The expectations of the title from Lila's first appearance? The audience judgment on appearances - dress. hair, sexuality flaunted, manner of walk etc.? The irony of Lila turning out to be somebody, her loss of faith in herself and then her belief in herself? The clash of appearances and reality?

5. The sketching in of the group - their theatre background, the enjoyment of their performance and the build-up to the beheading of Lila? Olga and her matronly presence in the group? Ronnie and his effeminate manner? Rick and his hard-headed management of the group? Their arrival in the town, their second-rate background? The impact on the locals - as with Kenny and with Jelly at the service station? The indications of rivalry between Kenny and Rick at: the station? Rick's going off and abandoning the group? Olga and Ronnie and their selfish patronising reaction? Lila enjoying meeting Helen and Kenny, and memories of her past, the joy of the meal and the discovery of the truth? Her being abandoned - and her hugging the bear in her isolation?

6. The importance of the development of the them of appearances and reality? Helen and her propensity to judge - and her listening to the story of Lila's life? Her being welcomed into Helen's house? Her being able to be happy, talk about herself, feel at home? The pathos of her story - her mother, deaths, being farmed out to relatives, boarding, the sad experiences of school, the ugliness of her marriage and her husband's father and brothers, her taking up with the group, her Hollywood hopes dashed, her being stranded? Her use of cliches - ships passing in the night? The crisis for her and the gathering together of the pain of the past?

7. How did Lila gradually appear as a good person and not a nobody? Helen drawing herself out from her isolation? Kenny and the walk home and his listening to her - the story of the competitions, the screen test. leaving Hollywood? The gradual revelation that she had run away and attempted to kill herself? Lila and the comparison with Rick and his treatment of her? The importance of her trying to get a job and the humour of her interviews and, for example, typing test? Her going back to the school and reminiscing about the roses? The comparison of her style of life with that of Helen, with Miriam? The encounter with Sandra and the image of innocent childhood and the contrast with her own past?

8. The importance of the them of good being taken away in the loss of roses? Her low expectations of life? The importance of the themes of gifts e.g. Helen's unwillingness to take the birthday present of the watch from Kenny? Lila giving the rose to Sandra, giving her the bear? Kenny giving her the watch at the end? Happiness and the contrast with what might have been?

9. The development of the relationship with Kenny? The infatuation, flirtation, friendship? Lila and the possibility of growing in friendship? Kenny and his growing up? The importance of the walk home , the kiss, the drunken incident, the birthday party and the dance? The proposal and the night together? Kenny on the morning after and his failure of nerve? Self-centredness? Parallel with Rick?

10. Rick and the stereotype of violence and exploitation? His abandoning the group? His return and brutal treatment of Lila, his physical violence and rubbing her in the dirt, pouring it over her head, telling her she was nothing? His taking her off to the convention? The confrontation with Kenny? His making a livelihood out of Lila and the stripping? The final threats to Lila and giving her six months? A portrait of ugly exploitation?

11. The portrait of Helen as the small-town widow and mother - likable, kind to Lila, scandalised at her stories but being broadminded, nagging her son and worrying about him? Memories of her husband and Lila's idealising him? The image of a happy marriage? The build-up to the birthday party and Helen's inability to take the gift? Her growing suspicions and wanting Lila out of the house? A rounded portrait of this kind of woman? The parallel with Miriam - Helen in her younger days? Infatuation with Kenny, the outings, her primness, the skating rink sequence and her resistance to his advances? The prim women of the small American town?

12. Sandra and the innocent child image of what Lila might have been? The growing friendship, talking, smiling, the gift of the rose, of the bear? The hospitality of her mother - and Lila's inability to go into the house where she grew up?

13. The portrait of men in the film - by comparisons with one another? Rick and his stereotype? Kenny as a possibility of gentleness and love? Yet the image of the American male - work, talk, drinking, infatuation, sexuality, abandoning the woman? In the light of the stories about his father? The importance of his change of heart and his reaching out and offering care of Lila? Rick and his condemnation? Kenny and his offer of redemption?

14. How well was Kenny portrayed? His place in the small town, possibilities in life, love for his mother and exasperation? The comparisons with his father? Friendship with Jelly? Friendship with Miriam and yet being critical of her? Showing off at the skating rink and Miriam’s rejection of him? A rebel against the way of life in the town? His changing through communication with Lila? His failure after their night together? His fight with Rick, his offering care, the gift?

15. The detail of the small town and its way of life: the theatre group, the shops, the garage, Jelly and his family, the job applications, the skating rink?

16. The contrast with the glimpse of the large town - the convention and the ugly faces of the men watching the stripper?

17. The contribution of the symbols: gifts, roses, the bear, stripping and its significance of revelation and exposure, the freeway at the end?

18. A satisfying treatment within a commercial film of the significance of life and its meaning, the journey of life, opportunities, success and failure, the real world, illusions, the nature of goodness, relationships and commitment, changing and coping with life?

STRIPES

US, 1979, 105 minutes, Colour.
Bill Murray, Harold Ramis, Warren Oates, P.J.Soles, John Larroquette, John Candy, Sean Young, Judge Reinhold.
Directed by Ivan Reitman.

Stripes is an early 1980s version of the old American service comedy. It is surprising coming so soon after America's conscience examination about the Vietnam war with The Deer Hunter and Apocalypse Now! By 1980 and the beginning of the Reagan administration, there was an emphasis on the army and American defence. for example Goldie Hawn's Private Benjamin. Stripes looks very much like a male version of Private Benjamin. It stars cult comic Bill Murray (Meatballs, Caddyshack) and Harold Ramis, the director of Caddyshack. Warren Oates bullies his way through the Sergeant Major role. There are the predictable situations, some visual and verbal humour but the emphasis is on the National Lampoon style send-up - humorous but vulgar. The film is interesting as an example of a change of outlook in the United States in 1981.

1. The tradition of military comedy? Farce, comic routines? The serious undertones? Pro-war or anti-war? The M.A.S.H. tradition?

2. The National Lampoon's poking fun at all institutions? The satire of the '60s and '70s? M.A.S.H. on television: types, plot situations? The tradition of reasons for joining the army, induction, drill, clashes, exploitation?

3. The film after American conscience examination on Vietnam? Satirical on the army - perhaps less cynical? The Private Benjamin style film? The musical score, songs?

4. The introduction to John and Russell and their work? Their wanting to opt out? The attraction of the army - via the TV ads? John and his experience with the taxi, his girlfriend leaving, the ball through the window? Russell and his satiric teaching people English?

5. The traditional sequences of leaving on the bus, the MPs - with their glamour! The arrival, the induction, the encounter with Sergeant Hulka? Punishments and push-ups? Clothes, haircuts? The men telling their stories - sentiment and humour?

6. The collages of training with attention to detail?

7. The army and its ethos? Officers and their plans? Stillman and his pretensions? His pompous walk, spying on the girls in the shower? Hulka and his toughness, 28 years? The accidents, for example Stillman's mortar and the collapse of the tower with Hulka?

8. Time off - the mud-wrestling scenes? The arrest? The MPs saving John and Russell? Sexual innuendo?

9. The decision to train properly? The midnight training, sleeping, the demonstration at the graduation? The comedy yet the serious point that they succeeded, were acknowledged, were mobilised for overseas?

10. John and his personality, his verbal humour? Criticism? The push-up joke? Wanting to escape and Russell bringing him back? The girls? Russell and his sense of humour? Staying with the army? The various types: Ox, Psycho and the others? The stereotyped attractive girls?

11. Transition to Milan, the focus on the bus? The decision to go to Germany? The irony of Stillman's invasion of Czechoslovakia? John and Russell to the rescue? The siege? Hulka’s warnings? The clash and escape?

12. The finale and the glimpse of each of the characters with the comment on their future? Jokes?

13. The perennial laughing at institutions, the army? Lampoon plus sentiment?

THE STREETFIGHTER

US, 1975, 93 minutes, Colour.
Charles Bronson, James Coburn, Jill Ireland, Strother Martin, Maggie Blye.
Directed by Walter Hill.

The Streetfighter is typical Charles Bronson material - he is the tough, silent, enigmatic American hero. He is the loner, the man with no lasting ties. But this picture of a streetfighter is also an impressive re-creation of a side of the Depression period, the world of men who wander the country, taking on labouring, fighting, betting and moving on, the world also of the big shots and the con artists. The setting is New Orleans and the film continually communicates its atmosphere and style of life. James Coburn, of the flashing teeth, suits the part of the flashy minor entrepreneur. A very masculine film of bare knuckles and Depression.

1. How interesting and enjoyable an action film? Its appeal to action fans?

2. The film as a vehicle for Charles Bronson? His appeal and impact in the 'Seventies?

3. The characteristics of Bronson as an American hero? His strength and toughness, the laconic winner, the survivor, the wanderer, the loner, the passing relationships etc.? How admirable an American hero? The defects of this kind of hero?

4. The highlighting of the title? The original American title was "Hard Times". Indication of themes? The importance of the visualizing of the fights? Their significance for the character and the times? Comment on the dramatic situating of each of the fights.

5. The importance in the film of the atmosphere of the streetfighters? The Depression atmosphere, hopping trains, the crowds, the docks, the factories, the exchange of money, the atmosphere of gambling, the losers who moved in and out of these atmospheres? How well did the film present this in its re-creation of sets, details of atmosphere?

6. The portrayal of the world of New Orleans? The streets, the shops, the bordellos, Chaney's rooms, Speed's house, Lucy's home, the details of the streets, the beggars, the cafes, the shoe-shiners, the world of the gangsters and violence, picnics, the cars etc.?

7. How well did the film depict Chaney as a person? A person who reacted to others rather than having drive in himself, the values he stood for, his independence and wandering, his need for money, his needs in terms of emotional relationships, his admiration for Lucy and dependence on her, refusal to love her? The episodic presentation because of the wanderer during the Depression?

8. The impression of Lucy? Her needs, her questions, eating with him, wanting to love him, yet not wanting to drift? The dramatic impact of their conversations, their goodbye?

9. The contrast with Speed and his girlfriend? Speed as the continual smiler, the con-man and gambler, wanting to be independent yet dominated, with an eye for the good streetfighter, his irresponsibility with people and money, his sponsoring of the fights, gambling? His dependence on Chaney? The fact that he could be a loser, being kidnapped and being beaten? His relationship with his girlfriend, with the prostitution atmosphere, with the gangsters? Did he deserve Chaney's help?

10. Speed's girlfriend and her contribution to the film?

11. Dr Poe and the fact that he was defrocked, his drinking, his helping the streetfighters, his dependence on Speed, his advice to Chaney? As part of the world of Depression streetfighting?

12. The picture of the streetfighting organisers? Their systems, the big fighters from interstate? The physical impact of the fights?

13. The background of the moneymen? Their role in New Orleans society? The origins of their money, their double dealings for example, the picnic? The put-up fights? The hold over Speed? The destroying of his car etc.? Torture?

14. The ending: the demands made on Chaney, his insisting that he owed people nothing, his decision to participate in the fight, his releasing himself from obligations?

15. How much insight into the tough life of people who needed to battle to survive?

A STREETCAR NAMED DESIRE

US, 1983, 120 minutes, Colour.
Treat Williams, Ann- Margret, Beverly D' Angelo, Randy Quaid.
Directed by John Erman.

A Streetcar Named Desire is a telemovie remake of Elia Kazan's original film, based on a screenplay by Tennessee Williams. The film has become a classic with many Oscar nominations as well as awards for stars Vivien Leigh, Kim Hunter, Karl Malden. It was a stylised treatment of Williams' play.

This remake aims for greater realism. With colour photography, the film has a recognisable New Orleans even though the sets are as before quite stylised, light and dark, garish colours etc. The film is also a star vehicle for Ann- Margret who has a greater strength of presence than Vivien Leigh - but nevertheless conveys much of Blanche Dubois' faded elegance and her collapse into madness. Treat Williams is a robust Stanley. Beverley D Angelo is excellent as Stella and Randy Quaid is also very good as Mitch. The strength of the play is present in the film, with some more explicit and earthy treatment of themes than was possible in the early '50s. Direction is by John Erman, director of many telemovies.

1. The play as a classic? The original screen classic? Telemovie remake? The original cast and comparisons with the remake? Colour, '80s style with more realism and frankness?

2. Telemovie audience? The home audience and attention and concentration? New Orleans and locations, sleazy, garish, light and dark? Atmosphere? The strength of the cast and their style? The musical score combining New Orleans jazz and old-fashioned melodies?

3. The '80s and realism, frankness? The persuasiveness of Tennessee Williams' characters, situations, conflicts?
New Orleans and its faded gentility, surface decay, a place for collapse and madness? Post- World War Two atmosphere?

4. The French families and their reliance on elegant tradition? Decay and corruption? The move to the new parts of the city, slum tenements? The experience of World War Two? The contrast with the new Americans. the Poles? The clash of the two worlds, old and new? The locations: tenements, parks and carriages, tramcars?

5. The significance of the title, the streetcar? New Orleans and its districts? The symbolism of desire? Highlighting relationships, identity, psychological and emotional insight?

6. Ann Margret's portrait of Blanche: her arrival on the streetcar, dressed in white, lady and manners? Her dismay at Stella's home? Finding Stella at the bowling alley? The glimpse of Stanley? Her love for Stella yet her feeling Stella's blame? Memories of Bellerive? The initial clash with Stanley? Her reaction to his coarseness, calling him primitive? Her ladylike behaviour: baths, her elegant clothes? Yet her drinking? The blend of surface respectability and deeper sensuality? The long sequence of her flirting with the messenger boy? Her enjoying Mitch's company, outings with him. the possibility of marriage? The irony of never letting herself be seen in the light? Stanley's continued attack, suspicions of her, exposing her? The tense meal when Mitch did not turn up? Her drinking and the clash with Mitch? Truth told in anger? Stella going to hospital, Stanley coming home, the violence and the rape? Her physical and mental collapse? Her being taken off to the asylum - as a lady? Her strengths and weaknesses? Her story - her marriage, the homosexual, his relationship, shooting himself (and her continually hearing the shot)? A figure of pathos?

7. Stanley and his war experience, tough, insensitive, shrewd, brutal? His work, friends, the drinks, card-playing? His domination of Stella? His reaction when she seemed to order him about? His strong stance on being a Pole rather than a Polack? His taunts of Blanche, going through her clothes, looking for the documents about Bellerive? A sensual man, the heat and the sweat? The fight with Stella and her leaving, their continued reconciliations? Stella in hospital, the final confrontation with Blanche, attraction and repulsion, the violence and the rape? His not sensing his responsibility for Blanche's collapse?

8. Stella: a good woman, home, love for Stanley, sharing his life? Her not wanting to face the truth about Blanche? Suspicions about her? Covering up for her? The outings with her? Her drinking? The clashes with Stanley, his refusing to be dominated by her, her moving out, the returns? The meal with Blanche? Her telling the truth? The baby?

9. Mitch as one of the boys, his care for his mother, interest in Blanche, his becoming a gentleman caller, his refined manner, the outing, good manners, New Orleans style? His hearing Blanche's story? Her not telling him the full truth? Stanley's telling him the truth, his checking it out, not turning up for the dinner, his drinking, arrival and attack? Disillusionment?

10. The use of the tenements and the rooms, the friends playing cards, the place of the women, the disputes amongst the tenement-dwellers?

11. Ordinary life, squalor, clashes, love and hate? The intruder and her disruptions? Differences, difficulty and destruction? Sanity and madness?

STREAMERS

US, 1983, 118 minutes, Colour.
Matthew Modine, Michael Wright, Guy Boyd, Mitchell Lichtenstein.
Directed by Robert Altman.

Streamers is an adaptation by playwright David Rabe of his successful 1976 Broadway play. It has been directed by Robert Altman (Nashville, Three Women, The Wedding) who showed his skill in filming a play cinematically with Come Back to the Five and Nine, Jimmy Dean, Jimmy Dean (1982). The acting in this film is excellent - and the group of main actors were awarded the joint Best Actor prize at the Berlin Film Festival 1983.

While the acting is excellent, the melodramatic nature of the plot and the dialogue means that the audience is asked to respond at high pitch throughout most of the film. While the background of the film may be evident to Americans, it does not come across with such force to nonAmericans. The setting is the Vietnam war. The memories are those of the '60s. The film is a critique (and being filmed in the '80s it seems somewhat belated) of American militarism and involvement in Vietnam with its repercussions on its young soldiers. There are also themes of racism and sexual roles. The dialogue is reminiscent of those many plays after Who's Afraid of Virginia Woolf with their 'get the guest! games.

The film is one to admire rather than to enjoy.

1. The work of Robert Altman? His interests, reputation, style? His ability to present a kaleidoscope of characters and events? Interweave stories successfully? His adaptation of a play to cinema?

2. The work of David Rabe: the impact of the play in 1976, the effectiveness of its staging? The translation to cinematic devices and to the screen in the '80s? How obviously a filmed play? Eliciting from the audience the response to a play rather than to a film?

3. The film as a piece of Americana? The U.S. in 1966? The army, the background of the Vietnam war and American involvement, the sending of so many troops, young men going to action, volunteers, drafted soldiers? The image of the American army? Fear? Despair? The young men, the older men with their memories of Korea, the training? Audience response to military training and military style? The atmosphere of death? The experiences of death in the barracks? The emphasis on macho and masculine images? Roles and sexual behaviour? Relationships? The use of homosexuality as a theme?

4. The title and the song - adaptation of 'Beautiful Dreamer'? The parachute not opening? The falling to death? The relevance of the title to the men in the barracks? In the Vietnam war? The importance of the credits and the marching - sounds, shadows, colours, rhythms, the sound of the boots, drill, design?

5. The claustrophobic atmosphere of the film? Remaining within the rooms of the barracks? Altman's use of the rooms, the mobile camera, the close-ups, the tableaux? Looking through windows? Out of windows? The viewpoint of the audience, of the director, of the characters?

6. The importance of words and images? The abundance of words? Their emotional content and style? Strain, shouting, roar and raucous language? Abuse, taunting? Negro jive? Swearing, sexual overtones? The relief of the silences? The play divided into acts? The dissolves for the passing of time? The time span of the play and audience involvement? Descriptions of action outside the barracks? The conversations?

8. The reality and unreality of the world? The situation of the weekend? The reality and realism of the characters, their behaviour? As symbols of attitudes? Games, outings, the dances? The attitudes of each of the characters? Carlyle and his jive? Madness and sanity? Ritchie and the reality or unreality of his homosexuality? Truth or using it as a taunt, for Billy, for Carlyle? Billy and his masculinity (or not)? Roger as pleasant, as unpleasant? The sergeants and their military background, their drinking, their games, companionship? The reality and unreality of life and death? The situation of the '60s - comparisons with the '80s?

9. The power of the interactions, the psychological and emotional credibility? Audiences identifying - or distanced?

10. The purpose of the film? For American audiences? Non-Americans? Men and women? Age groups? Race groups?

11. Billy as the ordinary American, straight up and down, exercising? Macho image? His trying to ignore Martin's slashing of his wrists? Taunting Ritchie? Being taunted? Exercising with Roger, playing ball? Talk? Background, study, the war? Friendly? Macho roles? His story about his homosexual friend - sportsman, dating, involved with a homosexual friend? His own reaction? Ritchie saying that the story could have been about himself? Tolerance? His going out with Carlyle, drinking? Carlyle and his jive? The return, the talk, the clash? Rivalry? Race antagonism? The discomfort with Carlyle, the clash, Carlyle's cutting his hand, slashing him? His death? To what purpose?

12. Ritchie: his presence in the camp, background, binding for Martin, acting up, talk, the shower and back, dressing, staying? Roger's curiosity? His drawing out Billy, evoking the story, turning it back on himself? His reaction to Carlyle and the interaction between the two, antagonism, provocation? Real or not? The homosexual emphasis? The flirtation attitudes? Authentic or not? A pose and a provocation? His weeping? His responsibility for the bloodletting? Grief? His presence in the military? Rich background? The ending and the rueful attitude towards Ritchie?

13. The presence of Roger with the white soldiers? The negro in the '60s, in the army? An ordinary man? Macho attitudes and behaviour? Exercise, the shower? The ball? Going out? Conventional attitudes? The fascination with the homosexuality? His going back? Carlyle seeking him out? Acting up with him, reacting? Death? Caught? Antagonism to Ritchie?

14. Carlyle: the sign of contradiction, his arrival, the importance of his jive - mask, pose? Push? Leaving, returning? Incessant talk? Drunk, bored? Madness? A needy man? Taunts, ugliness, his response to Ritchie, homosexuality? The violent antagonism towards Billy? The fight? The death? The sergeant intervening and his death? The mad reaction? Innocent or not?

15. The portrait of the two sergeants, older, together, a strange couple, their continual drunkenness. games. hide-and-seek? Their friendship and its basis? Mutual support, leaning on each other? Attitudes towards the younger men? Their Streamers song and its significance? The Streamers talk? Crudity? The murdered sergeant? The grief of the companion? The final soliloquy and song?

16. The presence of Martin at the opening, slashing his wrists? The reaction of the others? His moving out of the drama - yet his effect on people?

17. The realism and the symbolism of the boy under the blanket? The trick explosion? observation?

18. The girl and her being glimpsed? The boy? The photos? The only feminine presence. her red dress? Her being outside the barracks?

19. The ending and the officers coming in, the young doctors, the ambulance - and everybody trying to cope?

20. The military and themes of boredom? An unreal world, an enclosed world, reality and unreality?

21. The military in the mid-'60s - military service, Vietnam, the possibility of death, the foreign Asian wars, Johnson's stances and the attitude of the American government? The nature of death and heroism. The critique?

22. The male mystique - macho images, sexual talk, brothels, homosexuality, both real and symbolic? Role-playing, relationships? Standards?

23. Racial themes? The presence and dignity of black and white? Antagonisms?

24. The play written on the occasion of the American Bicentennial and its overall symbolism about the United States in the latter part of the 20th. century?

THE STRAWBERRY STATEMENT

US, 1970, 101 minutes, Colour.
Bruce Davison, Kim Darby, Bud Cort.
Directed by Stuart Hageman.

The Strawberry Statement is one of a batch of films from the U.S. in 1969-70 on campus revolution (Getting Straight, Up In The Cellar, R.P.M.) that were generally scoffed at by the critics as being merely commercial exploitations of serious social situations. Their heroes and heroines are considered plastic people with no ideas and artificially controlled feelings. A case could be made against The Strawberry Statement along these lines, the casting of sweet Kim Darby, the quick change to revolution of hero, Simon; the use of popular music and the slick T.V. commercial style of the whole film. It has been considered pretentious. This may be in the United States. The film was well received at Cannes in 1970,and for observers from outside countries it seems to show enough to bring home some of the realities of the situations and the frightening violence.

Whatever one may think of it as a film, it does raise a number of questions about youth that should be explored.

1. This film was severely attacked by critics. It was considered as a gross exploitation of its issue of campus revolution. It was accused of playing to the youth audience and of presenting merely superficial feelings. Do you agree with these charges?

2. Were the hero and heroine real people? Are young University students like this? Did you feel that they were really committed to their cause, to principles?

3. Why did Simon change from an ordinary college student, rower and music lover to someone committed to change? was this convincing?

4. Did the film catch the mood of the twenty year old undergraduates, their interests, attitudes, musical tastes, immaturity, style? (The director is accused of using too many clever T.V. styles; could it be that he was trying to give the impression that this contemporary style is part of the 'revolutionary' background?)

5. How typical is this kind of campus unrest throughout the world? Is it just confined to America, to California?

6. How were the demonstrations filmed? Did they give a real and frightening picture of such campus battles?

7. How sympathetically were the police presented?

8. Whose side was the film on?

9. What impression did the last fifteen minutes make on you? How serious were they and how did they leave you as you finished watching the film?

10. What was the purpose of making a film like this? How would it impress campus radicals, parents and teachers?

THE STRATTON STORY

US, 1949, 106 minutes, Black and white.
James Stewart, June Allyson, Frank Morgan, Agnes Moorehead, Bill Williams.
Directed by Sam Wood.

The Stratton Story is a genial, homespun tale about a baseball celebrity. Monty Stratton himself acted as technical adviser for the film.

James Stewart is at his most typical in the opening part of this film as the tall Texan farmer who was a champion pitcher. The film offers baseball sequences, especially with Stratton, after a shooting accident and the loss of his leg, making a comeback. It is a film of courage and determination after depression.

James Stewart is teamed with June Allyson, a sturdy and attractive wife. They were later teamed in Anthony Mann's Glenn Miller Story and Strategic Air Command. Agnes Moorehead (only a couple of years older than Stewart) portrays his mother in her typical way. Frank Morgan has a good role as an ex-alcoholic ballplayer turned trainer who discovers Stratton.

The film was directed by Sam Wood, veteran director of many of the Goldwyn and M.G.M. film classics of the '30s and '40s, including the baseball story of Lou Gehrig with Gary Cooper and Teresa Wright, The Pride of the Yankees. (The film was colourised in the late '80s.)

1. A popular piece of Americana? Portrait of a man, baseball player, handicapped man making a comeback? Baseball and the American ethos, baseball heroes?

2. M.G.M. production values: black and white photography, the atmosphere of Texas, the baseball sequences? Musical score?

3. The focus on Monty Stratton, his offering technical advice? Some of the baseball players of the period acting as themselves?

4. The focus on Monty: his skill in playing in Texas, his walking back to the farm, his hard work, keeping in training, his relationship with his mother and their life on the farm? Barney discovering him, walking back with him? Staying for the winter, working and giving advice and training? The decision to go to Houston, the attempt at a try-out, his proving himself? Winning at the slot machine, the date with Ethel, his taking her away early and her discomfort? His explanation of himself and the game to her, falling in love? Going on tour, not getting a chance to play, being beaten in his first attempt? The second meeting with Ethel and explaining things to her? Playing in the second division and succeeding? His recall, going to the cinema, proposal? The happy marriage, her support, at the farm? The birth of their child? A successful career? The hunting accident, sending the dog back, Ethel and her signing the declaration for his amputation? Return home, depression, irritability, doing nothing? Not reading the fans' letters? Ethel's attempt to interest him, the baseball? His watching his son, learning to walk, his decision to get his artificial leg, the two of them walking together? Starting to pitch and practise, with Ethel, Barney's return? Going to Houston, surprising them by playing, his lack of success initially in the comeback, his batting, running and falling,
joking and putting people at ease, champion pitching? Winning the game? Making a comeback and acclamation? A James Stewart portrait of a good man?

5. Ethel, from Nebraska, the date and her irritability, learning to know Monty, falling in love, his visits, the cinema, marriage, the birth of the child, with Ma, the accident, signing the declaration, trying to help him
come out of his depression, the baseball, the baby, pitching with him? At Houston, thinking to dissuade him, supporting him?

6. Barney and the tramp, the train, watching Monty, walking home with him, persuading him to practise, training him, going to Houston, the brush-off from the coach? Allowing him to stay? The happy times together? His return, going to Houston, success - an achievement of an ambition and a purpose in life?

7. Ma, the sturdy Texan woman, her stern manner of speaking, letting Monty make his own choices, her disapproval? His return, her happiness, the accident and her tears? Watching the final game, her support of her son? The cousin on the farm and his working it while Monty was away?

8. The world of baseball, the games, the competition, the skills, victories and defeats? Social life - and Monty disapproving of his friend flirting with Ethel? On the bench, support, morale?

9. Baseball and the American ethos? This film's contribution to an understanding of American heroes and a tribute to Stratton?

10 RILLLLINGTON PLACE (THE STRANGLER OF RILLINGTON PLACE)

UK, 1970, 113 minutes, Colour.
Richard Attenborough, John Hurt, Judy Geeson, Pat Heywood, Robert Hardy, Andre Morell.
Directed by Richard Fleischer.

The Strangler of Rillington Place is the more sensational export title for 10 Rillington Place, Richard Fleischer's film about Reginald John Christie. Christie attained notoriety in the 50's, especially when it emerged that Timothy Evans had been hanged wrongly for the murder of his wife and baby. Christie had killed them along with a number of other women dating back to 1944. Ludovic Kennedy wrote a book condemning Christie and vindicating Evans. The film is based on his book.

The film has a grim, thought-provoking theme. It does not explore Christie's personality very much, although, in Richard Attenborough's effective portrayal, we are shown him at home, fussy, killing, giving evidence at the trial and degenerating into a lonely old age. The film offers him little sympathy and ends with the statement that he was hanged for his crimes.

However. as with Kennedy's book, the human centre of interest is Evans and John Hurt (A Man for All Seasons, Before Winter Comes, In Search of Gregory) gives a performance that is well worth seeing. Evans, a young Welshman, is illiterate but dreams of getting better jobs, boasts about himself, loves his wife but has a flaring temper. He is an easy victim for Christie's quietly menacing persuasion. It is sad to see him hang. (But the film makes no overt statement on capital punishment.)

Richard Fleischer directed the film on the Loeb murder, Compulsion and also The Boston Strangler. He is a competent, if not outstanding director (Che, Doctor Doolittle, Tora! Tora!). The film was made at Rillington Place itself and makes one pause to reflect on the sadness of the criminally insane and the evil that is wrought by them.

1. What were your first impressions of Christie as he committed his first murder? Did this prejudice you against him from the start?

2. Did the film give you any real insight into his motivation. his sanity? Did he have any redeeming features?

3. What was the effect of the environment of the house,, darkness and garden of 10 Rillington Place on the mood of the film?

4. What kind of a man was Timothy Evans shown to be - illiterate, a dreamer, a braggard, genial but violent- tempered? How sympathetically was he presented in the film?

5. What kind of a woman was Beryl - young and inexperienced, loving, frightened of having another baby?

6. When did Christie decide to kill Beryl? Why did he persuade them both he was a qualified abortionist?

7. How did Christie make Evans the victim of circumstances? Did he do it maliciously or did it just grow?

8. Why did Evans do exactly as Christie suggested? Was he capable of doing otherwise?

9. Why did he give himself up? Why did he make such a poor showing at the trial?

10. What were your impressions when you heard Christie’s record of convictions? Did the film evoke any sympathy for him as he endured the trial, quietly spoken and unwell?

11. How did you feel for Evans in the period before his death and when he was hanged?

12. What comment did Evans' hanging make on the value of capital punishment?

13. Why did Christie kill his wife and the others?

14. Should Christie himself have been hanged or been given life imprisonment?

15. How does a film like this help in understanding the criminally insane and the workings of justice?

STRANGER WITHIN

US, 1974, 96 minutes, Colour.
Barbara Eden, George Grizzard, Nehemiah Persoff, Joyce Van Patten.
Directed by Lee Philips.

Stranger Within is another unusual contemporary horror story by prolific writer and film producer Richard Matheson. He wrote several of the Corman-Poe? adaptations of the '60s. other films include the Omega man and Duel. This film about a strange pregnancy was at the beginning of a cycle about strange pregnancies - It's Alive, Demon Seed... Comedienne Barbara Eden is quite good in the central role. The film has a slow cumulative effect and the ending works into science fiction - an anticipation in some ways of Close Encounters of the Third Kind.

1. An enjoyable contemporary thriller, science fiction, suggestion of occult? The appeal of the '70s? Speculation about its plausibility?

2. Its impact as a telemovie, home audience and suspense, commercial breaks etc.? The stars? The screenplay and the introduction of the ordinary and hints of the extraordinary and the gradual cumulative effect?

3. Anne and David as a happily married couple, eleven years, David and his work and background, Anne and her art, their love, their affluent way of life, fidelity? The pregnancy and the repercussions?

4. David and his reaction, the vasectomy and the checks with the doctors, his suspicions of Anne, his anxiety, his inability to react well to her tantrums? The discussions with the doctor? The hopes from the hypnotism and its failure? His loving Anne but his inability to cope well?

5. Anne and her ordinary behaviour, the fact of the pregnancy? The gradual changes. her walking in the hills. her inability to go to the hospital because of illness and her sudden healing, the strange meals, the gulping of the coffee? Her snapping at David? The visits to the doctor. to the hypnotist? The psychological reaction to her situation? The further erratic behaviour and the building up to the birth of the child?

6. Audience puzzle about the possibility of the pregnancy? Believing Anne? Clues: the focus on the skies, the time leaps in the pregnancy?

7. The hopes from the hypnotism - the hypnotist and his friendship, advice to David? Phyllis and her friendship with Anne. her trying to help? Their anxiety especially in the latter part of the film?

8. The doctor and his puzzle, the tests, Anne's hospitalisation and sudden cure and serenity? His fears about the giving birth?

9. Anne and her learning, acquiring the knowledge in the libraries, touching everything to absorb it?

10. The heightened effect with the expectation of the birth and puzzle about the explanation?

11. The final hypnosis and the strangeness of the truth? The possibility of alien impregnation? Life in outer space, influence on people on Earth?

12. The birth, Anne's satisfaction,' the strange precision of so many mothers giving birth to alien babies? Their moving together and disappearing?

13. The science fiction background - life in space, the influence of aliens, contact, the production of strange children - for world takeover, for peaceful purposes, mystery? A satisfying short melodrama and excursion into science fiction backgrounds - and a touch of horror?

SEABISCUIT

US, 2003, 140 minutes, Colour.
Jeff Bridges, Toby Maguire, Chris Cooper, Elizabeth Banks, Ed Lauter.
Directed by F. Gary Gray.

The American racing legend of the 1930s is given the epic treatment in this almost two and a half hours film, written
and directed by Gary Ross (Pleasantville) and based on articles and a longtime bestseller by Laura Hillenbrand. It does not matter if you have never heard of Seabiscuit (although Shirley Temple starred in the 1940s Story of Seabiscuit) nor whether you are particularly interested in racing. There is enough plot, enough characters, enough
evocation of history to keep you interested.

The film takes its time before Seabiscuit comes on. Rather, the background stories of three people are well told so that when they meet and take on training and running the horse, we know a lot about them and are interested to see what happens. The first is the entrepreneur Charles Howard who moved from making and selling bikes to making and selling cars but who suffered financial loss at the Wall Street crash and personal tragedy with his son. Circumstances involve him in the racing world and he buys Seabiscuit. The second is Tom Smith, a Montana cowboy, whose way of life passes and loses work in the Depression. He is a talented horse whisperer who recognises the potential of Seabiscuit and becomes his trainer. The third is John Pollard, nicknamed Red because of his red hair. His family fall on hard times during the Depression and leave him at a stable urging him to use his gift for riding horses. He never sees them again. He becomes Seabiscuit's jockey.

With a voiceover explanation of American history in the first half of the 20th century and many visuals, including photos of the period, the film has a social context for the celebrity that Seabiscuit became. He coincided with the hopes of the underdogs in the 30s, with the era of radio and millions listening to races, to the growing cult of celebrity. The races are excitingly photographed so that audiences share in the extraordinary response to Seabiscuit in 1937 to 1940.

With Jeff Bridges as Charles Howard, Chris Cooper as Tom Smith and Tobey Maguire as Red Pollard, the film has quite a superior cast which gives it great human strength (as well as the horses). An added bonus is a very funny performance by William H. Macy as a twenty to the dozen radio commentator, complete with sound effects paraphernalia.

Released in a period where the United States has ambiguous status in the world, after September 11th 2001 and the Iraq War, the film also serves as a boost to the American spirit of the ordinary people. It received seven Oscar nominations, including Best Picture, but did not receive any since it was the year of The Lord of the Rings.

1. Audience knowledge of Sea Biscuit? The tradition of horse-racing movies? The perception of American history, horse-racing, Sea Biscuit from 2003?

2. The scope of the film, the historical background, the historian giving the voice-over, US 1910 and the factories, World War I and the opening up of the west, opportunities, the Depression, the Wall Street collapse, the consequences, the 1930s and the world of celebrity? Photographs, clips inserted throughout the film?

3. The structure of the film: time, the introduction to the three characters, their origins, bringing them together, Sea Biscuit and the consequences?

4. The locations for each of the three characters, the east coast, the north-west, the Depression period, the trains, the people wandering, the background of horse-racing, the racecourses, the editing used for making the races vibrant and vital, the musical score, the songs and the atmosphere and mood?

5. Charles Williams and his working in the factory in 1910, bored with the work on the bicycles, taking the opportunity to leave and go to San Francisco, seen outside his shop, no customers, his courtesy, the man bringing the car, his interest, taking it apart, understanding it, moving into sales? His marriage and the birth of his son? His increasing wealth, home? His always quoting the future? The 1930s, his son and urging him to go fishing, the accident, his grief, his wife's grief and her sweeping the porch, the alienation from Charles, the divorce? The support of his friends? The racing background, the manager of the Santa Anita course? His seeing the horses, his seeing Tom Smith, his seeing Red? His camping out, discussing things with Tom Smith, not throwing away a life? His seeing Sea Biscuit, buying the horse? Moving in society, his wife, their friendship, courtship, wedding, place in society? The bonds between his trainer and his jockey? The discussions with the trainer, betting, having success? The media rivalry over the east coast horse? Charles as a showman, at the press conferences, the challenge? The refusal from the east, the final acceptance? The training at night, the bell? Winning? Sea Biscuit's collapse? Red's accident? The alternate jockey riding Sea Biscuit to victory? The horse retraining, Red and his retraining? Victory? The media, the papers, the newsreels, the radio commentaries? Sea Biscuit as an American celebrity of the early 20th century, a symbol of hope during the Depression?

6. Red, the young boy and his family, the mealtimes, the books, the recitation of poetry? The coming of the Depression and the family losing their money, Red and his riding, his father praising his gift, leaving him at the camp, promising to phone but never doing it? Red and his disappointment with his family and the sense of being abandoned? His boxing to earn money, his being tall for a jockey, his losing, feeling that he was a loser, eking out a living? His offering to walk the horses, staying in touch with horses and racing? With Sea Biscuit, his ability to bond with horses, talking, being seen by Tom Smith? His training, his edge? His jockey friends? Being taken into Charles' family, outings, church? His rivals - and the background of the dirty riding in the early part of the century, his losing the sight in one eye? His losing and Tom Smith angry with him? Charles not throwing away a life? The bonding, the training, the success? The previous owner asking him to walk the horse, the accident, hospital? His handing over the riding of Sea Biscuit to the other jockey? His leg, lame, recovery? His anger with his father, taking the books to throw them away but not doing so? His recovery, his final ride and endurance?

7. Tom Smith, the cowboys of Montana, life on the open range, the coming of barbed wire? The Depression, Tom riding the trains, his ability with horses, at the camp, whispering to Sea Biscuit, Charles' fascination? His being employed, knowing the horse, intuitions about him, building up his success, relationship with Red, angry with him in concealing his lack of sight in one eye, the rivalry from the east, his accepting it, his changing status as he was more successful? The success with Sea Biscuit, the bond with Red, allowing him to retrain, the final success?

8. The other jockeys, the hard riding before the rules were laid down, his jockey friend, choosing him to ride Sea Biscuit to success, the friend and his character, the good friendship, giving up the riding when Red wanted to finally ride?

9. Charles' first wife, the happy marriage, the son, the accident, the bitterness and the divorce? His second wife, her support for Charles, companionship, shared interest, knowledge of horses, having faith in Tom and Red?

10. William H. Macy as the radio commentator - the star turn, the comedy, his language, hype, the special effects, his assistant? The discussions with Charles, getting the news scoop, getting on radio first?

11. The manager of Santa Anita, the racing fraternity, the different courses, management, support?

12. The clash with the east, Admiral, his owner, his disdain, Sea Biscuit being small? The media playing it up, papers and newsreels, the radio? The build-up to the race, the possibility of losing, the jockey riding Sea Biscuit and knowing when to move, getting the eyeline, moving up and making a challenge?

13. The focus on Sea Biscuit, small, becoming a hero, the bonds between the three men, the public, the radio hero? A celebrity of the 30s? Reflecting the American spirit, the American spirit being crushed by the Depression, rebounding, achievement, hope?