PERFECT STRANGERS

UK, 1947, 102 Minutes, Black and white.
Robert Donat, Deborah Kerr, Glynnis Johns, Ann Todd, Roland Culver.
Directed by Alexander Korda.

Perfect Strangers is an engaging comedy-romance set in the war period, showing an ordinary British couple, Robert and Catherine Wilson, their humdrum life and the change in each of them as they went into the Services and experienced the war. They were away from each other for three years and at the end were, as the title suggests, perfect strangers. (The American alternate title was Vacation from Marriage.)

Robert Donat had had a distinguished career in the 30s with a great number of films culminating in his Oscar winning Goodbye Mr. Chips. Deborah Kerr was at the beginning of her very long and successful career. Ann Todd and Roland Culver have small but significant roles and Glynnis Johns stands out as an engaging fellow Wren to Deborah Kerr. Author and playwright Clemence Dane joins with director Anthony Pelissier for the screenplay. The direction and production was by Alexander Korda. who had been so important in establishing the British film industry in the 30s. The humour and the humanity of the stars ensures that the film is quite engaging even in later decades.

1. An entertaining romance, war drama, human drama? Impact in the 40s? Now?

2. The film's value as propaganda material in the 40s? British spirit, the war effort, the presentation of the British as patriotic and in service of their country, the rebuilding of England after the war? British spirit and patriotism? How relevant now? Has the film dated?

3. The prestige of the production? Black and white photography, authors, score? The stars? The irony of the title? The alternate American title? How well did the film establish its background: London, the war, ordinary people and the emphasis on their very ordinary lives, the name of Wilson, their flat, their daily routine, life in the city, work? The drab aspects, the humdrum way of life? Clothes, appearance? The ironic touch in presenting this drabness, with humour?

4. Robert Donat's style as Robert? His appearance, moustache and bowler hat, the background of the marriage, the annual holidays, his timidity, wheezing at the stairs, seeing him at work, his volunteering and not being eligible for more pay, his meek acceptance of this, arguing how he would explain it to Catherine? How well did this establish his ordinariness?

5. Deborah Kerr as Catherine? Drab housewife, her colds, timidity with her husband?

6. The contrast with the way of life in the Navy: Robert's being on the train, explaining himself, the roll call, the entry into the Navy, sleeping quarters, meals, seasickness, the change in the way of life and it giving him more vigour, people calling him Bob, the growing number of friends, the challenge and strategies of the war? The way in which he cam alive? Communication with Catherine? The changing memories of his past? His rowing the boat and hurting his hands, his convalescence and the long discussion with the nurse, the dancing, the discussion about the meaning of the war, her dead husband, and his career as an explorer? The missing of Catherine and then the change of awareness about her? How convincingly was this change in personality presented?

7. The same thing happening to Catherine? Volunteering for the Wrens, crying on arrival, the discussion with Dizzy, her growing friendship with her, the letters to Robert, her skills in the war, manning a boat, carrying messages, the friendship with Richard and dancing, the drawing and the image of her, not as she was in the past? The growing awareness of wider horizons, change in personality ? lipstick, dancing, drinks? How convincingly was her change of personality presented?

8. The propaganda aspects of the film: Robert and his discussions with the nurse and the significance of the war and suffering? Dizzy and the late revelation of her fiance in Singapore and her attitude towards his return?

9. The humour of the preparations for husband and wife meeting? The significance of the title? The role of the editing and the paralleling of their journey, talk, words, attitudes? Their presuppositions about the other not changing, their fears?

10. Robert and Scottie and their conversations, the arrival at the flat? Catherine and Dizzy and Catherine's fear, the running away, the phone call? The dramatic feeling of their meeting, clashes, the divorce?

11. The atmosphere of the pub and the irony of the golden anniversary of the proprietor's marriage with the speech and the celebration? The light and each seeing the other almost for the first time? The irony of their stating their memories and explaining various attitudes? The various sides of the same events and their interpretation? The dancing, the drinking? Dizzy and Scottie and their presence as catalysts? The attack on Robert as being an old woman, Robert's attack on Catherine's ego?

12. The humour of the clash in the street and the attempts to get a taxi?

13. Catherine in the flat and the relating of her memories to Dizzy? The parallel of Robert's soliloquy and his return to get his luggage?

14. The sentiment in the final new encounter, their new view from their flat, the ruins of London and the ruins of their marriage, the morale in rebuilding? The reality that it would not be easy?

15. How well did the film work on the level of man-woman relationships, marriage, people changing? New starts, the quality of love?

16. The success of the film as a war film, a film of the 40s, a film for the 40s peace? The use of the cinema medium for propaganda?

A PERFECT MATCH

US, 1981, 90 minutes, Colour.
Charles Durning, Colleen Dewhurst.
Directed by Mel Damski.

A Perfect Match is one of many telemovies from the United States in the '70s and '80s focusing on family situations with social implications. The screenplay was written by John Sayles (director/writer of Return of the Secaucus Seven, Lianna; writer of Alligator, Pirhana, The Howling). Direction is by Mel Damski, whose first cinema feature was the comedy Yellowbeard. The film has a very strong cast, especially with Charles Durning and Colleen Dewhurst as the parents.

The film is emotional, focuses on questions of health, family relation ships and secrets, but with the strength of the acting makes the potential soap opera ingredients much more impressive.

1. The impact of this kind of telemovie: emotional response, understanding, persons, issues?

2. The Middle American background, affluence? Popular audience identification with the characters? Interest in the lifestyles? Television style for establishing characters, situations? Adaptation for home audiences?

3. California, locations, cities, Los Angeles? The contemporary atmosphere?

4. The title and its expectations? The background of films like Love Story, illness stories? Television family series?

5. The introduction to both families? Comparisons, contrasts, puzzle? The audience learning of the relationship, the blood match? The glamorous world of Miranda and Steve? Julie and her family and their ordinary way of life?

6. Miranda's situation: her work, relationship with Steve. illness? Interviews with the doctor? The background of her illegitimate child, her father's blood being unsuitable for the transfer? Steve and his emotional involvement, his decision to find out about the daughter? Audience sympathy for or against him?

7. Steve and the interview with the judge, the court order? The judge's cautions? Her uncertainties about her decision? Steve's contacting Larson, the phone call, the visit, seeing Julie in the shop, the discussions with Meg and her hostility?

8. Rights, choices, options? The situation in theory, in fact? Emotional decisions?

9. The Larsons and their background? Their decision to tell Julie about her adoption - but not doing it? The reaction to Steve's request? Emotional response for and against, protectiveness fears? Their strengths as a couple? Their decision after meeting Miranda? Meg's harshness towards her? The tests, the emergency and their telling Julie the truth? Their being hurt, the sad response to her reaction? Fears of losing Julie? Meg and her strength, her secrets? Feeling as in she had actually borne Julie? Her hard manner in bringing her up? A good mother? Protective, anxious, eventually helping with the needle for Julie to undergo the transfer? The father and his pleasantness, the emotional response to Steve, his being hurt by Julie's reaction, asking her to apologise to her mother? Their reflections on whether they should have told Julie or not? The handling of situations, the need for strength? The visit to Steve, seeing his show being filmed? The bond between husband and wife?

10. The sketch of Julie, ordinary young girl, her reaction against permissions, her mother's strictness, what she wore, going to the dance? Practising dancing with her friends? Interest in boys? Serving the ice cream, proud of her father? The blood test and her wanting to see her file? The moment of telling the truth, her reaction? Her confusion? Attraction towards Miranda, enjoying the outings, being considered for fashion? The hostile reaction to her adopted parents, her wanting to know the truth? The clash with Miranda and her running away? Emotional needs? meeting the girl on the street, the meal, the home and her leaving? Her arrival for the operation, her fear, her mother reassuring her? The success of the transfer? A future with Miranda as part of her life? Fairness or unfairness in not telling children that they are adopted?

11. Miranda and her situation? Unwilling to find her daughter. meeting the parents, Meg's harsh reaction. enjoying Julie's company? The clash with Julie? The blood, the operation and its success? Wanting to be part of Julie's life? Steve, initiative or intrusion?

12. The background of the television world, the weightlifting photography, the world of fashion and models? The contrast with home and protection? The streets of Los Angeles?

13. The blend of emotion, drama, realism? A well acted film with conviction?

PERFECT GENTLEMEN

US, 1978, 91 minutes, Colour.
Lauren Bacall, Sandy Dennis, Lisa Pelikan, Ruth Gordon, Robert Alda.
Directed by Jackie Cooper.

Perfect Gentlemen is yet another crime caper comedy. Made for television by juvenile and adult actor Jackie Cooper, the film is distinguished by performances from Lauren Bacall, Sandy Dennis and Ruth Gordon. With the young Lisa Pelikan, they form a very entertaining team in disguising themselves as men to commit a robbery as an answer to the behaviour of their prisoner husbands. Light and frothy but very entertaining.

1. The popularity of the crime caper film? Serious overtones, comedy?

2. The conventions of this kind of crime comedy: the establishing of the characters, the basic situation, the situation for,. the robbery, the detailed plans, the suspense, the execution with its suspense, the achievement? The quality of this robbery comedy?

3. Colour photography, prison sequences, hotel sequences, homes? The editing and the special effects for the robbery? For suspense touches, comic touches?

4. The plausibility of the plot - for the purposes of the crime comedy? The plausibility of the characters ? the wives, their husbands in jail, domestic situations, marriages? The mother in law? Their meeting, friendship, sharing sorrows and joys? The vindictive approach to the robbery? The men and their comeuppance? Enough to make a plausible crime comedy?

5. The characters of the three women, Lauren Bacall and her type, her gangster husband, her suave sophistication, her vulnerability, sense of betrayal? Her visits to the prison? Dependence on the other women? Her masterminding of the plot, its execution and her enjoyment of it? The contrast with the Sandy Dennis style character, devotion to her husband, the awkwardness in running the delicatessen, her love for her husband, her compassion, her reasons for involving herself in the plot? The contrast with Lisa Pelikan and the vulnerable young girl, her love, the weakness of her husband? Her decision to collaborate?

6. The details in showing the bonds between the three women in their visiting, friendship and support, the humour and enterprise of the robbery?

7. The mother in law, Ruth Gordon's particular humorous and tough style? Her role as mother in law, her participation in the robbery, her quick wittedness?

8. The contrast of the men, the gangster and his lack of love for his wife, his worry about money? The delicatessen as the ordinary man? The sense of failure? The young man and his being victimised and imprisoned?

9. The build up to the robbery, the attention to detail in the planning, the feminist irony in the women disguising themselves as men, the suspense in the execution of the plot, the incidental characters, the people in the hotel, the visiting couple from out of town? Ruth Gordon and her carrying off the impersonation with aplomb?

10. Audience support of the women in the robbery ? the enjoyment of the robbery? Their getting away with it?

11. The enjoyment of the caper film, the additional value in this film of the character studies, impersonations, the emphasis on the feminist themes?

PERFECT FRIDAY

UK, 1970, 95 minutes, Colour.
Ursula Andress, Stanley Baker, David Warner, Patience Collier, T.P. Mc Kenna.
Directed by Peter Hall.

Perfect Friday is Peter Hall's crime comedy and is excellent adult entertainment. It tells of a bank robbery involving a prim and proper deputy manager, an effete, spendthrift earl and his extravagant wife, played expertly by Stanley Baker, David Warner and Ursula Andress. Dialogue is very witty, the plan ingenious. Perfect for Friday or any other day.

1. How successful a comedy was this? Was it funny? Did it explore people's foibles? How well did it use the bank robbery for comic purposes? Was it satisfying entertainment? The implications of 'Perfect Friday'?

2. How strong was the film in its satirical tone? In its presentation of people, especially the main characters? In the situations of banks, personal relationships, class and society, robberies? How was it satirical in its expectations of the characters and their morality? How satirical of Britain in that bank managers and Earls and their wives should commit robberies? How gentle was the satire? How pointed and effective?

3. What picture of English society did the film give? The ordinary bank man, his quiet life and yet his yearnings to be the greatest bank robber of all? Nobility and aristocracy as effete and sponging on society as parasites? Glamorous wives who can outwit all the aristocracy and the establishment?

4. How ironic was the picture of human behaviour in this film? Appearances of morality and conventional behaviour over criminal tendencies and amorality? How was this illustrated in each of the characters?

5. How successful was the flashback technique - the film moving on in its story? The explanations being given as the film went on and complicating motivation? Comment on the formal style of the filming of many of these sequences, posturing and posing, the use of colour, the ironic locations and clothes?

6. What motivated Mr. Graham for his robbing of the bank? What did he have against society, against the bank, against the routine and regularity and dullness of his life? Is this enough to explain his actions? How interesting was the visual presentation of the bank, its prim and formal routine, the bank personalities of the tellers and the managers, their styles? Banks presented as to be robbed?

7. What kind of person was Mr. Graham? His prim personality and yet his change in his encounter with the Earl's wife, as lover, daring, as controlling and masterminding, as wielding power, as moving towards the perfection in his arrangements for the robbery? As being able to adapt when things went wrong? Why therefore, did he not ultimately succeed?

8. How interesting was the Earl of Dorset? As an effete nobleman, as a parasite, as having a thrill in robbing, in needing money, in enjoying the various disguises and in participating in such a well planned robbery? His relationship with his wife? Why did he not succeed?

9. The Earl's wife: the personality and style of Ursula Andress, her seeming to be in the background, her thrill to get such money, her relationship with the hero, did she love anyone? why was it that she ultimately succeeded?

10. How well presented to the audience was the plan? Its details? Audience participation in the conspiracy to rob? How enjoyable was this? The suspense when the plan had to be postponed? The suspense in the performance of the robbery? The pleasure for the audience in its success? The irony of the ending? What comment did this make on the whole proceedings? How seriously was the film meant to be taken? How successful as a comedy and bank robbery film was it?

A PERFECT COUPLE

US, 1979, 108 minutes, Colour.
Paul Dooley, Marta Heflin, Titos Vandis, Belita Moreno, Henry Gibson, Allan Nicholls, Ann Ryerson, Keepin'Em Off The Streets.
Directed by Robert Altman.

A Perfect Couple is a cautionary title for an Altman film - yet one hopes that this odd couple could succeed, despite his middle age, Greek patriarchal family style and wealthy Los Angeles elitism (symbolised by the L.A. Philharmonic concerts) and her younger, fragile/tough alternative background (symbolised by the concerts of Ted Neely/ Keeping Them Off The Streets). Like Nashville, songs (lyrics and style) comment on the characters and their interaction. Paul Dooley and Marta Heflin are both engaging and frustrating as Alex and Sheila (a dating agency meeting) but Altman has opted for a pleasing, gentle touch, certainly laced with irony, especially the ostentatiously perfect couple acting as chorus. Enjoyable.

1. The work of Robert Altman? His reputation? The quality of his film’s treatment, thews, insight into human nature, the satiric touch? The tone of this film? His regular employment of actors and actresses, writing films for them? His production company and the possibilities of his total control of his films?

2. The choice of Los Angeles as the setting - as a microcosm of the United States? A cross-section of people in this city, in the country? The presentation of the groups and their clashes? The mutual accusations: freaks, weirdos? Audience judgment about who is normal or not? The European origins of so many Americans? The focus on the American Greek community - its wealth, style, conservatism, control, business enterprise? The contrast with showbiz groups in Los Angeles, rock groups, permissiveness? The dating agencies ? Great Expectations? A cross section of ordinary but different people?

3. How well did the film combine these two worlds - dramatically, thematically and symbolically? The use of music as a device to symbolise each group and to bring them together? The classical music for the conservative Greek family, the rock music and popular styles for the group? Contrasting the two styles? Bringing them together in the final concert?

4. The significance of music throughout the film? The type of classical music at the Los Angeles Bowl at the beginning, at the house as conducted by the father? The contrast with Keepin' 'Em Off The Streets and their songs, the lyrics? The background to the action and moods? The lyrics commenting on the characters and action? Bringing the classical and the contemporary together in the final concert. the final credits?

5. The title of the film and the chorus duo of the perfect couple? Their elegant fondness of each other at the Los Angeles Bowl, their clothes, manners? Seeing them shopping together and their care and concern for each other? The hospital sequence and the husband getting the patch over his eye? In the shop and their leaving the invitation for the party at the restaurant? Their presence at the party for Keepin' 'Em Off The Streets? The cynical touch with their coldness towards each other at the end? The future for Alex and Sheila as at the end they appeared like the perfect couple? The superficial charm of the couple - compared with reality? The purpose of this device?

6. Great Expectations and dating agencies? The use of computers, media for interviews? Artificial arrangements for finding the perfect and compatible couple? Audience response to Sheila's interview, Alex's? Skye? Dana? The satire in these interviews and the response of each candidate? The reality of each of the characters compared with the interviews? Dana and his eagerness, moustaches and masculinity, his dating Sheila, bringing the yellow rose, the fight with Alex and his running away? Skye and her sexuality, her enjoyment of the meal, taking Alex to her house and the humour of the dogs, the emphasis on sexuality with the magazines etc.? The film's comment on lonely people who go to dating agencies?

7. Alex's background: his how, presence at the concert, his father and the conducting of the music with the rest of the family present, the patriarch and his absolute control, meals and timetables. elegance, the discussion about the school for his granddaughter? His disowning Alex? His care for Eloisa? His other children and the in-laws? Fred and his aping the Greek custom? The formality of the family? The conversation in which Alex was treated as a boy? The family all going to work together to the shop? The father's attitude towards Sheila and finding her in the house and the accusation of her being a whore? Alex's return to discover Eloisa dead and his father disowning him? Sheila and her reaction to the family finding her? The influence on Alex of his family and its shaping his reaction?

8. Eloisa and her charm, playing in the orchestra, friendship with Mona, her visits to the doctor, her being ill? Her humane touch, love of Alex, wanting to move out? Her being a help to Alex? The suddenness of her death, the absence from the orchestra? The touch of pathos in her characterisation?

9. The contrast with the group - living in the factory, Bobby and his homosexuality, his care for the girls? Mary and Sidney Ray? Their lesbian relationship? The pregnancy and the bringing up of the child? Audience judgment of relationships? Teddy and his wife and child? The control that Teddy held over the group ? as parallel to Alex's father? The togetherness, the lack of privacy, the lack of elegance, drink and drugs? The band? The love of music? Sharing in common? The background of each of the characters? The going on tour? Alex's reaction to them as 'freaks'?

10. Alex and Sheila as a couple? The possibility of a future together, their compatibility, audience sympathy for each of them, hopes? Superficial knowledge - at the level of the dating agency? Their getting to know one another, sharing, the possibility of depth and a permanent relationship? Their liking each other as well as loving each other?

11. The portrait of Alex - at the Bowl on his first date, the umbrella, the rain, the humour with the car, the elevator at the factory? His imposing himself on Sheila? His wanting to return, the telephone call and the cure for the cold? The further date and his feeling that he was stood up, the phone call, sleeping in the car? His imposing himself on Sheila? The fight with Dana, his being hit on the head? The first aid and the hospital discussion? In bed at the factory, going to his house? His allowing Sheila to be humiliated and his being dominated by his family? His trying the agency again? The party after the dinner with Skye, seeing Sheila at the concert for the group? His leaving Skye and returning to Sheila? The background of his divorce and his wife's, remarriage? The film's emphasis on his needs, capacity for love, loneliness? His style and relationship with Sheila? His puzzles about the factory? The dominance of his father? The help of Eloisa? His work and its lack of fulfilment? What he learnt from the experience with Skye?

12. His decision to leave home, to travel with the group, chasing them In the bus and apologising to Sheila? His presence at the concerts, at the rehearsals and the hairy man in the audience? The bed sequence and the lack of privacy? His return home and the contrast with Eloisa’s death? His return to Sheila - was there enough basis for their future together? Alex as a type of American everyman figure ? middle age, needy, values?

13. The contrast with Sheila, so different from Alex, the contemporary type, fey, her work and the suitability for the group, her presence at rehearsals, Teddy's control over her, her sad features, the sad songs she sang, her participation in the group especially in movement? Her hopes from Great Expectations, her response to Alex, her fears? Her anger with him after the rehearsal? The date with Dana and her fainting after using the poker? The care for Alex, the return to home, being humiliated? On tour and her forgiving of Alex? A type of everywoman American character?

14. Themes of love, liking? Aspects of relationships, knowledge, self esteem, forgiveness?

15. The delineation of the characters of the group ? Teddy and his control, his musical skill, his wife and child? The girls and their relationship, looking forward to the baby? Bobby and his erratic attitudes, genial personality? The tour, the concerts, the length of time and perfectionism in the rehearsals? The bedroom sequence?

16. Themes of ordinary people and their yearnings, love, death, hope, understanding? Themes of marriage? A comic view ? how hopeful, how satirical?

PERCEVAL

France, 1978, 113 minutes, Colour.
Fabrice Luchini, Andre Dussollier, Marie Christine Barrault.
Directed by Eric Rohmer.

Perceval is a stylised dramatisation of the medieval Grail poem by Chretien de Troyes, focusing on Perceval, his becoming a knight, his battles, his rescue of Blanchefleur, his failure to gain wisdom, especially concerning the Grail by questioning the Fisher King. His learning from his mother, noble knights (and the detour of the story of Sir Gawain) and his watching of the Passion Play on Good Friday. Eric Rohmer’s work has comprised Moral Tales. His discipline and complete reliance on the recitation of the text, use of song and medieval melodies and artificial sets make this an absorbing, very specialised film illustration widening the possibilities of feature films.

1. The background of Camelot, King Arthur and his court, knights and chivalry, the medieval traditions, the grail legends? The medieval background to these legends? The literature and the poetry? Contemporary interest in the literature, the legends and myths, themes? Poetic interest, religious themes, history, psychology?

2. The blending of the historical ? the symbolic presentation of medieval legend? The mythological overtones? The Catholic tradition? The rediscovery of the medieval myths by contemporary symbolists and psychologists?

3. The work of Chretien de Troyes? His perspective on the grail legends? On King Arthur? On Perceval? The medieval viewpoint on chivalry and honour, quests? The orthodoxy of the traditions of the myths, of Catholicism?

4. The work of Erie Rohmer: his tradition of presenting moral tales? His choosing a medieval legend to present as a moral tale? His stylised screenplay, manner of filming?

5. The film's use of the medieval text? Adaptation for modern audiences, the language? The epic treatment ? and the satiric touches? The work as a chanson? The characters reciting the poetry, singing it? The characters reciting the directions? The effect on the audience, involving them in the characterisation, action, themes? Distancing the audience and making them observe a play?

6. The background of medieval art? The visuals, sets and decor, visual compositions in the framework of each scene? Colour photography and its style? The artificiality of the decor and sets? The audience accepting the unreality and the contrivances? Once these were accepted, audience involvement in the legend? The vividness of the colour, the choices of colour for scenery, sets, clothes? The stimulation to the imagination? The corresponding acting styles, contrived, postures etc.?

7. The use of song and audience response to the continued singing? The medieval melodies of the 12th and 13th centuries? The range of voices? Individual voices, polyphony?

8. The fidelity of the film to the text? The structure of the poem: the background of Perceval, his quest and mission, the encounter with Perceval, King Arthur, his avenging the lady? The interruption of the story of Sir Gawain? The return to Perceval? The dramatic imbalance and the film's deciding to follow the structure of the text?

9. The basic conventions of drama: establishing characters, explanations of characters, interaction? The basic structures and conventions seemingly crude? The power of the simple interactions?

10. The background of medieval themes of chivalry, courtly love, religion? Sin, guilt, responsibility? Heroism? The young man and his training, quests and endurance, learning?

11. The basic ingredients of mythology? The hero, the quest, endurance, courage. trials? The background of the mother and her advice? King Arthur and the ladies of the court? The knights? The fisherman king and the revelation of the truth? The Grail and its symbolism? The opportunity to learn? Blanche Fleur as heroine? The loathly damsel and her guiding to wisdom?

12. The Catholic background, the focus on Christian realities, symbolism, theological themes? Perceval and his straying from the church? The Good Friday sequence, the singing of the Passion, the re-enactment of it, mime, the significance of Christ's redemption?

13. The symbolism of the grail - as the goal of the quest, the background of the Last Supper, the Eucharist, the passion? The long sequence of the Passion and its impact on Perceval?

14. Themes of courtly love, the characterisation of Blanche Fleur, her difficulties, Perceval and his saving her, their love, the culmination of their love? The avenging of the lady offended at King Arthur's court?

15. King Arthur, the Round Table and the background of the Arthurian legends? The encounters with the knights? Perceval and his learning from the wise knights? The tournaments and the violence?

16. The vision of the fisher king, his castle? Precava’s hesitation and not learning the truth? The loathly damsel and her being a means to discover the truth?

17. The epic poem and the presentation of a young man, his self assertion, search for identity, achievement? The experiences of Perceval, his hopes for the future?

THE PEOPLE VERSUS JEAN HARRIS

US, 1981, 147 minutes, Colour.
Ellen Burstyn, Martin Balsam, Richard Dysart, Peter Coyote.
Directed by George Schaefer.

The People Versus Jean Harris was completed very quickly after the trial of Jean Harris for the murder of Scarsdale Diet expert Herman Tarnower. The telemovie uses the transcripts of the court case with some reliance on the flashback technique. While the film seems to be an objective kind of presentation of the material, it is an emotional involvement for the audience in the feelings and passion of Jean Harris, her liaison with Herman Tarnower and her jealousy. The film indicates some doubt as to her guilt in relationship of the famous doctor.

Ellen Burstyn, Oscar winner for Alice Doesn't Live Here Anymore, gives an excellent performance as Jean Harris and carries the film. Martin Balsam appears as A lawyer and Richard Dysart as the judge. While the famous story is intriguing in itself, the film is a useful look at the processes of American justice (despite the fact that the many-paged report of the trial had to be so drastically abridged for the film). The film takes the audience behind the headlined and shows how complex people and issues are ? and that they can often by misrepresented by the media. An interesting piece of 1980s Americana.

1. The impact of the telemovie, its topical theme, American justice, court cases? The celebrated expert with the Scarsdale Diet? Jean Harris and her reputation as an educationalist? The sordid atmosphere of the liaison and the murder trial?

2. The quality of the telemovie: the focus on the courtroom, yet the fluidity of the camera work, reliance on close-ups? The using of the text of the court proceedings? The quality of the editing of the transcripts? The role of the commentator and the voiceover? The invitation to objectivity as well as audience understanding of the characters involved, motivation? The film not using flashbacks in the visual sense ? the verbal flashbacks? The cumulative effect of the long film? Audience concentration, the home audience?

3. The quality of the acting, especially that of Ellen Burstyn, its persuasiveness in helping audiences to understand the human motivation?

4. Worldwide interest in the murder case and the trial? The reputation of the participants? Topical in the early '80s? Audiences' knowledge of the data and facts? Judgments on the characters? Media reporting? Audience expectations of guilt and punishment? The complexity of observing a person in a trial, the uncovering of character and motivation? Changing audience attitudes?

5. The information given about Jean Harris? The descriptions of her? Audience judgment on her at the end of Part One? Facts, events, her experience, her emotionality, suicide attempts? Her interpretation of her own life? The prosecutor's interpretation? The strength of Ellen Burstyn's presence, character sketching? Jean Harris as a woman, her career, relationships? Ability or inability to cope on the personal level? Professional level? A credible woman?

6. The contribution of the witnesses: Suzanne and her information, her work? The police and their testimony? The autopsy? Mrs. Edwards? The information. the attitudes (the medallion), the interpretation and treatment?

7. The careful presentation of the evidence: the phone calls, the witnesses to the phone calls and the reported conversations (and personal bias)? The importance of the letter, the time that it was mailed, its being received? The link with the financial situation of the doctor? Jean Harris' financial needs?

8. The defence and the explanation? With sufficient skill or not? Sympathy, objections? The style of the defence? Building up Jean Harris' life and reputation? Children, career, meetings, the attitude of parents in her treatment of children taking drugs? Her trauma? Lynn?

9. The skill of the prosecutor, his character, method? His explanations? Treatment of the evidence, of Jean Harris? The interpretation of her behaviour? His being a dominant character in the screenplay? A credible character and prosecutor?

10. The judge and his background, his hearing of the evidence, of objections, allowing and disallowing? His stance at the end?

11. The growing importance of the letter and its role in the climax?

12. The sketch of the jurors, their place in the court? The atmosphere of the courtroom and the audience being immersed in it? Audiences sharing the task of the jurors?

13. The importance of American justice and its administration, responsibility and guilt, the styles of proceedings? Instructions to the jury? The possibility of doubts that justice could be done?

14. The build-up to the verdict, its being given ? and its justice?

THE PEOPLE NEXT DOOR

US, 1970, 93 minutes, Colour.
Eli Wallach, Julie Harris, Deborah Winters, Stephen Mc Hattie, Hal Holbrook, Cloris Leachman.
Directed by David Greene.

The People Next Door was not very popular on its first release. It was made in 1970 when the widespread use of drugs and the consequent problems were still being pushed aside by respectable people. This seems unthinkable given the history of traffic and addiction during the 70s. In retrospect, The People Next Door seems a timely warning about the prevalence of drugs among ordinary people and even with the people next door. The film is quite powerful. It does tend to preach at times but its social consciousness is certainly quite relevant.

It was directed by English director David Greene who made such films as The Strange Affair and Godspell. He has worked prominently in American TV e.g. directing episodes of Roots. Sound stars play the roles of parents in this film: Julie Harris with her strong stage background, Eli Wallach, Arthur Hill, and Cloris Leachman. The bizarre presentation of drugs and the effects may seem somewhat outdated now with their psychedelic overtones. However, the film has value in itself and is, at least, a reflection of the drug problem of the early 70s.

1. The way the title was used during the film? Bringing the film and its theme close to home?

2. The film's reflection of America in 1969-70: city and suburbia, ordinary homes, parties, drugs, the younger generation's rebellion, psychological treatment, group therapy etc., schools and revolts? How have things changed since then? Why? The impact of a film made in a particular time, now?

3. The film's use of colour and music. lyrics and themes?

4. How credible were the people and the events of this film? Heightened for the drama? The melodramatic charge of the film? Necessary for eliciting a felt audience response?

5. What predominated in this film: entertainment, interest didactic message communication?

6. The film's attention to the detail of home life, conversation? The fact that it was American, could it represent suburban home life anywhere at the time? Parents and their attitudes, children and their attitudes? The clash and gap? Especially reflecting the 60s? What was wrong with families? The tame father becoming bullying? The emphasis on work. position status and money? The cowardly mother? The son and his interest in modern music? The daughter at school getting mixed up with drugs? Happiness and unhappiness? The seething atmosphere of home life leading to crises?

7. The comparisons with the Hoffmann’s next door? Their rather more permissive style of life? The father involved in the school? His model son being the peddler?

8. The dramatic impact of Maxie seen as taking drugs? Her trip in the closet? The reaction of the parents and their lack of comprehension? Fear? The horror and uncertainty of such trips and the treatment necessary? The impulsive accusation by the father of his son?

9. The dramatic impact of 'The Truth Game' played by Maxie? The details of her criticism of her parents her listening in and spying on them? The effect on each of them?

10. The importance of the visualizing of Maxie's trips her promiscuity, her lack of any anchoring in the values of her parents? Wanting to be with her boyfriend? The father's reaction to this and his inability to handle the situation?

11. The significance of the visit to the psychologist? His explanations, parent reaction? Is psychology the only hope for such treatment?

12. The impact of the follow-up in group work? The purpose of the group work, its style, brutality, banality at times? Give examples of the impact of these sequences. The effect on each of the persons involved?

13. The melodrama of the party and the trip, the transition to hospital, and the therapy ward? The effect on Maxie?

14. The details of therapy for Maxie? The attempts of her brother to help her? The need for peer therapy rather than parental?

15. Audience response to the revelation that Sandy was the drug pusher, his parents' reaction, their assessment of themselves, his father's decision to hand him over to the police? The technicality of his release and Arthur's reaction? Did audiences share Arthur's reaction?

16. Arthur being reconciled to his son and the realization of his rash judgements?

17. The mother and her torpor and remaining in bed? The cowardly retreat in not facing up to facts? Her desperation in not going to the hospital? Her anger and her confrontation of her daughter? The daughter responding to a confrontation and somebody being interested enough to rebuke her?

18. How accurate were these images of hope and the possibility of a solution? What insight into the family problems in the modern world did this film offer?

THE PEOPLE

US, 1971, 74 minutes, Colour.
Kim Darby, Dan O' Herlihy, William Shatner, Diane Varsi.
Directed by John Korty.

The People is an interesting and entertaining science fantasy telemovie. It was directed by John Korty, director of many telemovies and features including The Autobiography of Miss Jane Pittman, River Run, Oliver's Story, Caravan of Courage. The film was produced by Francis Ford Coppola and his father Carmine Coppola did the musical score. The film has a mid western isolated setting, a community that resembles the Amish in some ways. While they seem sinister at first, the film has a gentle tone. Kim Darby is attractive as the teacher who enters the community and helps them resolve their problems.

1. Entertaining science fiction, fantasy? A blend of fear and delight?

2. An enjoyable telemovie, telemovie style, Americana? The special effects, especially for the control and levitation? The musical score and its mood?

3. The focus of the title on the community. seemingly ominous, the reality? less than ominous and fearful? The people changed through the teacher? Their being changed and freed?

4. Melodye, her past, her boyfriend's comment, the bus ride, the isolation, the arrival at Nowhere, Karen's arriving, the truck, the isolated community, Sol and his family, the hospitality and the gifts, her being at home, the school? The children and the parents lining up formally? Their seriousness, lack of play? Her meeting Frencher? Her trying to teach, sing 'Old MacDonald's Farm', Karen's controlling the children. Melodye's anger? The encounter with Dr. Fergus? Suspicions? Discovering the truth of the story. the reality of the people? Her delight. getting the children to draw. dance, not shuffle. control. levitate. the fantasy sequence and the children conducting the musical instruments, the children freed? Frencher and his collapse, the empathetic little girl? Valency and her power? The transfer of power from the older woman? The healing of the boy? Melodye joining with the community in its concern. her being accepted, feeling an outsider? Dr. Fergus' advice? Her experience, helping and saving the people. her future?

5. Audience response to the people, as a community, religious and isolated, unusual behaviour, stilted and serious. the elders controlling the children? Aliens? Their isolation, their powers, persecution? Their gifts ? control and levitation? old lifestyle, secrecy? The children shuffling yet wanting to play? Karen and her control? Melodye discovering the truth, liberating the children. the dangers. acceptance and joy?

6. Karen and her friendship with Melodye. control of the children. helping? Frencher and his friendliness, the little girl and her suffering with Frencher? The children and their behaviour?

7. Sol and his family, their old lifestyle? The old woman? Valency and her wisdom, help and advice, receiving the powers? Helping with the operation?

8. Dr. Fergus, his place with the community. welcomed, helping them? Helping Melodye?

9. The theme of community, the building of communities? outsiders and strangers? Fear? Redemption and freedom?

THE PENTHOUSE

US, 1989, 95 minutes, Colour.
Robin Givens, Robert Guillaume, David Hewlett.
Directed by David Greene.

The Penthouse is a telemovie thriller reminiscent of William Wyler's version of John Fowles' novel, The Collector. A glamorous woman is kept prisoner in her penthouse by a childhood friend who has an infatuation for her. He is mad and seemingly suicidal. The police try to control the situation. However, the heroine's father intervenes. The film is more or less as expected, a bond growing between captor and captive, the violence and aggressiveness of police and those with rescue tactics. The violent killing of the captor. Robin Givens is the heroine, Robert Guillaume is her father.

1. Psychological thriller? Violent action? Relationships between men and women? Victimisation?

2. The Canadian city locations, the affluence of the penthouse, the buildings, technology for conducting a siege? Atmosphere? Musical score?

3. The title, the focus, the wealth of Dinah St. Clair? The place of prison?

4. The portrait of Dinah, her background, poise, her story, allowing Joe in, the memories of friendship, hospitality, suspicions, wanting him to go? her being held captive, the terror, her energies, trying to pacify him, trying strategies, the contact with her father and the police,. her inability to injure him, her inability to escape? Her growing to understand him, the violent attack, her anger at his death? Reunited with her father?

5. Joe and his background, infatuation with Dinah at school, the remembering of stories of the past, the death of his mother, his violence? Coming into the penthouse, the revelation of his murdering the guard? The visit, the implicit menace, the gradual surfacing of the menace, his techniques of staying, attitude towards Dinah, tender and terrorising? His response to her, seeing through her? The continued menace, his reaction to the police? Holding her in front of him, his death?

6. St. Clair and his angers, phone calls, wanting direct intervention, violence?

7. The police and their handling of the situation, tactics? The experts coming in to try to persuade Joe to give up? The attack strategists and their wanting to intervene and shoot? The political background and the politicians intervening?

8. The resolution of the difficulty? The use of psychology, waiting, the use of weapons? Audience reaction and decisions?

9. Interesting psychological thriller? Or exploitive thriller?