PENNY SERENADE

US, 1941, 125 minutes, Black and White.
Cary Grant, Irene Dunne, Beulah Bondi, Edgar Buchanan.
Directed by George Stevens.

Penny Serenade is a very warm and moving film. it has the ingredients of a 'women's picture' and has a lot of sentiment but does not fall into sentimentality. Cary Grant and Irene Dunne had worked together in a number of films in the 30s and early 40s and are well matched here. The direction is by George Stevens, a measured director who had made such films as Quality Street, Gunga Din, The More the Merrier. There is good support also from Edgar Buchanan and Beulah Bondi. The film treats of marriage, family and adoption. It is somewhat dated
now in its treatment but it still has the power of attraction and enjoyment as well as something valuable to say about human experience.

1. The indication of the title as regards money, the little amount of money, music? The appeal of this film, sentimental, soap opera, "woman's picture"? And yet the critics and audiences all agreed that it transcended the ordinary limitations of the genre. Is this true? Where?

2. The quality of the production, Oscar nominations for Cary Grant etc.? The black and white photography, studio work, period re-creation? The importance of music? The quality of the star performances and the support from Beulah Bondi and Edgar Buchanan? The child acting? A happy blend in a humane way?

3. Audience identification with the structure: the records and Julie listening, the importance of music, the memories associated with it over the year? The importance of the continual returning to Julie playing the records, the visual device of the flashbacks? The content of the flashbacks and their accumulated effect until they reach the present and the need for a solution? Audiences identifying with Julie, her memories and regrets, her hopes and hope for a solution?

4. Irene Dunne as Julie, an attractive performance? The particular qualities of Irene Dunne's presence, dignity, quality of life, of love? The strengths of her character? Her memories of herself as a younger girl, the meeting with Roger, the strangeness that she should marry him, the humour of the details of the courting, their marriage, the years in Tokyo and the effect of the earthquake? The pathos of the miscarriage? The return home and the effect on her? Missing the baby? The hardness of their way of life, money, Roger's attitude towards his work and career? The support of their old friend through the years? The question of adoption, the desperate yearning and the effect on her as a mother, the money questions, the applications, trying to prove that they were ready? The ups and downs of her relationship with Roger, her wanting to persuade him to adopt the child? The visits from the Inspector from the orphanage and her advice? The bond of Julie with her over the years? Trying to make a happy household? The change with the coming of Trina, looking after her, the danger of not having money, trying to make good appearances, the desperation of Roger and his wanting the child to go back, the relief after the court case? The effect of the death and the way that it was presented, credibly, movingly? Audiences identifying with Julie in her suffering? The place then for her memories? The hopes for the future and bonds with Roger and adoption? What more could Julie have done to help Roger and the family? A moving and credible portrayal of this kind of woman?

5. Cary Grant's style as Roger matching that of Irene Dunne? His background, papers, character and the difference from Julie? The humour and the strangeness of their courting, marrying? Work in Tokyo? The result of the miscarriage? His decision about his work, the house, the paper, the support of his old friend? His reaction to Julie's wanting a child? His inability to make ends meet, his reluctant agreement about the adoption? The effect of the Inspector on him and her help over the years? The effect of the child ? the school sequences and his fatherly instincts and watching the child grow up? The pathos of his allowing her to go back to the orphanage, the importance of the sequence waiting for the Judge, his appeal and the return home? The effect of her death and his memories of what life had been like? The importance of his not being able to cope, his feeling that he had to leave Julie? Whose fault was the break? The possibility of building a future, overcoming his sense of failure? A portrayal of a credible man?

6. The importance of circumstances, work, money, making ends meet? Home, atmosphere? The detailed attention of Julie's and Roger's attempt to make the home fit for a child? The pathos of the inspection, the questionnaires? The court case? The pathos of death and the effect on the two?

7. The personality of the Inspector and her sentiment, sensible? Providing a child for them?

8. The them of failure and separation, the inability for people to reconcile themselves, the hard work for reconciliation?

9. How attractive was the little girl? Parents' expectations, preparations for adoption, their readiness, the way that they brought her up, the detailed attention to home life, affection, school, concerts etc.?

10. The old friend and his words of wisdom, financial support, moral support? The theme and quality of friendship?

11. The film relied for its success on detail, feeling,
humour, humane touches, sadness and sentiment. How movingly did it succeed?

PEKING EXPRESS

US, 1951, 90 minutes, Black and white.
Joseph Cotten, Corinne Calvet, Edmund Gwenn, Marvin Miller.
Directed by William Dieterle.

Peking Express is a remake of the Josef von Sternberg, Marlene Dietrich vehicle Shanghai Express. It is updated from the '30s to 1950. This is the period just after Mao's takeover of China and the difficulties in the communist regime, the confronting of the warlords as well as western powers. The cold war atmosphere is reflected in the screenplay. Joseph Cotten is competent in the central role. Corinne Calvet is certainly not a Marlene Dietrich. Edmund Gwenn has a sympathetic role as a priest. The film is one of the many train adventures, neither better nor worse. It was directed by William Dieterle, director of Many Warner Bros. biographies in the '30s, the director of a number of thrillers in the early '50s.

1. Enjoyable action adventure, '50s style?

2. The remake and comparisons with the original? Paramount production values: black and white photography. studio sets, atmosphere of China?

3. The background of China, the communist revolution, the welcoming of foreigners and the exclusion of foreigners from China? Shanghai and the countryside? Authentic atmosphere of China? Or Hollywood style? Black and white photography? The train? The Dmitri Tiomkin score?

4. The popularity of films about train journeys? A sense of progress, goals and destiny? The train and its passengers as a microcosm? The interaction and the conflicts? Crisis? The popularity of the train, its movement, the sense of travel?

5. The assembling of the characters and the tensions? The ironies of espionage on the train trip.. the warlords? The background of the communists. business interests? The United States? Journalists, the church, the World Health Organisation? The ingredients for a travel thriller?

6. The progress of the trip and the interactions? Michael and his journey, background as a doctor, the encounter with Danielle and the memories? Kwan and his wife and the ambiguity of their relationship? The journalist and his observations? The priest and the background of missionary work? The soldiers?

7. The holding up of the train, the battles and the deaths? The captures? Kwan and his wife? Death? His status, capture. torture, decisions? His sons and death? Illustration of traditional Chinese troubles?

8. Michael and his interrogation? Mission? Medical questions? Going to the train, to Kwan's wife? The relationship with Danielle?

9. Danielle and her glamour, cover, involvement, moral decisions?

10. The priest and the role of the foreign missionary, the church, the clash with the communists, Christian principles, his death?

11. The journalist and his observations? Detachment?

12. Kwan, the Chinese businessman, cover, cruelty, family, wife?

13. The background of torture and interrogation, the escapes?

14. Popular themes for a popular thriller of the '50s? Its impact now? Illustrating the atmosphere of the times ? as interpreted by Hollywood?

PEE WEE'S BIG ADVENTURE

US, 1985, 87 minutes, Colour.
Paul Reubens.
Directed by Tim Burton.

Pee Wee's Big Adventure became a huge cult success in the United States and in many other countries. Pee Wee Herman is the television and film name of comedian Paul Reubens. He is in the little man comedy tradition, a touch of the Jerry Lewis, a voice like Woody Woodpecker, an eternal child doing adult things. He is not everybody's choice of top custodian. However, a touch of the zany, a touch of the innocent and naive, a touch of the shrewd all helped to make him popular in the mid '30s.

The film is a bit of an odyssey across America as Pee Wee goes searching for his lost bike. There are some amusing vignettes along the way, as he encounters people on the highway. There is also an amusing tour of the Alamo. The climax is in Warner Bros' studio where he does a kind of Mel Brooks Blazing Saddles tour of the various sets and finishes up with a film about himself. However, as he goes to the drive-in to see it, we see that the film has become a James Bond style drama with James Brolin and Morgan Fairchild as the stars. There are also guest appearances by Tony Bill with a glimpse of Milton Berle. Direction is by Tim Burton who directed Beetlejuice (and Large Marge's Ghost Story has make up similar to the ghosts in Beetlejuice) and Batman.

1. The Pee Wee Herman phenomenon? Personality, style? Appearance, clothes, make-up? His dolls' house, the bike, the garden? His love of magic? Way of speaking and laughing, the little man, naive, shrewd?

2. The Americana comedy, the tour of America? Danny Elfman's score (reminiscent of Nino Rota's scores for Fellini's films (with a touch of the clown?)

3. The establishing of the character of Pee Wee: the dream and his winning of the Tour de France, the clown like riding of the bike? Waking up? His love of his own bike? The machines for breakfast, etc? Francis and his demanding the bike? Going to the magic shop and enjoying all the tricks? The friendship with Dotty and her wanting to go to the drive-in? The bike gone?

4. The meeting with Francis and his father, into the swimming pool, the accusation, Francis's denial, Pee Wee's apology? His organising the meeting and talking for three hours? Rejecting their help? Fear and scare?

5. The trip across America: the road film parody, his hitchhiking and meeting Mike, like as a criminal, nice, the disguise with the beard and Pee Wee and the dress, the police, over the cliff and the parachute? The meeting with Large Marge and the truck, the ghost story and the pop-out eyes, the truckers and their fear of Large Marge? Large Marge as the ghost? His losing his wallet, doing the enormous wash-up, meeting Simone as the nice waitress, looking at the sunrise with her, the dinosaur statue? The dream and living in the city of eternal love ? in the dinosaur's teeth? The pleasant romance? Simone talking and getting advice from Pee Wee? Andy chasing him with the dinosaur bone? Jumping the train, the dream, the bike? And the dinosaur eating it? Meeting the tramp, singing 'She'll He Comin' Round the Mountain When She Comes,' falling off?

6. Texas: the visit to San Antonio, the Alamo, Tina and tour, all smiles, the tour group and their following her, all saying 'adobe' together? Pee Wee asking where the basement was and everybody laughing, his running away? Simone going to Paris? Ringing Dotty? that it was Texas by everybody clapping their hands for 'Deep in the Heart? The apology, the dog? Humility? Andy cashing him through the parade? The cowboy clothes, the rodeo, his going on the bull and being a champion, Andy chased by the bull? The bikies and their quiet, the phone, ousting? The knocking over of all the bikes? The girl, the high shoes and the dance? The pals and the bike, his going through the billboard, the ambulance? The dream and the clown on the sweets, the flame on the bike, the thief?

7. Hollywood: seeing the TV, the Warner Bros film and the use of the bike? The studios, Milton Berle and laughing, the extras, the set and the set ups, the bike, the child star and his crankiness with the nun, the nun wanting to quit, Pee Wee disguised as a nun? The nun with the bike, the security chase throughout the lot, the gadgets on the bike and eluding the pursuers, chaos on the sets, the beach party set, the boat and the skiers, the North Pole and the sleigh, Santa Claus following, the science fiction with the monster and the Japanese director? Riding over the model tanks? The explosion? The rock group,(Twisted Sister), Pee Wee as Tarzan with the rope and the bike, leaping over the house? The pet shop girl, helping the animals? The birds, the mice, eventually taking out the snakes and fainting? The hero but his arrest? The Warner Bros director getting the contract for the movie?

8. At the drive in, feeding everyone, the tramps, and the file in the cake, Simone and Pierre, James Bond - James Brolin and Morgan Fairchild and the martial arts imitating his story? Pee Wee laughing? His appearance as the desk clerk with a dubbed voice? Pressing the button and the thief going on the ejector pole?

9. American comedy, reasons for its popularity? Cult status?

PAYMENT ON DEMAND

US, 1951, 90 Minutes, Black and White.
Bette Davis, Barry Sullivan, Jane Cowl, Kent Taylor.
Directed by Curtis Bernhardt.

Payment on Demand is a Bette Davis vehicle, made at the beginning of the 50s when she was moving into roles which more suited her age than the dramatic heroines of the 30s and 40s. The film is quite effective as a study of marriage and divorce.

Bette Davis is matched this time with Barry Sullivan as her husband. The film is brief, has a strong performance from Bette Davis and has much to say about marriage. Direction was by Curtis Bernhardt who had directed her in Deception.

1. The title, tone and significance? Alternative title "Story of a Divorce"?

2. The film as a Bette Davis vehicle? An older Bette Davis? Relying on her reputation of the past? The film as a successful soap opera? Black and white photography, music?

3. The importance of the flashbacks, flashback structure: the announcement of the divorce, Joyce's memories? Her gradual realization of what had happened? Carrying the audience forward into understanding the situation?

4. The importance of the first impressions of Joyce: with her daughters, her snobbish attitude to the boyfriend, her style, her attitude towards her husband and encounter with him? How were the first impressions justified or changed?

5. The impact of the sequence with the announcement of the divorce? The casual encounter of husband and wife in the room, David telling her, the effect on her?

6. The flashbacks as the immediate effect of this news? Joyce looking into the mirror, the effect of this. her looking into the past? The gradual explanation of her character her behaviour? Did her memories justify her? Justify the divorce?

7. The flashback of initial romance, and lyric love? The communication of the origins of the love and marriage? The use of shadow to illustrate the younger Joyce and David?

8. The impact of the sequence where Joyce helped David to get his big job? Her first lack of scruples? The association of this with the coming baby? The revealing of this to David, his disgust? Joyce's treatment of his partner? The repercussions of this later?

9. How credible was their gradual growth in wealth, status? Their children, San Francisco society? The importance of Joyce's manoeuvres into this society? The society wife and the identifying of their same attitudes?

10. Her gradual domination of David, asserting her power and influence? Saying he was nothing without her? The effect on him?

11. The effect of the separation on Joyce, on her daughters, on the lady gossips who wanted to tell her what was going on?

12. The meaning of David's affair, the discussion about the music and memory, the spying photographers, the use of the photos for divorce proceedings? The effect on the other woman?

13. The sequences of the legalities, the tone she took? Her taking all and payment on demand? What was she trying to do to David? His allowing her to do it? The daughter choosing to stay with her mother because of need?

14. The growing loneliness as illustrated on the voyage, her disillusionment? The visit to the bitchy wife and being horrified at her isolation, being the patron of the gigolo? The encounter with the married man, his further disillusioning her?

15. The importance of the wedding, the return.. the effect of seeing David again in her loneliness?

16. How real was the reconciliation, the basis for permanent union?

17. The soap opera as a way of exploring themes of men and women and their relationships, love, marriage power, status and wealth?

PAUL AND MICHELLE

France/Great Britain, 1974, 105 minutes, Colour.
Anicee Alvina, Sean Bury, Keir Dullea, Ronald Lewis, Catherine Allegret.
Directed by Lewis Gilbert.

Paul and Michelle is a sequel to Friends. At the end of Friends, audiences may have been wondering about the future of Paul and Michelle. Perhaps they were puzzled by the marriage and two young teenagers and the light glamour of the film's style. Here is the answer to the question, the fairy tale ended (we are treated here to lengthy flashbacks) and real life stepped in. Three years later, Paul seeks Michelle in an attempt to build on the past. This film is much the same in tone and style as Friends, the same cast and the same director with the addition of Keir Dullea. It is a mixture of romantic cliche and youthful appeal.

1. The attractiveness of this film? The reasons for its being made? Its role as a sequel, the reputation of the original? Audience feeling for the characters, curiosity about their lives? How successful in its own right, as a sequel?

2. Can the film stand by itself? The explanatory flashbacks, the intermittent flashbacks throughout the film, the flavour of the original, the tone of the present film?

3. The contribution of colour, songs, the settings of Nice, Paris, the French countryside? A real world, a fantasy world?

4. The film's attitude to the affair and its impact on the lives of Paul and Michelle? Audience judgement on this? The effect of their adolescent love on each of them? The significance of the baby Sylvie? The effect of three years and the change on each of them? How well had they grown up?

5. The importance of Sir Robert? The background from the earlier film? His severe role as father? His forbidding Paul to see Michelle for three years? His disapproval, the stopping of money? How did the audience regard him? Did he merit hostile response?

6. The character of Paul? How well had he grown, the effect of study, his yearning for Michelle and Sylvie? The emotional involvement of the search, the effect of the discovery, his realisation of Michelle's changing Sylvie? Their making love and trying to reconstitute the earlier love? What possibility of a future did they have? Where did audience sympathy lie?

7. How had Michelle changed over the years? The effect of motherhood? Her maturity? Her needing to survive, her relationship with Gary? Her being hurt, her love for Sylvie? The beginning again of the relationship with Paul, her confession of this to Gary?

8. The role of Gary in the film? How convincing a character, the third in the triangle? His relationship with Michelle, his attitudes towards Sylvie, to Paul? Did he face the situations realistically?

9. The transition from Paris to Nice? The fashionable parties, the presentation of university life, wealth and poverty, demonstrations, the tone against the police? How convincing was this way of life? The impact of poverty and making do? Could love flourish in such a situation? How well did each of them cope? Their friends and their advice? Sylvie in these circumstances?

10. The effect of work on each of them? Paul's study and his fatigue in such hard manual work? The consequences of this?

11. The importance of Michelle's pregnancy, Paul's attitude, her attitude towards the abortion, Gary's role?

12. How realistic was the ending? Was any other alternative possible? The facing of facts, feelings?

13. How well did the film explore the themes of love, relationships, the responsibility of children, money and work, the role of study?

PAULA

US, 1952, 80 minutes, Black and white.
Loretta Young, Kent Smith, Alexander Knox, Tommy Rettig.
Directed by Rudolph Mate.

Paula is a brief emotional melodrama, a star vehicle for Loretta Young, prior to her retirement. She had won the Oscar in 1947 for The Farmer's Daughter. The emphasis is on a glamorous star enacting a would-be mother role, compounded by the overtones of hit run accident, orphan, deaf boy learning and overcoming resentment. There is a competent supporting cast directed by Rudolph Mate, former photographer who made many genre films in the '40s and '50s: action, westerns, romances.

1. The impact of the emotional drama? The elements of soap opera? How superior to soap opera? The blend of sentiment and authentic feeling?

2. The brevity of the running time, a Loretta Young vehicle, a piece of Americana, 1950s style? Black and white photography, score?

3. Paula and the miscarriage situation? Her sadness, pretending for her husband, the doctor's fears, questions of adoption. her husband's career improving and this curbing her eagerness? Her visits to other doctors? Holding the baby in the reception room? The mixed reactions towards motherhood and the loss of motherhood?

4. Her going to the reception for her husband, the fast driving, overtaking Mr. Bascomb in the truck, the accident and Bascomb's blaming her, bending over Davey and the focus on the necklace? Her finding it impossible to follow Bascomb? Going to the party? Finding it impossible to tell her husband? The cover-up and yet not fixing the car etc.? Her going to work in the hospital, enquiring about Davey, seeing him and offering to help? Audience sympathy for Paula in this situation?

5. Her beginning to teach. her success, John and his initial disapproval, the humour of the bath sequence, the taping of the lessons, Davey's getting to know her and improving?

6. The role of the doctor: His concern about Paula, advice to John, allowing Paula to help. curious about her interest in Davey, discussions with the police, helping Paula. explaining the situation to the police? Strong friendship?

7. John and the university world, his becoming Dead, the avoiding of scandal? His growing attachment to Davey?

8. Davey as orphan, hurt, quiet, in the hospital, being helped, the lessons, improving, the harsh encounter with the kids in the park, being rescued by Paula? The discovery of the truth via the necklace? Paula defying him to learn to expose her? His drawings and trying to tell that Paula caused the accident?

9. The melodrama with Bascomb's arrival, the clash with Paula? Davey and the stairs and Paula saving him?

10. The background of the police work and the research?

11. The build up to Davey's exposing Paula, Paula’s readiness to give him up, Davey's declaration of love?

12. The impact of the film and its basic story, the delineation of characters, themes, guilt and responsibility,
help and love?

PATTERNS

US, 1956, 84 minutes, Black and white.
Van Heflin, Everett Sloane, Ed Begley, Beatrice Straight, Elizabeth Wilson.
Directed by Fielder Cook.

Patterns was a small budget film of the mid?50s. Modestly produced and filmed in black and white, it was directed by Fielder Cook who has directed only a few feature films, and these are of varied quality and style e.g. Prudence and the Pill, The Napoleonic story, Eagle in a Cage. Patterns is a very interesting study of the world of big business and its impact on the ordinary American man, testing his integrity. The central part is ideally suited to Van Heflin's vigour and tormented conscience. It fits into the pattern of such films of the 50s as Executive Suite and The Power and the Prize. Perhaps it was ahead of its time. Films dealing with cynical big business became more popular in the late 60s and the 70s e.g. I'll Never Forget What's His Name, The Arrangement, The Reckoning amongst others. Patterns is a very interesting and quite powerful film.

1. The significance of the title, its irony, presentation of themes? American title: "Patterns of Power"?

2. The black and white photography,, the New York settings., offices and big buildings, no musical background?

3. How interesting were the themes of this film? Why do they fascinate audiences? Are they entertaining?

4. Audience attitudes to big business films? Observation of a different way of life, fascinating power struggles as having influence on the life of an ordinary man. investor, businessman?

5. The insights of the film's presentation of American capitalism, the role of money, power and management?

6. The film is typically American? The American fabric of business and its way of life? Audience response to this?

7. The insights of the film into big business: in terms of motivation, origins of business, the building up of empire. pragmatic deals, ruthlessness, the places of idealism?

8. The insights of the film into power: its good. the evil effects, the nature of clashes, ruin, ruthlessness, power corrupting people's lives?

9. How interesting a character was Fred Staples? How did he represent the ordinary businessman? The talented man? Audience seeing the issues through his eyes? The importance of establishing him in the sequences at home, with his wife, her ambitions and hopes, his? The fact of the new arrival in New York? The fascination of New York for a business life? Seeing the details of Staples beginning his work? The details of ordinary life in the offices? His sensing hostility. his being patronized, antagonized?

10. The effect of his discovery of the truth about business life? The nature of his dilemma in staying or going? Ramsay's patronizing him? The friendship with Briggs? The working on Ideas, the creativity of reports?

11. What kind of man was Ramsay: the origins of his business, his ideas, his ruthlessness, his principles of 'business first', his incurring enmity of people.. his accepting this as his way of life? What judgement did the film make on his character? Was the film too severe on him?

12. The character of Briggs: the shared origins of the firm, growing old, personal input into ideas, the meetings and the humiliation the pressurizing to resign, the humiliation of the report, the sadness and loneliness of his death?

13. The impact of Briggs' death on Staples? As leading to the ultimate clash? The human values involved here?

14. The solution for Staples to stay? Was this practical? Was it 'having his cake and eating it'? A cynical solution for survival in business?

15. What impact do films like this have? Are they valuable for alerting audiences to this world?

HOBO WITH A SHOTGUN

Canada, 2010, 85 minutes, Colour.
Rutger Hauer
Directed by Jason Eisener.

A very ugly film.

It started as a jokey interlude, some false trailers inserted into the intermission space in the Quentin Tarantino- Robert Rodriguez homage to 70s exploitation drive-in features, Grindhouse. Canadian Jason Eisener submitted one, Hobo with a Shotgun, which was used in the Canadian release of Grindhouse. These trailers were more entertaining than Tarantino’s Death Proof or Rodriguez Planet Terror which comprised Grindhouse. But the jokes have gone beyond the joke with 2010’s Machete, a slasher drama with Rodriguez himself turning a trailer into a feature film. Now, Eisener has ‘developed’ it into a full-length Hobo with a Shotgun.

He takes the title very literally. Rutger Hauer is a vagrant who rides the trains and arrives at a town, ironically called Hope City, which is a mixture of normalcy and anarchy (filmed in Nova Scotia!). Audiences of straight-to-DVD actioners will appreciate the presence of Hauer in so many films like this. The Hobo discovers the ugly side of town which is controlled by a gangster who owns a nightclub and his two absolutely disreputable sons. The many confrontations are staged with sneers, snarls, facial grimaces of disdain – which are so in your face that they seem either stupid or funny or both. The Hobo rarely smiles.

He encounters a young prostitute exploited by the gangsters who takes the Hobo in when he has been violently roughed up (which happens more than once). While local TV reports the chaos, while the locals just stand round intimidated or run away, the Hobo starts on a vigilante mission not of reform but of clearing and cleaning the town of human garbage (including the corrupt police in cahoots with the gangsters). Which is what he does with R 18 graphic violence in close-up – with so much brutality and so many weapons that it is disgustingly preposterous and perverse, which can raise glee for audiences who lap up this kind of thing.

The film is obviously in sympathy with the need for cleansing evils (a striking scene is of a pervert dressed as Santa Claus spying with binoculars at children in a playground – then a goodbye Santa blast, where Santa is an anagram of Satan). However, it follows the Grindhouse lead of slambang action and full-on violence – and torture – to make things right.

Eisener is a better editor (putting both the slam and the bang into his cross-cutting) than he is director. While he does capture the look of the old exploitation films, bright technicolour, the dingy interiors, the squalid exteriors, the seemingly ham performances of the cast in trash dialogue and action, it leaves the audience with the jokey exploitation, focusing on the film itself without much felt need to go beyond it.

THE PATSY

US, 1964, 101 minutes, Colour.
Jerry Lewis, Ina Balin, Everett Sloane, Phil Harris, Keenan Wynn, Peter Lorre, George Raft, John Carradine, Scatman Crothers, Jack Albertson.
Directed by Jerry Lewis.

A typical Jerry Lewis vehicle of the early sixties. Not only does he star, he wrote and directed the film and was involved in its production. He is very much to the fore in the film, although he surrounds himself with an excellent cast of veteran Hollywood character actors, including Peter Lorre in his last film. He also has a humorous guest role from George Raft who had appeared in The Ladies' Man. Ina Balin is a relaxed and attractive heroine. Lewis presents himself as usual as the oppressed little man who is challenged to change his way of life, who reacts against the phoniness of the American system and who wins out in the end.

It is the Danny Kaye to Woody Allen (with echoes of Charlie Chaplin) version of the little man, fast style. The film pokes a great deal of fun at the entertainment industry and has - quite a number of walk-on bits by celebrities culminating with Ed Sullivan bringing the central character on to his show. In a way, the film celebrates the star mentality of the sixties as well as poking fun at it. Jerry Lewis has some amusing routines, especially when he echoes silent film styles. He also has many of his seemingly inane farcical and raucous routines. However, the film is one of his more important features.

1. Jerry Lewis's career as an American comic? The comic tradition, the zany manic contortions, the comic grotesque? Visual humour? Mime? American style ? the little man, the childlike man? The satire on American men, celebrities? Greed? Lewis's contribution as writer, director, producer, star?

2. The film as a Jerry Lewis vehicle: the focus on himself? His surrounding himself with character acting talent? His showcasing of the supporting stars? Guest stars? An exhibition of his skills? The display of his comedy style? The little man, the fool succeeding? His satirising American types? The little man pressurised, sentimentalised, laughed at, laughed with? Ultimate success? A variation on the American dream?

3. Lewis's knowledge and use of cinema traditions? The silent films and the routines with the vases in the music teacher's room, the flashback about the dance, the baker, the suit? The traditions of slapstick and. farce? Verbal humour? The romance of the little man? The place of this kind of film in Jerry Lewis's contribution to the development of American comedy?

4. The world of Los Angeles, films and television, records? Echoing the bustle of the sixties? Star systems, greedy entrepreneurs? The world of show business and the types that it attracted? Tutors and hangers on? The world of records the night clubs? Television and the Ed Sullivan show? The movies?

5. The group of businessmen and their manipulation of Stanley Belt? The character stars performing these roles? Audience knowledge of their careers? Their parodying their previous roles? The situation with the death of their comedian? Their avaricious plans? The selection of Stanley Belt? Confounding him with the news? The agent and his deals especially with Hedda Hopper and her allowing herself to be mocked? Tutoring and rehearsals? The writer and going over the material to make it acceptable? The valet and his clothes? Caryl and his deals? Iffie effort going into training Stanley, the plans, the night club debut and its disaster, dropping him especially with the signed letter? Their comeuppance at the end and being forgiven!

6. Ellen and her role in the group? Ina Balin's natural style, the credibility of her falling in love with someone like Stanley? Her work for the group, sympathy for Stanley, helping him out? Her place as the ugly duckling in his reminiscence of being hurt at the dance? Her being hurt with her signature at the end of the letter? Being caught in the traffic? Her fears at the end? forgiveness and the happy marriage?

7. Jerry Lewis's creation of Stanley Belt, the zany bellboy, his being aghast at his selection, and the fixed stances of the group gazing at him, his babble of talk? How stupid really was he? The potential which actually came out?

8. The clothes sequence and the difficulties in dressing him, the barber and Caruthers and his song polishing his feet? The music tutor and the catching of the vases, the hand caught in the piano and the shattering of the vases? The various tutors and rehearsals? The embarrassed flop at the night club?

9. His being abandoned and laughed at? His defying the group? The appearance on the Ed Sullivan show and Ed Sullivan satirising himself? The mime of the young man getting to the premiere? Success?

10. Jerry Lewis's vision of himself, his comic ability and sincerity? As echoing an American comic view of life in the sixties?

THE PATRICIA NEAL STORY

US, 1981, 100 minutes, Colour.
Glenda Jackson, Dirk Bogarde, Ken Kercheval, Jane Merrow.
Directed by Anthony Harvey and Anthony Page.

The Patricia Neal Story is an interesting insight into the well known Oscar winning actress, her stroke, her rehabilitation and comeback. It also shows her relationship with her husband, novelist Roald Dahl, his devotion to her during her illness and his challenge to her for rehabilitation. The irony, of course, is that after her rehabilitation, they separated.

Glenda Jackson gives a strong performance as Patricia Neal and is well matched by Dirk Bogarde as Roald Dahl. Mildred Dunnock, a friend of the family, portrays herself and her relationship with the couple.

While the film is interesting as Hollywood background, it is a stirring film showing the capacity for human resilience, Patricia Neal's struggle to come back from such a debilitating illness and to rehabilitate herself. Direction is by veterans Anthony Harvey and Anthony Page.

1. An interesting and challenging telemovie? Telemovie style for a wide audience? Themes of illness and rehabilitation? Human endurance and courage?

2. The American locations, the '60s and '70s, Los Angeles and Hollywood? England and the authentic background?

3. The status of Patricia Neal and audience knowledge of her? Films and career, Oscar? The history of her illness? Her husband and his work as novelist? Help and challenge to his wife? The irony of the subsequent separation?

4. Glenda Jackson and Dirk Bogarde, their presence, quality? Mildred Dunnock as herself?

5. The '60s in Los Angeles, Patricia Neal and her film work? Her marriage, Roald Dahl and his career, their children? A normal and happy family?

6. The portrayal of the stroke, Glenda Jackson's skill in portraying the illness? The event itself, Roald's reaction, going to hospital, the handling of the situation, the doctor and the information, the choices available, the details of the operation?

7. The coma and its length, the newspapers? The effect of the stroke when Patricia woke? Roald and his attendance? Bringing the children, their acceptance and nonacceptance of their mother's condition? The doctor and his information?

8. The recovery, meeting the children, going home, Mildred Dunnock and her support? Roald challenging his wife to formulate her words? Her anger? Self help?

9. The discussions with the psychotherapists, the choices, the lessons and the methods used for helping children to learn letters and words?

10. The length of time for the rehabilitation and the recovery, the detail, love and support? The English sequences, her children, friends and their continued support?

11. The details of Patricia Neal's life, recovery, the possibility of her becoming an actress again, the opportunities and her rehabilitation?

12. Interest concerning Hollywood and Hollywood families? The personality, her plight? Illness, the possibilities of rehabilitation?