PARIS WHEN IT SIZZLES

US, 1963, 110 minutes, Colour.
William Holden, Audrey Hepburn, Tony Curtis, Noel Coward, Gregoire Aslan, Fred Astaire, Frank Sinatra, Marlene Dietrich, Mel Ferrer.
Directed by Richard Quine.

Paris When It Sizzles is an entertaining enough comedy but probably not nearly as good as its intentions. It was written by George Axelrod, writer of many entertaining comedies, especially The Seven Year Itch. Direction is by Richard Quine, a director of competent romantic comedies during the '50s and '60s from My Sister Eileen, to many Jack Lemmon vehicles, Bell, Book and Candle, The Notorious Landlady. He was to work with Tony Curtis in Sex and The Single Girl and with William Holden previously in The World of Suzy Wong.

There is Panavision colour photography of Paris, the humour of looking at film writing and the use of a range of film conventions. The satire is pleasant if not startling. William Holden is a rather sombre hero. Audrey Hepburn tries very hard to be light hearted and fey. Tony Curtis has the best guest role and sends himself and New Wave French film making up very humorously. Marlene Dietrich steps into the film momentarily as does Mel Ferrer. Noel Coward does his eccentricities well and Fred Astaire sings and Frank Sinatra sings a satiric song. It is a pity that the film
isn't much better than it is. The screenplay is based on a story by French director Julien Duvivier and Henri Jeanson.

1. An entertaining romantic comedy? Satire on film-writing and film making? The style of the '60s?

2. Colour photography, Paris? The romantic score? The songs Astaire and Sinatra?

3. The importance of the basic romantic plot and the satire? The gibes at Hollywood studios and filmmakers? Riviera producers? Hack screenwriters? The contemporary French New Wave sombre styles? The film's blending of a range of conventions? Adventure, spy story, intrigue?

4. The implausibility of the plot - as part of the delight? visual humour? Verbal humour? The various versions of the written plot echoing the win plot?

5. William Holden's style as Richard Benson? Strong and serious? His drinking? Girls? His inability to write a script? His reaction to Gabrielle? Her flattery? The attempts to write storylines? The two appearing as hero and heroine? Villain? Her reaction to his incompetence? His finishing off the script? The night out and the sex comedy? His reaction to the final script? To the producer's arrival? The genuine falling in love? An American type?

6. Audrey Hepburn and the international style? Glamour? Her flattery of Benson? Her typing? Her imagination and entering into the spirit of the satire? Her seeing herself as heroine? Being rescued? Dangers? Romance? Audrey Hepburn and sex comedy? The humour of the sequences with Tony Curtis, especially as the narcissistic star? The variety of police covers and Gabrielle as working for the police inspector? Her attack on him and the happy ending?

7. The police inspector and the various aspects of satire on detective stories, action police stories, the French police?

8. Tony Curtis guest-starring as boyfriend, bicycling actor, imitating the French New Wave, second police officer and undercover assistant? His sending up part of his own image?

9. Noel Coward and the satire on the Riviera producer? His lifestyle? Party and visit to Paris? Noel Coward's humorous affectations? The touch with Marlene Dietrich and Mel Ferrer? Fred Astaire's song? Frank Sinatra's satirical song?

10. The conventional romance? The transformation of the hack writer?

11. The humour of the far-fetched adventures? Dangers? violence and menace?

12. The humour of Hollywood able to send itself up?

PARASITE

US, 1982, 90 minutes, Colour.
Demi Moore, Luca Bercovicci, Gale Robbins.
Directed by Charles Band.

Parasite is in the tradition of Hollywood B budget science fiction horror. Its claim to fame in the '80s was the development of 3 dimensional techniques and their use in this film. It has the ingredients of science fiction and social criticism, but all done in comic strip style. In its way, as comic strip, it is quite effective although it tends to indulge in violence and gore. An interesting example of comic strip film making. (Early Demi Moore).

1. The appeal of science fiction: interpretation of the future, interpretation of the present? Picture of society? The use of the science fiction medical film, monsters and mutants? Science fiction and horror and the realities of nightmares and confronting them?

2. The use of 3D techniques and effects? The emphasis on the effects and the continual thrusts at the audience? The pretentious style of obvious concentration on effects?

3. The picture of the desolate American town: small town, the desert, squalid, vehicles, the expensive cars from the city and laser effects? The picture of the small town from the traditional western ? but in a squalid science-fiction future? The ironic name of the town: Joshua!

4. The visuals for the parasite itself: the effectiveness of the special effects and the use of horror and gore? Destruction?

5. The American nightmare of contemporary society, destruction, nuclear warfare? The fulfilment of the nightmares?

6. The parasites: in themselves, ugly, created by mankind, their political development and use, their feeding, cruel? The visuals? The reaction to the monster and the mutant?

7. The use of B budget science fiction genres and conventions: the emphasis on the ugly, continued crises, danger, deaths? The eventual confrontation? Heroism? The cure? The ending and the ambivalence?

8. The opening and the picture of the gang, the coffee, the old man, the gas station, the uselessness of money, reliance on soups, the scarcity of all mod cons and food. the future boarding house? The atmosphere of squalor?

9. The indication that it was 1992? Future world? Post atomic survivors? The comforts of life in the country compared with the city? The suburbs and the gangs? The 'merchants'? Hint of criticism at multinationals and the government? Weapons developed? The use of biological warfare with the development of the parasites?

10. The hero and his opening nightmare? Its being fulfilled? The visual ugliness of the nightmare and the parasite? The comic strip performance by the hero? Stilted style? His suffering? Mrs. Daley and his boarding in the town? Collins and his friendship, giving of the soup? The hero put upon, bashed, losing the parasite, the friendship and love of Patricia, the need for a cure and his desperation, the discovery of the effects of sound? The confrontation with the parasite? With the chief of the merchants, Wolf? The vigour of the fight? The triumphant hero? Inevitable?

11. The picture of the merchants? Their power, influence on the government? Wolf and his appearance: Hitler look, the background of Nazism, emblems, his car, laser instruments? His bashing people, slicing the hand, punching Patricia? The final confrontation?

12. The ugly picture of the gangs: the reason for their wandering, their loyalties to one another, caring for one another, not caring for others, the experience of the parasites, the suffering and death? The better side of the gang? The comment on the social situation producing delinquent gangs?

13. Patricia as heroine? Attractive? Place in the town? Growing of the fruit? Helping the hero?

14. Mrs. Daley and the presence of Vivian Blaine (with the credit Miss Vivian Blaine)? Faded glamour, snooping, the irony of her career? The ugliness of her death?

15. Collins as the negro hero? Contribution?

16. Comic strip ingredients, style? Audiences accepting this style and being able to appreciate the film as such? The message through comic strip style?

THE PARALLAX VIEW

US, 1974, 102 minutes, Panavision.
Warren Beatty, Paula Prentiss, William Daniels, Walter Mc Ginn, Hume Cronyn.
Directed by Alan J. Pakula.

The Parallax View is topical. Recent American politics seem to give credibility to speculations about plots, conspiracy and double dealing that previously would have been considered highly exaggerated. Executive Action explored the hypotheses of a skilfully plotted conspiracy to murder John F. Kennedy with a skilful cover up programme.

This film is in the same vein although designed more as a thriller than semidocumentary like Executive Action. It is an enjoyable thriller of the sombre variety with death and duplicity looking more real and not just as the usual trappings of fiction.

Parallax is an organisation for conspiracy and the film shows hero-reporter, (Warren Beatty), penetrating the organisation. The glimpses of how such an organisation might work, especially an audiovisual brainwashing session, are impressive. The whole film naturally raises many questions about politics and justice, right and wrong.

Director of the film is Alan J. Pakula, a former producer who has directed four films, The Sterile Cuckoo, Klute, and Love and Pain, All the President's Men.

1. What is the meaning of the title? The society, the use of the word 'parallax' and 'view'? The irony in the title?

2. Comment on the structure of the film: the first assassination, the judicial atmosphere during the credits, the repetition of this sequence at the end, with its irony? How ironic and telling was this? Comment on the use of colour and Panavision and all the panorama of American Politics.

3. How significant were the implications of the first assassination? Audience belief about what happened? The leader and the happy atmosphere of an American celebration, the group at the top of the building in the restaurant, the behaviour of the senator and his wife, the suddenness of the assassination, the role of the waiter, the other waiter being chased and dying? Did you believe what the commission found about a single minded assassination? The irony of this at the end?

4. Could the audience identify well with Joe? What kind of person was he? As a reporter and skilful in his work? Associated with politics? A loner, his drinking? His response to the girl and his pushing of the inquiry? His relationship with and his reliance on his boss? His courage in entering into the parallax system? His physical fitness and ingenuity? His skill in detection? The risks to his life? How heroic was he meant to be? Our response to his heroism? Heroism in the face of politics and duplicity in America?


5. How important was the girl's fear at the beginning of the film? The atmosphere of tension? The number of people who died? The communication of fear? Did you believe her? Did you expect her to die? How did this motivate Joe in his search and our response to this search? The importance of the support by the newspaper? Was it a rash promise on the part of the editor? His continued interest in and support for ice? Your response to his being killed? Does the parallax system exist in America today? Do people think this way and use such assassination bureaux for their political ends?

6. Comment on the personalities of the people involved in parallax. The style of the advertisements? The skilful presentation of the test? How important and central was this for the film?

7. The candidate and his being led by his contact, the darkened room; comment on the content of the slides and the jumbling, the musical background. the subliminal effect that it had on the person watching, the fascist implications. the aggression and cruelty as well as self justification? The smooth-talking contacts and the persuasion of the parallax people? The two sheriffs as examples of hired assassins? The waiter? The intricacy of their plans and cover-up (the removal of the tape from the editor's room)? The possibility of conspiracy in America today?

8. How important was Joe's encounter with the Sheriffs? His advice for infiltrating this particular area? The fights with the sheriff and the meaning? The personalities of the sheriffs?

9. How important was the sequence of consultation with the psychologist about the aggression test for parallax? The importance of the sequence where he went on the ship with the political adviser, the blowing up of the ship and his escape? The importance of this for his pursuit of the truth?

10. Comment on the atmosphere created by the rehearsal for the convention. The senator and the inevitable build-up of fear an our part for his life? The background and hoopla of American politics and television? The shock of the assassination, the hall and its colours, the dive of the dead man into the tables?

11. How exciting was the culmination by the chase of Joe? Did you expect him to die? The impact of this on you? Could you believe it? Why?

12. How important was the theme of right and wrong, a sense of justice, the use of people for killings and political purposes, politics and dirtiness, the need for courage and investigation? How real was this in view of American politics, assassination, conspiracies?

PARADISE ALLEY

US, 1978, 109 minutes, Colour.
Sylvester Stallone, Lee Canalito, Armand Assante, Frank Mc Rae, Anne Archer, Aimee Eccles.
Directed by Sylvester Stallone.

Paradise Alley's star, Sylvester Stallone, lost critical and box office popularity after Rocky (1976). He wrote, composed and sang the theme, directed and acted in this film. He plays the loudest of three brothers in Hell's Kitchen, New York, 1946, and allows his slow witted younger brother to centre stage in a wrestling bout finale. On the whole, the film is likable. Stallone writes some punchy lines for himself, but also some wise ones for the other characters. The plot may be a little simplistic, but it has heart even if a little sentimentality on its sleeve. There are good performances, some hope and ambitions. Stallone deserved a better response than he received.

1. An entertaining and interesting film? The work of Sylvester Stallone? Acting, direction, writing? His reputation in the late 70s? Adverse criticisms of him and his work?

2. The film as a product of the 70s, its nostalgia, memories? A realistic portrait of New York and Hell's Kitchen in the 40s? The spirit of achievement in transcending the past and hopes for success? The American spirit of achievement and success?

3. The authenticity of the 40s setting? The visualising of New York, the styles of 1946, the tenements and streets of Hell's Kitchen, life on the streets, hard work? The cafes and bars? Paradise Alley itself? Colour, the look and feel of the times? The contribution of the score, the title song and its lyrics?

4. The atmosphere of the credits and the race? Physical achievement, striving, dangers? The initial focus on Cosmo? The shift of attention from Cosmo to Vic and Lenny? The introduction to Cosmo for the portrait of the brothers?

5. This Hell's Kitchen world and its lack of opportunities, circumstances? Taking opportunities? An enclosed world? Cosmo and his begging as an army veteran, the waking up sequence and the revelation about the family, the rooms? The interrelationships of the brothers? Vic and his work delivering the ice and the detail of this, Lenny and his working packing the skeletons? The brawls, the discussions between the gangs, the competition for the monkey? Cosmo and the dancing monkey? Bunch and the prostitutes? Ann and her work in the dance halls? The people captured within this world? How well did the film create the atmosphere, show its good side and its bad, the need to get out and succeed?

6. The portrait of the brothers, their sense of family? Cosmo and his continued talking, jokes, humour, the promoter? Lenny and his injury, serious attitude, power over Vic, delayed love for Ann and reconciliation? Vic as the big man, retarded, nice? His vocabulary, learning from Susan? His wanting the brothers to be together?

7. The portrait of Stitch and his gang, Frank as the wrestler? The set-up and the bets for the wrist competition? Stitch and his bets for the final wrestle, his being mocked at the end after his defeat? The arrogant and pompous types of Hell's Kitchen?

8. Cosmo's ideas, the training of Vic, Lenny's persuasion? Vic's fights and the collage of his success and the repercussions for him? The film's presentation of wrestling and commenting on it?

9. Cosmo and his pursuing of Ann, her reconciliation with Lenny and Cosmo's disillusionment? His discussions with Bunch and their relationship?

10. Lenny's excluding Cosmo? The feeling between them?

11. The preparation for the big fight ? Vic and his temperament, personality, his moods? The confrontation with Frank? The fight, the pain, the rain? The M.C. and his previous attitudes? The 22nd. round and Vic wanting reconciliation and winning? The final freeze-frame and achievement?

12. The view of this world, American, universal? optimistic? Identification with it? Tough, competitive? The symbol of wrestling for this?

PARADISE

US, 1982, 96 minutes, Colour.
Willie Aames, Phoebe Cates.
Directed by Stuart Gillard.

Paradise is an explicit reworking of Randall Kleiser's The Blue Lagoon. Model Phoebe Cates and television actor (Eight is Enough) Willie Ames resemble Christopher Atkins and Brooke Shields. The storyline is followed almost exactly, with the omission of the childhood of the couple. The setting is different: Baghdad and the desert in 1823. There are touches of the Arabian adventures. However, the emphasis is given to the adolescents discovering one another, especially sexuality. The film opens promisingly but soon the focus on the well manicured, well coiffured, elegantly dressed and undressed hero and heroine takes predominance. Their language becomes more and more that of the '80s, destroying the credibility of the story. The film is clearly aimed at the teenage audience.

1. An entertaining film in itself? Its explicit parallelling of Blue Lagoon in content and style? The audience aimed at? The quality of the production?

2. The use of Israeli locations? The re-creation of the 19th. century? Baghdad? The desert? The oases and coastlines? The atmosphere of the desert ?and of Paradise? Musical score? Song and lyrics?

3. The presence of hero and heroine in Baghdad? The heroine and her English chaperone? The hero and his strictly religious American parents? The colour of Baghdad, the exotic isolation in the East, the trade routes? The attack by the Jackal in the marketplace and the capture of slaves? Setting tone and expectations for the film?

4. The caravan train, travel through the desert? The boy and the girl encountering one another? Intimations of sex themes ? the boy watching the belly dancer? Seeing the girl bathe? The background of 19th. century strictness ?especially the religious Americans and their emphasis on sexuality and sin?

5. The peace before the massacre? The massacre and its horror? Hero and heroine escaping through the well? The grief? The chaperone and his travelling with the couple? His protecting them? His capture, torture and death? His not betraying them? The Jackal and his pursuit of the couple for vengeance? His capturing the heroine and her being rescued? The continued pursuit? The stand against the Jackal and his being killed?

6. The couple and their travelling together? Their initial reserve? Audience expectations of the breaking down of the reserve, the sexual curiosity? The bonds between the two? The caves and their surviving? The death of the Jackal? Their lyrical interlude by the sea, Paradise? Their final escape and reaching the city?

7. The plausibility of the plot and characterisation: the basic situation, the contrivances to throw the boy and the girl together, the intimations of sexuality by decor, dress, undress? The 20th century language and attitudes? The focus on the girl and her beauty? Her curiosity? The boy and his awakening, with moral background?

8. The theme of Paradise and the oasis in the desert? The sea? The land of biblical Paradise? The scriptural references? The lyrical aspects of Eden innocence and sinlessness? Their relationship, caution, curiosity, sexual fulfilment? The idyllic nature of the play, surviving. swimming etc.? The travelogue touch to the beauty of Paradise? The interruption of the heroine's being captured and their having to escape?

9. The introduction of the chimps and the irony of Eden? Overtones of evolution and Adam and Eve stories? Tongue-in-cheek presentation of man's ancestors? The chimps behaving like the humans? The stressing of the parallels? The birth of the monkey?

10. The pregnancy and the hope for the child?

11. The Arabs? The character of the Jackal and his imperiousness? The credibility of the hero shooting him with the arrow? The contrast with the antagonistic attitudes of the English and Americans? Their presumption? Their talking down to the Arabs? Comments about civilisation?

12. The basic idea of the film and its attractiveness? Exploration of youth and sexuality? Survival? An exploitation entertainment?

PAPER TIGER

UK, 1974, 99 Minutes, Colour.
David Niven, Toshiro Mifune, Hardy Kruger, Ando, Ivan Desny, Irene Tsu.
Directed by Ken Annakin.

Cinema has had a long tradition of warm, popular, slightly sentimental entertainment aimed at the whole family, often with a popular older star plus a child, some adventure locations plus a catchy tune. Box office success for "Paper Tiger" confirms that it is this kind of film. David Niven repeats his "Separate Tables" kind of role, which actually tests his heroics in the jungles of Malaysia. Boy, Ando, dimples into the camera fetchingly and the Ray Conniff singers hum in the background. There is plenty of plot, colourful scenery, touches of comedy and the invitation to tears. It is undemandingly enjoyable while it is on the screen.

1. How enjoyable a film? The entertainment ingredients for wide popular consumption?

2. The adventure style and content of the film, the family appeal with the presentation of a family? The appeal of the young boy? Sentiment, comedy, adventures? Musical background, especially the theme of the song, "My Little Friend"?

3. The contribution of the Malaysian locations, the atmosphere of Malaysia, city, the countryside? The atmosphere of peace, revolution? The contemporary atmosphere with revolution?

4. The screenplay and the audience's entering the country with Walter Bradbury? Experiencing the country and the events with him, sharing his failure, success? The atmosphere of the initial flight, the tourists? David Niven and his personal style? His contribution to the portrayal of Walter Bradbury?

5. How important was the character of Bradbury? His past, his being alone? His fantasies, stories? How much did he believe his own stories? His arrival, comments to the American tourists (the satire on American tourists?), the trip into the city and the immediate danger? Serious as well as humorous comment on Bradbury's outlook? His job, taking it under false pretences? The confidence of his presentation of himself for his work? Acceptance by the ambassador, by Koichi? His enjoyment of his work, his lessons? The importance of his dreams and his stories for Koichi, the visualising and the satire, also on war films for example the escape story, battles? Making a hero of himself? The contrast of his heroism in the army, stiff upper lip British commander, daredevil for escape? The reality with his age, pretence, walking stick? The bonds that grew between the two? The possibility of success?

6. How important was Bradbury's sense of failure? His talking about himself, compensating? Facing of the challenge with Koichi? The challenge of the kidnap and survival?

7. How sympathetic a character was the Japanese Ambassador? His personal style, the atmosphere of Japan, dignity? His bond with his son? The family sequences? The ambassador's friendliness with Bradbury?

8. The melodramatics at the party, the personalities present, political atmosphere, newspapers? The melodrama of the assassination attempt? The irony of Bradbury's behaviour and his false reputation? Looking at all this through Koichi,s eyes?

9. The pleasantness of the outing, the tour of the museum? The humorous satire in the presentation of the museum custodian, his story? His attitude towards the poor tip? His daughter? The humour of his attack with the gun on the terrorists? The contrast of the comedy with the kidnap? The stalking of Bradbury and Koichi, the preparations for the kidnap? The melodrama, the karate? Kung fu atmosphere of the East? The deaths and the taking of Bradbury as well? The quick pacing, audience interest and excitement, sympathy for the kidnap of a child, awareness of the political implications?

1O.How attractive a boy was Koichi? His style, charm, the way that he was photographed for audience sympathy? His English, bonds with Bradbury, learning, victim of the kidnap?

11.The experience of the capture and Koichi's shrewdness in working out where they were? The emergence of Bradbury's cowardice? Their being imprisoned, Koichi's hopes in Bradbury, the memory of his stories, disillusionment with him? The importance of the plans? The long sequence of Bradbury's looking at himself in the mirror and the moment of truth? The humour and melodrama of their escape? The car and its out of control rush down the hill? Desperate, humorous?

12. How interesting was the portrait of the terrorists, their personalities, the contact of the woman in high places? The issues? The contrast with the political officials?

13. Muller and his interviews, his suspicions of Bradbury, research, support of the ambassador, contribution to the search?

14. The sentiment in the father and his plight and his hopes for his son? Communications from the terrorists? Koichi communicating with his father?

15. The atmosphere of Asian politics? The dangers, the issues motives of the terrorists, political prisoners?

16. The film spent much time on the climax, the car,, the going through the mountains and the demands on Bradbury. the shooting? The final heroism and rescue?

17. A happy ending with Bradbury facing the truth? How genial a family story? How coy? A fable for heroes and success and failure?

PAPER MOON

US, 1973, 102 minutes, Black and White.
Ryan O'Neal, Tatum O'Neal.
Directed by Peter Bogdanovich.

Paper Moon proved to be a very enjoyable comedy and a good example of what can be done when Hollywood goes for the nostalgia vein. One of the most striking features of the film is the performance of Tatum O'Neal , acting confidently along with her father. She won the Oscar for Best Supporting Actress for 1973.

The film was written by former film critic Peter Bogdanovich who has proved to be a competent director whose films generally have been modelled in style and tone on some of the classics of the past. Targets (1968) had a horror film background; The Last Picture Show (1971) was an ironic comment on the changes in the American west. What's Up Doc was one of the best comedies. Daisy miller was an elegant version of a Henry James novella.

Paper Moon has a Depression setting (is photographed and given musical background accordingly) and evokes well the atmosphere of the 30's.

1. Why was this film so easy to take? Why so enjoyable? Was it a valuable film? Was it a well-made film? Why? With which character did the audience identify most? Why?

2. How central to the film was Addie? Did the film explain what kind of a little girl she was? Her appearance at the funeral, her relationship to her mother and her mother's career, the incidents that had made up her life, the fact that she was a tomboy, the fact that she was so shrewd? Her need for a father and her identification of Mose as her father? Her relationships with Mose and her conning him? Attitude to the various people buying the bibles? Growing dependence on Mose and her hold over him with the money? Jealousy of Trixie, friendship with Trixie's maid? How did she change during the film? Did she grow up at all? Did she learn something of love?

3. How attractive a hero was Mose Prey? what kind of a conman? Did you disapprove of him at all? Was he really Addie's father? How clever was he in his conning tricks? Why was he outwitted by Addie? Did he use her too much in various tricks, for example, the switching of notes in the drapery shop, at the fair? How did he grow in love for Addie and dependence on her? Did he realise what he was doing to her when he took up with Trixie Delight? His handing her back to her Aunt and Uncle? Why did he wait at the end? The impact of the paper moon with Addie by herself? What future did Afose and Addie have together?

4. How attractive were the con-tricks? How skilfully were they done? Did they victimise people? Was this ignored in the film? The morality of their tricksterism? As a part of the Depression atmosphere? Was the film asking us to approve them or not?

5. Comment on the film's use of the Depression backgrounds? Its use of the nostalgia element for the audience, romanticising the past. Was the film better in black and white than in colour? Why? How well did the film use the music and the songs? The significance of the Paper Moon song? The atmosphere of Jack Benny on the radio, the types of cars, the towns, the roads, the shops, the shop assistants, garage assistants, waitresses?

6. How important was Trixie Delight in the film? Did she explain herself well in her confrontation with Addie? How was she being satirised? How sympathetic was Madeline Kahn's performance? Especially in her confrontation of Addie on the hill? Her trying to get something out of life? Did you feel sorry for her when she was victimised? The fact is that she fell for Addie's tricks.

7. How important a character was Imogene? As black relating with a white girl? Her relationship with Trixie? Her poverty situation? Her style? Her entering into tricking Trixie?

8. How enjoyable were the adventures towards the end of the film? Did it make the film more serious? The bootleg atmosphere etc... the bashings? Did they fit into the framework of the film? The exploitation of the bootleggers by Mose and Addie? The implication of the sheriff being in league with the bootleggers? The importance of the chase? (How good a chase was this for the film?) The reality of the bashings and the losing of money?

9. How much sentiment was there in the film? Too much? Just right? How did the film balance sentiment and humour and realism? What values were presented in the film? On being human? Relationships? Needs? of people relating to their situations?

PAPA'S DELICATE CONDITION

US, 1963, 98 minutes, Colour.
Jackie Gleason, Glynnis Johns, Charles Ruggles, Charles Lane, Laurel Goodwin, Juanita Moore.
Directed by George Marshall.

Papa's Delicate Condition is an enjoyable piece of Americana written by Jack Rose (who worked with Melville Shavelson on so many similar films in the 50s and 60s) and based on reminiscences by silent film star Corinne Griffith. The film is designed as a star vehicle for Jackie Gleason who is very enjoy able in the central role. The British Glynnis Johns is good as his Texas wife. There is a supporting performance by Charlie Ruggles who was so enjoy able in comedies of the 30s. Attractively directed by George Marshall, who has made the widest range of American films from westerns to Jerry Lewis comedies from the 30s to the 60s. The song, 'Call Me Irresponsible' by Sammy Cahn and James van Heusen won the Oscar for the Best Song of 1963. Quietly enjoyable.

1. The film as a piece of Americana, a family film?

2. The recreation of the period, the Texas town, colour? The stars, the film as a Jackie Gleason vehicle? The score with traditional songs? 'Call Me Irresponsible' and its place in the plot, its theme throughout the film, revelation of Papa's condition and character?

3. An old world atmosphere about the film and its attractiveness? Gentility, standards, circumlocutions ? e.g. in the title itself? People coping genteelly with perennial problems, drinking, gambling, financial irresponsibility, marriages breaking?

4. How attractive was Jackie Gleason as Jack Griffith? Seeing him on the railroad, singing, his mild drinking which scandalised the town? The humour of it being referred to as 'a delicate condition'? A genial man, good at his work? His love for his wife? His love for his children especially Corinne? How well did the episodes illustrate his character, arrival, love for his daughter and her dirtying her dress in the coal, siding with her, not wanting to go to church, painting the neighbour's house, buying the shop? The exasperation for the family? Ambolyn loving him despite everything? His devotion to Corinne and buying the circus, his being hoodwinked? The experience not teaching him lessons? His drinking? His not being a pretentious man, his listening to the piano and singing recitals ? and letting the shop attendant go home for his wife's childbirth? His antagonism towards his father in law? His attacking his older daughter's pretensions? How likable a character?

5. Ambolyn and her love, her having to cope with her daughters? Her being sever with him? Her severity with Corinne, though always appreciating her honesty? Augusta and her primness, her fear of losing her suitor? Her general attitude of disapproval? Why did Jack love Corinne so much? The buying of the pony and sharing her joy?

6. Jack's place in the town, his friends and popularity? The attitude of the banker? His father in law's antagonism?

7. Ambolyn's character, gentility, piano playing, manners? Her attitudes towards her daughters?

8. How vivacious was Corinne? Her love for her parents, honesty, her being a consolation prize? Sharing everything with her father? Persuading him to buy the pony? Missing him when he left?

9. Jack's decision to leave after his wife and daughters went away? The theme song of 'Call Me Irresponsible' and its rendition illustrating character and creating atmosphere?

10. The humour of Mr. Ghlo and his politicking, the possibility of his losing, the servants arranging for the circus to go to Texarkana, the circus and politics? The separation, Jack's being by himself, Mr. Ghlo's searching him out and inviting him back? The family missing him? His return and almost not going in? The happy ending? The glossing over the harder side of life? The optimistic and hopeful tone of families with problems?

PAOLO IL CALDO

Italy, 1973, 120 minutes, Colour.
Adriana Asti, Giancarlo Giannini, Lionel Stander, Femi Benussi, Vittorio Caprioli, Rossano Podesta, Gastone Moschin, Ornella Muti, Ricardo Cucciola.
Directed by Marco Vicario.

Paolo il Caldo has all the elements of a farcical sex comedy Italian style and it capitalises on these. However, with its setting of the 1930s and later decades, it has comment on the Italian wealthy classes and their standards and behaviour within a changing political climate. They seem to be very little touched, however, by the political changes in Italy. The film focuses on Paolo and makes him the representative of the Italian male attitudes. Giancarlo Giannini, in one of his earliest roles, is very good at exemplifying this symbolic role. He was to move into the many Lina Wertmuller films and give more subtle studies of variations on this theme. The film is colourful and with Giannini's performance has some depth to its comedy and farce tones. A strong supporting Italian cast and comedian Lionel Stander also give strength to the film. It is particularly geared to the sensibilities of an Italian audience but is of interest to an international audience.

1. Entertaining? Impact for an Italian audience? Non-Italians?

2. The genre of the film: anecdote, sex farce, comedy, history, interpretation of Italian society? The blend of comedy and farce, satire, moralising? What was the audience left with at the end in terms of understanding, emotional response?

3. A Giancarlo Giannini vehicle? His style, presence, personality? Symbolising the Italian male? Sicilian background, short, dominant, self-centred? The background of upbringing, tradition, wealth, politics, society? The focus on relationships with women, sexuality? As a mans of presenting the Italian male?

4. The recreation of period, Italian and Sicilian background, manners and society? The basic musical theme and the variations in the way that it was presented?

5. The prologue and its tone? The boys and their urinating, the immediate preoccupation with sex, their discussion? The severe reaction of the chemist and his protecting his niece? The mocking of the puritanical response? The reaction of Edmondo and his laughing? The clash with the Baron and his family? Edmondo and his destruction of the pharmacy? The grudges that the grandfather held? The revelation of the family, especially at meals: the grandfather and his shouting and domination, Edmondo and his way of the world, the contrast Michele and his seriousness? Michele's wife? The boys? Lucia? Her liaison with the grandfather and the boys looking? Paolo's infatuation with her? The relationship, the discovery by the grandfather, the farcical aspects of his forbidding the relationship and sending her away? The importance of this prologue for establishing the themes of the Italian family, sexuality, jealousy? The futility of empty sex relationships?

6. The theme of sexuality, the importance of Michele's story and explanation on his deathbed? Was his interpretation of sexuality correct? Instinctive, male dominance, the place of the female? Paolo within this background? The farcical aspects, humour? Paolo and his preoccupation, talk. using women, the contrast with the ideal woman as the pharmacist's niece, the range of women he encountered into middle age, his wife as a new ideal? The finale and his reflection on the significance of his relationships. his needs, his weeping? seeing the image of all the women that he had encountered? His hopes from his wife and her rejection of him? His weakness in returning to the prostitutes?

7. Giannini's interpretation of Paolo? The influence of his grandfather, of his uncle? His response to his father? The deathbed scene and his inability to stop the shouting and the crowd rushing in? The pathos of his father's life and death? His imitating the ways of his grandfather and Edmondo? His reaction to seeing his mother and her sensuality.. hearing Edmondo go in to his mother? His inability to escape from the patterns of this way of life?

8. His friendship with Vincenzo, their sexual rivalry? Rome, Vincenzo's writing and later exposing the relationships? The various girls that they encountered ?the blonde girl who chose Vincenzo, Paolo's return to her? The importance of these liaisons? The contrast always with the pharmacist's niece?

9. The impact of his father's death, his mother's liaison with Edmondo? His decision to go to Rome?

10. The build up of Rome, his arrival, Piazza Navona and his apartment? Setting up with his mistress and the idyllic relationship, the conventional scenes of lyrical romance? Her girlfriend and the incident at the restaurant table and the jealousy? The liaison of his mistress with the policeman and their breaking up? The possibility of love and a permanent relationship?

11. Paolo's growing older? His liaison with various women e.g. the Count and his wife, their lovemaking behind the artist's screen at the party? The jealousy of the husband later and his telephone calls and pursuit of Paolo, the farce of his heart attack?

12. The contrast with Vincenzo and his success and his writing and exposing the stories?

13. The political background and its not really touching the characters? Their response to the fascist situation, to the war period, to the Christian Democrats? Their behaviour remaining the same no matter who was in power?

14. The build up to the climax and Paolo trying to cope? The telephone calls and the threat of the husband coming to him, the warning about the articles, the wife and her unhappiness? The importance of his memory of the girl who was the seamstress whom he met at the time when his trousers were sewed up? The girl that he was anticipating? Her coming to him? Wish fulfilment and lack of fulfilment?

15. His return to Sicily, the death of his mother and the funeral? The encounter with his ideal woman's daughter and proposing to her? Her awareness of this and going to him? The futility of their marriage? The clash? His visiting the prostitutes and not wanting them, his inability to communicate this to his wife, her departure?

16. The significance of his self-awareness and his inability to act on it? The return to the Colosseum, the man in drag, the prostitute waiting for him? The significance of this after seeing all the women as he drover past?

17. What was Paolo left with in his middle age? Lack of fulfilment, disillusionment? The comments ultimately on the Italian male? An allegory of Italy in the 20th. century?

MISTRESS PAMELA

UK, 1974, 91 minutes, Colour.
Ann Michelle, Julian Barnes, Dudley Foster, Anna Quayle, Anthony Sharp, Derek Fowlds.
Directed by Jim O’C onnolly.

Mistress Pamela is loosely based on Samuel Richardson’s 18th century classic novel, Pamela. In 1963, 18th century novels made an enormous cinema breakthrough with the Oscar-winning success of Tom Jones. Tony Richardson in the 1970s made a version of Henry Fielding’s Joseph Andrews. Because of the sex content, these classics were ripe for parodies as well as Carry On-type comedy.

On the whole, this is a light-hearted variation on Richardson’s plot – with a touch of the Carry On. The film was directed by Jim O’Connolly? who made only a few films, Berserk with Joan Crawford, Valley of the Gwangi, Crooks and Coronets with Edith Evans. This was his lasat film.

1. How entertaining a comedy? British sex comedy? Costume comedy?

2. The film was based on an English classic. Was this evident from the treatment in the film?

3. The costumes, colour photography, 18th century setting? Music? Appropriate for this kind of film?

4. Did the film have plot credibility or was it sufficient for the purpose of sex comedy?

5. The character of Pamela and her background, a girl in the eighteenth century, in service? Sexuality? The emphasis on her purity? The effect of the abstention of Lord Robert Devenish? The encounter with Mrs Jelks? Her emerging as pure as ever from these encounters? (Was this genuine, tongue-in-cheek?) Pamela after five years of service, Lord Robert and his approaches, Mrs Jelks and her jealousy, Pamela agreeing, to spend the night with Lord Robert but drugging his wine? The encounter with Mistress Blimper? Devenish's attempt to rape her and her resistance? The fake wedding and the happy ending? Farcical elements in the characterisations? Their relationship to Samuel Richardson’s original conception of Pamela?

6. The presentation of Lord Robert Devenish as a typical lord of the eighteenth century handsome young man, attitudes towards sexuality, Pamela? Being forced into love? The contrast with Jonathan and his looking after Pamela? The servants in the household?

7. The character of Mrs Jelks, the lesbian overtones and her possessiveness? Mistress Blimper and her conniving for Lord Robert? the other feminine members of the household?

8. English society in the eighteenth century? audience reaction to it, its values and lack of values, its surface style and manners, corruption?

9. The original novel was an attempt to understand virtue and hypocrisy using comic mode. Was this evident at all in the film?