NOTHING SACRED

US, 1937, 75 minutes, Colour.
Carole Lombard, Fredric March, Halter Connolly, Charles Winninger, Sig Rumann, Frank Fay, Maxie Rosenbloom, Margaret Hamilton, Hedda Hopper, Monte Woolley, Hattie Mc Daniel, Olin Howland, John Qualen.
Directed by William A. Wellman.

Nothing Sacred was in the tradition of wacky comedies of the '30s featuring such stars as Carole Lombard. Here she encounters Fredric March in a story of satire on New York paper exploitation of victims, especially those considered sentimental, and the heroine here is about to die. However, it is a mistake and there are all the workings then of the cover-up.

William Hellman, who made A Star Is Born at this time, keeps the pace moving and it is one of the early Technicolor films. The humour and the satire are quite effective. It was remade and reworked as a Martin and Lewis comedy in the '50s - Living It Up. This time the satire is on the nuclear threat and radiation. Jerry Lewis has the Carole Lombard role and Janet Leigh has the Fredric March role. It is quite humorous and has the usual routines. Living It Up was directed by Norman Taurog who directed a number of Martin and Lewis comedies in the '50s.

1. The significance and tone of the title, indications of satire and irony? The humour and irony of the introduction, truth, newspapers and the public's believing newspaper reporting?

2. The film as a picture of America in the late '30s, symbolised in the world of the newspapers, the types of news and headlines, treatment, expectations of people's responses? American sentiment in the late '30s, sensationalising, the possibility of exploiting people and themes?

3. The film's use of early colour techniques, the comedy styles and swift dialogue of the times, the comedy of the country towns, the comedy of New York city? Comment on the small details of humour: the use of newspapers and the revelation by headlines, the ironic use of newspapers for wrappings etc.

4. The insight into the newspaper world: the initial build-up of the dinner with the fake Indian and the melodrama of his exposure? The ironic presentation of the busy editor, his anger and bluster, his relationship with reporters, his being manoeuvred into gimmicks? The world of the reporters and their sensationalism, trying to keep alive and working? The humour of Wally being relegated to the Obituary Notices? The presentation of this section of the newspaper world, people being busy, people Ignoring one another etc.?

5. The film's presentation of and comment on gimmicks, people's feelings, expense, the circulation of newspapers etc.?

6. The humour of the presentation of the country town, the way that people spoke monosyllabically, Wally's response to this? Comment on the varied types met in Wally's introduction to the town.

7. How much social comment was there in the satire on Hazel's predicament, her illness and its cause? Hazel as fitting into the way of life of the town? An ordinary girl of the 30s, the Depression, wanting the trip? Her relationship with the doctor? The truth? How deliberate was the plan for the cover-up?

8. Wally and his impulsiveness in taking on Hazel's cause? The importance of his job, his cynical attitude towards people's sentimentality, his reaction to people in the town, his hosting of Hazel's trip to New York? His dealing with the city types? His various plans, the involvement of New York? The effect of the ballyhoo on him, the effect of Hazel on him? How did he change?

9. The build-up to Hazel's arrival, the arrival in New York by plane, the visualising of the city, the elaborate welcome? Hazel's presentation to the public, the ailing heroine, the appeal to sentiment via illness? The contrast with her outings, encounters with people, the wrestling, the club, her drinking? The quick thinking to prove that she was still ill? Papers exploiting her, the photos of her illness, her every movement? The public's response?

10. The effect on her, her not being able to cope, the involvement of the doctor in the cover-up? The move to suicide? A more realistic tone in the satire, yet the attempted suicide turned to satire via the note. Jumping into the river, Wally's saving her, the rescue, the presence of the editor etc.?

11. The effect on Wally at the end with the marriage out of pity, the reaction to the suicide?

12. The humour of the exposure, the comedy of the visiting doctors and the revelation of the truth? Hazel trying to put off the doctors? The revelation to the editor, the plan, the fight of Hazel and Hally?

13. The irony of the cover-up for the paper, for Hazel and Wally, New York? The mayor?

14. The ironic humour of the ending with Hally and Hazel on a real trip and holiday? Comment on the portrayal of human nature, the satire on America, the ironic and even cynical tone?

LIVING IT UP

US, 1954, 95 minutes, Colour.
Dean Martin, Jerry Lewis, Janet Leigh, Fred Clark, Edward Arnold, Sheree North.
Directed by Norman Taurog.

Nothing Sacred was in the tradition of wacky comedies of the '30s featuring such stars as Carole Lombard. Here she encounters Fredric March in a story of satire on New York paper exploitation of victims, especially those considered sentimental, and the heroine here is about to die. However, it is a mistake and there are all the workings then of the cover-up.

William Hellman, who made A Star Is Born at this time, keeps the pace moving and it is one of the early Technicolor films. The humour and the satire are quite effective. It was remade and reworked as a Martin and Lewis comedy in the '50s - Living It Up. This time the satire is on the nuclear threat and radiation. Jerry Lewis has the Carole Lombard role and Janet Leigh has the Fredric March role. It is quite humorous and has the usual routines. Living It Up was directed by Norman Taurog who directed a number of Martin and Lewis comedies in the '50s.

1. The meaning and overtones of the title, the way that it was illustrated?

2. Audience expectations from Dean Martin and Jerry Lewis comedies? The comedy styles of the two actors, their blending? Dean Martin's singing and the contribution of the songs? Jerry Lewis's songs, the atmosphere of his clowning, the type of foolishness and comic aspects of human nature that he represents? The use of colour. New York, Desert Hole?

3. The significance of the film's being a remake of the 1930s classic comedy, Jerry Lewis taking the part originally written for Carole Lombard? The reversal of male-female roles?

4. How plausible was the plot, the atmosphere of reality and unreality? The making of a comedy out of a potentially tragic situation, about a confidence trick?

5. The humour of the opening. Desert Hole, radioactivity and people's reaction? The establishing of the character of Homer Flagg, of Steve? Homer and his work at the railway station, his feeling closed in, his wanting to move out of it? Steve as a would-be doctor?

6. How was the character of Homer presented throughout the film? A mixture of shrewdness and stupidity? The routines of comedy, the way that he used the money, throwing the baseball, the Jitterbugging, the hospital routine where he pretended to be the various nationalities?

7. The contrast with Steve and his style, his going to New York, falling in love with Hally, trying to keep the confidence trick going, the dilemma about marrying Wally? The quality of the relationship between Homer and Steve?

8. How attractive was Wally? Her role at the newspaper, her commercialisation, her arrival in Desert Hole and the satire on the west? Her tearfulness and compassion for Homer, even to marriage? Her exploiting this to the newspaper? Her reaction to the truth and to the story she planned for the ending?

9. The character of Oliver, the satire on the newspaper magnate, all his money being spent, his reaction at the end? The satire in the presentation of the mayor, especially in welcoming Homer and at the wedding ceremony, the grand procession at the end?

10. The contribution of the minor characters: the visiting doctors,. people at the jitterbugging? The hotel people? How much of a satire on the world of medicine?

11. The jitterbugging sequence and the style of the '50s?

12. The development of the plot, the satire on medical films, on radioactivity, on confidence tricks? The build-up to the climax and Homer's going into the river? The irony of the ending, after Steve and Homer doing their song and dance routine in the streets of New York.

13. How well do these comedies come over decades after their production?

LI'L ABNER

US, 1959, 113 minutes, Colour.
Peter Palmer, Leslie Parrish, Stubby Kaye, Howard St. John, Stella Stevens, Julie Newmar, Robert Strauss.
Directed by Norman Panama and Melvin Frank.

Li'1 Abner is a musical comedy version of the popular and celebrated cartoon strip by Al Capp. The screenplay is by the stage musical writers Norman Panama and Melvin Frank (writers and directors of many comedies and musicals over several decades). They have decided to present the film as a re-creation of the stage version with its stylised sets and 'studio-bound1 atmosphere. They considered that this corresponded best to the style of the comic strip. The music and songs are by Johnny Mercer and Gene de Paul who wrote Seven Brides for Seven Brothers (of which this film is reminiscent - and it also reminds audiences of the humorous western parody Red Garters). Choreography is by Michael Kidd (also associated with Seven Brides for Seven Brothers) .

The cast is quite engaging: Peter Palmer as a Christopher Reeve- Clark Kent look-alike, the archetypal naive American hero, handsome and with ‘wall-to-wall teeth’; Leslie Parrish is an attractive Daisy Mae. Stubby Kaye has a good role as Marryin' Sam and Howard St. John is excellent as General Bullmoose. A young Stella Stevens is the femme fatale Apassionata von Climax and statuesque Julie Newmar is a distraction for the men as Stupefyin’ Jones.

The film re-creates the atmosphere of the hillbilly town of Dogpatch, uses the stylised costumes of the comic strip and retains many of the humorous names including Earthquake Mc Goon, Evil- Eye Fleagle, Romeo Scragg, Senator Phogbound, Moonbeam Mc Swine, Mayor Dawgmeat, Rassmussin T. Finsdale. While the film has a focus on the hillbilly way of life and memories of the Confederacy, it was topical insofar as it centred on the use of Dogpatch as a target for nuclear bomb-testing, the most useless town in the U.S.A. The tongue-in-cheek irony of the stance critical of nuclear tests is more relevant in subsequent decades. The film is a musical of the '50s, not always to the taste of modern audiences - but it is entertaining and ironical.

1. The popularity of the cartoon strip: situations, characters, talk, behaviour? Comedy? Social and political content? Americana?

2. An attractive musical version? The use of the techniques of stage - transferring satisfactorily for cinema use? Sets, costumes, songs, choreography, ways of speaking, humorous names? The tradition of the American musical comedy? The western musical comedy?

3. The '50s and American interests and themes: the Cold War, peace, prosperity, pride? The irony of Dogpatch and the hillbilly way of life, memories of the Confederacy and the Civil War, the style of the South? The contrast with Washington, military power, nuclear tests, right-wing capitalism, greed? The irony and comment on America of the '50s? Later relevance?

4. The place of the songs and their illuminating characters and situations: If I Had My Druthers, the romantic songs for Abner and Daisy Mae, the hillbilly way of life and the history of Dogpatch: Jubilation T. Cornpone; the political irony - The Country's In The Very Best Of Hands; the song for General Bullmoose; the marrying songs for Stubby Kaye's Marryin' Sam? The vigorous choreography: glamour, homespun style, athletic dancing?

5. Dogpatch and the hillbilly world? The atmosphere of the South? The story of Jubilation T. Cornpone and his failures during the Civil War? The caricatures of the people: the men as weedy, the women as statuesque and beautiful? The hillbilly mother and father with Mammy and Pappy Yokum? The Mayor and his conduct of the meetings and his gavel? Work, laziness? Mammy and the touch of the witch with her visions? Sadie Hawkins Day and the race for the women to catch the men? Naivety and shrewdness? The ironic patriotism?

6. Abner as hero - big, handsome, rather self-centred, naive, pleasant? His fishing, sleeping, his reaction to his mammy and pappy? His being dosed with the formula of Yokumberry Tonic? His response to Daisy Mae - interest and lack of interest (and the later explanation of the potion)? Sadie Hawkins Day and his not getting caught? His emphasis on American loyalty - saluting the flag etc.? A pleasant spoof of the handsome American hero?

7. Daisy Mae and her being lovelorn, wanting to catch Abner? Her place in the town? The attentions of Earthquake Mc Goon and the announcement of the marriage? Her sadness? Going to Washington, the dance, wanting to rescue Abner and agreeing to marry Earthquake Mc Goon? The humour of all Earthquake's scungy relatives turning up for the wedding - and its being called off? Earthquake Mc Goon as the strong man - and not well-liked in the town? Romeo Scragg and the relations?

8. The picture of the men as acrobatic dancers - but as weak and weedy? Their being tested in Washington? The use of the potion? Their becoming the Mr Universe types? The song highlighting their self-centredness - and the wives wanting them as they were? The spoof of the American male image? Self-centred? The irony that the girls were all presented as beautiful and glamorous - despite the rags? The humour with Julie Newmar upsetting the men as Stupefyin' Jones?

9. The satire on right-wing capitalism? General Bullmoose, his office, his associates, Apassionata von Climax and her story? Their adulation? Self-centredness? Lack of scruple? His using Evil- Eye Fleagle (and liking the man because his green clothes were the colour of money!) Plans, use of Abner, use of Yokumberry Tonic, the tests? Apassionata chasing Abner in the Sadie Hawkins Day race? General Bullmoose being caught by the rebound of the spell and confessing the truth and being arrested?

10. Dogpatch and its traditions, Jubilation T. Cornpone, Senator Phog-bound and his not visiting the town for 18 years, his crooked associations with Bullmoose? Considered by the Pentagon as the most useless town in the U.S.A.? The attempts to find something essential - and the humour with Yokumberry Tonic, and its not being essential?

11. The opening up of the nuclear issues? The parody of the radio flashes and the announcements from both Washington and Moscow? The arguments against using Nevada for nuclear tests? The interruption to American industry at Las Vegas? The radio-active dust falling on the gambling tables? Dogpatch and their pride on hearing that they were to be bombed? Their not having anything essential? The ironic comment on nuclear tests, victims? The presentation of the military and authorities? The danger and being blasted off the face of the earth? The film's comment through comic strip humour on nuclear issues?

12. The marriages, Marryin' Sam and his various rates for marriages, his marriage-broking, his giving the history of Dogpatch, the wedding for Daisy Mae and Earthquake, his stalling, the relatives arriving, the happy ending and the lovers united? The tradition of the American musical comedy - with political touches?

THE LAST ANGRY MAN

US, 1959, 100 minutes, Black and white.
Paul Muni, David Wayne, Betsy Palmer, Luther Adler, Billy Dee Williams, Claudia Mc Neil, Godfrey Cambridge.
Directed by Daniel Mann.

The Last Angry Man is a low key entertaining and quite moving film concerning an old doctor who works in a Brooklyn slum and who is made the subject of a documentary. Direction is by Daniel Mann who had some success with actors and actresses, Shirley Booth in Come Back Little Sheba, Anna Magnani in The Rose Tattoo, Elizabeth Taylor in Butterfield Eight, all winning Oscars. Paul Muni, who had impersonated so many famous characters in significant biographies in the thirties – Louis Pasteur, Emile Zola, Juarez. - gives a final significant performance for which he was Oscar-nominated. The film was re-made as a telemovie in the seventies with the same writer, Gerald Green and directed by Jerrold Friedman. Pat Hindle took the main role. The film is a piece of Americana with sentiment and dignity.

1. How enjoyable was this filmy in its presentation of life’s problems, social seriousness, message impact?

2, The realism of the film in its locations, New York, black and white photography?

3. How serious was the tone of the film? How much reliance on realism for its impact? A fable with a message for today’s social interest? Sentiment for human response?

4. Comment on Paul Muni’s acting, The focus of interest, the focus of feeling for the film?

5. How important was it that we saw Dr Abelman through the eyes of Thrasher? Was this a good structure for the film?

6. Sam Abelman as a man, in his relationship with his family, wife, in his work, a sympathetic person, a hard man with principles, an angry man?

7. As a doctor, the nature of his skills, availability, the long time of dedication, his not worrying about money, his emotional involvement with his patients, the galoots, his wariness of publicity? Why did he agree to the television program? The nature of his talk, its directness and honesty? The importance of his priorities of people over television program? His reaction to the news about the house? The decisions that he was forced to make?

8. How important was Josh as a focus for Dr Abelman’s work? The black and white situation, the rich and poor? Abelman's strength in dealing with Josh, his hardness towards him? How emotionally draining was the fact of
getting little response? The doctor’s continued giving, the reward of a breakthrough at the end? His heart attack as giving himself for Josh and his patients? His dying for them?

9. What was the effect of Abelman's life for Thrasher? Deceit and pressure, the agreement? Thrasher's learning and changing, the quotations from Thoreau, Thrasher's satisfaction of doing a job well and of being a friend to Abelman as he died?

10. How well did the film elaborate Thrasher’s life situation? As a contrast with the doctor? Thrasher’s house predicament, relationship with his wife, money needs, the precarious nature of his job, exploiting newspaper item, engineering deals? His relationship with the television people, with the Gatling firm, with Max? The fickle nature of the world in which he lived? His learning priorities? His losing his job, what he was faced with at the end? The film and sentimentality of what Thrasher learnt? What had Max contribute to the plot? The contrast with Sam? The specialist and his world, contrasting with the General Practitioner?

11. Myron and his becoming like Thrasher? The relationship to his uncle?

12. Sarah and her continued support of Sam, her understanding of him?

13. How important was it that the film showed Dr. Abelman’s neighbours? the Brooklyn situation in which
they lived?

14. The contrast with the television world and its hypocrisy? The discussions between the head and Gatlings? The manoeuvring and attitudes?

15. How successful was the film as popular social entertainment?

LES AVENTURIERS (THE LAST ADVENTURE)

France, 1967, 112 minutes, Colour.
Alain Delon, Lino Ventura, Joanna Shimkus, Serge Reggiani.
Directed by Robert Enrico.

The Last Adventure is an exciting film, two heroic daredevils, played by Alain Delon and Lino Ventura, go on a series of adventures from flying under the Arc d' Triomphe in Paris to the Congo. They are joined by Joanna Shimkus as the strong and glamorous heroine – who, unfortunately, dies and is buried at sea, causing further complications when the adventurers return to France.

This film was made in the spirit of the action adventures of the 1960s. Its director, Robert Enrico, had a long career in France but was not considered on the same level as the classic French directors, especially of the New Wave. His short film, An Occurrence at Owl Creek Bridge, is a masterpiece of film-making, adapted from the novella by Ambrose Bierce, which Rod Serling edited and made it part of his TV Twilight Zone. Another film which did get some international release was The Old Gun with Philippe Noiret.

This is the kind of material that was very popular with Jean- Paul Belmondo and Philippe de Broca.

1. The significance and tone of the title? The original was 'The Adventurers'. Which more appropriate?

2. The adventure style of the film, colour, Panavision, the stars, action and adventure? Good of its kind?

3. The French tone and atmosphere of the film, the French appeal, response of non-French audience?

4. The creation of a world of daring: men and women within this world, the modern aspects of adventure, especially machines? Adventure and daring, risks like flying under the Arc de Triomphe? Skill, planes and cars, bikes? Deep sea diving and rescuing treasure? The appeal of this kind of world, why?

5. Roland and Manu? French adventurers? Heroes? As portrayed by the stars? The strengths and weaknesses of their characters? The incidents illustrating their characters? Ordinary and extraordinary heroes? Audience ability to identify with them?

6. Leticia? feminine, type, artistic background, war background? Her art? Joining with Roland. at home with them? Her failure as an artist? her mediocrity? Her joining in the adventures, participation, relationship with the two men, love, the future? The pathos of her death and the solemn ritual of her burial?

7. Response to the trick about flying under the Arc de Triomphe and its being forbidden? The two men at their jobs, fighting the tricksters? Being persuaded to go to the Congo to recover the treasure? Preparations? The encounter with the pilot and his intruding on to the ship? The participation in adventure, pursuit, danger?

8. The importance of the flashback to the story of the plane, how well did the film sketch in the atmosphere of panic and terror in the Congo?

9. The underwater photography and the portrayal of the dive and the recovery of the treasure?

10. The attack, the death of Leticia? The change in plane?

11. Seeking Leticia’s home, the encounter with the boy and his showing them through the museum? Leticia’s foster parents and their attitude towards money? The men's change of attitude when they discovered the boy was Leticia’s cousin? Their providing the money for his future?

12. The picturing of the fort, a home of dreams, old-fashioned bastion of defence and daring? The irony of the attack in the fort? The fight, Manu’s death and its pathos? Roland left alone and the film withdrawing from the fort?

13. The pathos of the ending? A world of men and daring? Heroes and heroism? Purpose, futility?

THE LAND THAT TIME FORGOT

UK, 1975, 102 minutes, Colour.
Doug Mc Clure, John Mc Enery, Susan Penhaligon.
Directed by Kevin Connor.

The Land that Time Forgot is one of several films from Edgar Rice Burroughs’ stories made by the production team of John Dark and director Kevin Connor. This film is full of the technology of the turn of the century, the preoccupation with exotic lands, animals, dangers and quests for legend and fairy-tale. While the material is dated in itself, it still delights audiences, especially those of the seventies and eighties during the revival of such stories and the comic strips.

This is a dinosaur story and the special effects work is well done. Doug Mc Clure, imported from America, is the hero and was also the hero of a sequel, The People That Time Forgot. The best of these films which starred Peter Cushing was At The Earth's Core. Kevin Connor also made a number of horror films including From Beyond The Grave, Trial By Combat and, in America, Motel Hell. The Land That Time Forgot is an adventure that can be recommended for younger audiences.

1. Was this a good adventure story? Why do adventure stories appeal to audiences? How important were the characters, the situations, the war backgrounds the fantasy?

2. Comment on the technical side of the film, the continent itself? Its seasons and landscapes, the reconstruction of dinosaurs and pre-historic animals, their animation, their interaction with the humans etc? Did the screenplay match the technical side of the animals etc?

3. For whom was this film made? Was it made for adults? For younger audiences? Depending on the answer, how successful was it in fulfilling its aim? How would the film be different if it were made for adults, or solely for younger audiences?

4. How satisfactory was the realistic framework of the film? Did this make the fantastic adventures more credible?

5. Comment on the film as a war film. The presentation of the submarine, the torpedoing of the merchant vessel, the background of a war world and disruption? The presentation of the British as heroic, of the Germans as heroic and villainous, of the American hero?

6. How important were characters in this film? Were they well presented and explored? how interesting was the hero, heroism? active? leadership? How attractive was the heroine, a lady biologist, her participation in the adventures, the romantic ending? How villainous was the German Captain? How heroic? how just? The minor British characters, the villainous German characters? The native on the island?

7. How enjoyable were the various takeovers of the submarine? The adventure exercises in skill? Your reaction to the bombing of the supply ship?

8. How well did the film establish the credibility of the lost continent? As seen from a distance, through the tunnel in the submarines the landscapes etc, the animals?

9. Comment on the visual presentation of the lost continent. What was audience reaction to this world of fantasy and reality? How enjoyable was it to look at? The varying landscapes, the animals and their struggles, their size, the danger, the grades of evolution, the people themselves?

10. How interesting was the point that the island contained the varying grades of evolution in animals and humans?

11. How enjoyable were the dangers? the threats to life, to the submarine, the animals fighting amongst themselves? How callous were the human beings in their slaughter of the animals? Audience response to this? Judgement on the humans?

12. The importance of the sequences of constructive work, the discovery of oil, the refining and collecting, the native working with the Germans and British etc? The taking of turns to supervise etc? The scientific investigation by the biologists?

13. How exciting were the fights? How well were they filmed? The fights amongst the humans, with the animals?

14. Was the final cataclysm an appropriate culmination for the film? Volcanoes and fire, explosions, the impact of the animals etc?

15. That was the significance of the ending? The science-fiction questions about the future of the world? The isolation of the couple and their future?

16. How valuable are entertainment films like this? What values about humans, heroism, adventure do they presuppose in audiences?

LANDRU

France, 1963, 115 minutes, Colour.
Charles Denner, Michelle Morgan, Danielle Darrieux, Hildegarde Knef, Stephane Audran.
Directed by Claude Chabrol.

Landru is a French version of the Bluebeard story. There have been many versions, with such notable people as George Sanders and Richard Burton as the famous lady-killer. A variation on the theme, expertly done, was Charles Chaplin's Monsieur Verdoux of 1947.

Charles Denner, an excellent French actor, is very good in the central role - partly sympathetic, partly repellent, a small man playing with people's affections and trying to achieve some kind of personal greatness. The film is of further interest because it was directed by Claude Chabrol. Chabrol had been a critic and with Francois Truffaut had written a famous work on Hitchcock in the fifties. He was one of the new wave directors at the end of the fifties with The Cousins and Le Beau Serge. At this time he was making experimental films including a version of Ophelia. He was later to make a series of excellent thrillers echoing Hitchcock but making the studies of conscience, guilt, expiation, his own. Landru is interesting in itself but certainly has an important place in the career of Chabrol.

1. Audience interest in Bluebeard? The legend and the stories? The fascination with such a sex murderer? The identification of subconscious urges with this archetypal character?

2. The film's use of colour, decor and costumes, specified to a certain date? Style? (The effect of dubbing, the black and white presentation, editing, audience interpretation?)

3. It is suggested that the film is 1ike a statuette: pieces are seen and interpreted; the whole is not clear; there are contradictions that are presented but not explained. Is this an adequate way to interpret the film. The value of this kind of presentation and interpretation?

4. Landru as he is presented in society: the clashes between rich and poor, the presentation of differing classes? Landru’s work, the presentation of his family? Landru's hypocrisy face to face with the different strata of society? The judgement made on Landru by the different classes? Their reaction to his death?

5. What kind of man was he as presented in the film? In terms of his appearance. his normal behaviour, his relationship to his family and within it,. his charm? His relationship with Fernand? His attraction towards beauty? The contrast with the freakish aspects, the perversion, people seeing him as a monster? Which was the real Landru?

6. The film's explorations of his obsessions: money, beauty, sexuality? Which predominated and why? The nature of obsessions and their hold on him?

7. How important was the presentation of the types of women he was attracted to? The nature of the relationship and his style? The tender aspects, the happiness, the comic touches? The contrast of the violence? The visualising of his relationships and the murders? Was he seen as a character or a caricature in these situations? The personalities and characters of the women? The reason for their attraction? Their foolishness in being deceived? Their wealth, beauty, sexuality?

8. The maid and her character? The lack of motive for her death? The change in Landru?

9. Comment on Landru’s relationship with Fernand, carrying on all during this period? How did it change? Landru’s seeing it in relationship with his family?

10. His character was full of contradictions? Does this matter in the visual presentation? Why? Different responses to different aspects of character?

11. The irony of his being caught, the manner of the trial and its presentation? The presentation of his death and its significance? Audience interest in and sympathy for his death or not?

12. How objective a look at the character and the legend was this film? How much demand was made on personal responses of like and dislike, sympathy and repelling? How much understanding and pity? A survivor in an ugly world? A monster in a normal world?

LADY POSSESSED

UK, 1952, 87 minutes, Black and white.
James Mason, June Havoc, Fay Compton, Pamela Mason.
Directed by William Spier.

A melodrama of a rather vivid type. The film stars James Mason and was written by himself with his then wife. Pamela Kellino from her own novel. June Havoc makes a welcome appearance as the leading lady. The film came from the Republic Studios, notable for their direct and small budget work. The film has a strong emphasis also on psychiatric explanations. The film is of interest as a James Mason vehicle, but is certainly not one of his best.

1. Audience expectation from the title? too sensational? Its tone? A melodrama of the emotions?

2. Was this film oriented towards male or female audiences? Why?

3. What was the centre of interest in the film? The characters? reality mixed with fantasy? The psychological overtones of fantasy and the mysteriousness of the occult?

4. How successfully did the film set its scene: the hospital sequences, the coincidences? Jean’s dreams? the gradual building up of her possession?

5. How important and justified was the psychological explanation of the events? Jean's loss of her baby, wanting to see Del Palma? suffering, reaction to her husband, the house and its atmosphere, her sympathy for Del Palma, telepathy?

6. How effective the taking an ordinary women as its heroine? An American in England? How ordinary was Jean’s experience in the hospital? Audience sympathy for her? The quality of her relationship with her husband. especially with his work, busy, away from America, the child? The impact of her drowning and belief? Her empathy with the house and its personalities? How much did the house and the atmosphere change her? How well did the film communicate this? Her balance between reality and fantasy – in getting to know Del Palma? The concert and asking the question about his hands? Going to the medium and the experience of the seance? Dying? Why did she go to meet him? The effect on her and her wanting to save him? On the effect on her life and her wanting to go away with him? Why did she feel that it must be done? Not confiding in her husband? The melodrama
of the denouement - as satisfactory for this film? Being humiliated by Del Palma, rushing to the train, the support of her husband, the return to reality? Did the film give insight into such a tormented woman?

7. How important for the success of the film was the reality of Sybil? The audience only seeing her carried by her husband? Her pervading presence At the house? Dr Burrows’ description of her and her actions? Her artwork? The importance of the letter? the letter about Del Palma?

8. How interesting a character was Del Palma? James Mason’s style? The impact of the outburst at the hospital? The funeral? As being romanticized by Jean? Yet in reality very ordinary? The success of James Mason's dubbed singing voice? As a pianist and song man? The drinking, the experience of the seance? His living in the past? the liberation that Jean afforded him? His not being under any illusions about the relationship? His being liberated by the letter?

9. The importance of the seance and its atmosphere? The personality of the medium? The fraudulent nature of the seance? Debunking the atmosphere of séances?

10. What did Sybil and her chatter and friendship contribute to the atmosphere of the film? Tom and his anxieties in consulting the psychiatrist? The doctor and his inability to help Jean?

11. Was this a well constructed melodrama, succeeding because of its almost plausibility? Or was it just a far-fetched film?

LADY OF BURLESQUE

US, 1943, 91 minutes, Black and white.
Barbara Stanwyck, Michael O’ Shea, Iris Adrian, Charles Dingle, Janis Carter.
Directed by William A. Wellman.

Lady of Burlesque is a murder mystery with comedy. It is quick-paced, has the overtones of the screwball comedies of the thirties and looks as if made on a B Budget. The strength of the film comes from Barbara Stanwyck in the central role. The original novel was called The G- String Murders and was written by Gypsy Rose Lee. Direction is by William A. Wellman, well noted for his westerns and for his dramas of flight from Wings to The High And The Mighty. It looks as though he and the cast took time off for relaxation. The film is a postscript to the main flow of entertainment from Hollywood in the forties. It has a rough and ready entertainment value.

1. How entertaining a thriller comedy? Its impact in the 1940s? Now?

2. Its use of' the conventions of burlesque theatre and musical presentation, comedy techniques, backstage story, murder mystery and the revelation of the murderer and motives? Were the conventions the usual ones or different?

3. The quality of the black and white photography, the evident use of sets, the styles of acting, quick repartee? The music and the songs?

4. How credible was the plot? The presentation of the burlesque girls, the people who work backstage, the gangster background, the romantic background? The basic credibility of the motives for murder? The murders themselves?

5. How attractive was the heroine? Daisy as a lady of burlesque, Barbara Stanwyck’s style, her wisecracking ways, her friendship with the other girls and leading them? Audience applause for her? Her suitor and the romantic background? Her quick thinking and allowing herself to be tested to reveal the murderer?

6. Comment on the various insights given to the girls in burlesque, the satirical tones of their talk, manners, belief in themselves, the warmth with which they were presented? The women who were murdered as being flashy and harsh examples of ladies of burlesque?

7. The presentation of the men: the presentation of comics and comments on them, the police doing their job, the manager of the theatre, the stage hands? Gangsters? The various suspects? The revelation of' the murderer and his character?

8. Were there any special effects that made this film stand out of the ordinary? Or was it an effective murder mystery for its times? An example 40s film making?

LADY IN CEMENT

US, 1968, 93 minutes, Colour.
Frank Sinatra, Raquel Welch, Richard Conte, Martin Gabel, Lanie Kazan.
Directed by Gordon Douglas.

Lady in Cement is a routine thriller. The main character is the Florida private eye, Tony Rome. Frank Sinatra had played this detective in the film of the same name, also directed by Gordon Douglas. This in generally predictable material - but is of note because of the teaming of Frank Sinatra and Raquel Welch. It was done with all the colour wide screen style of the late sixties.

1. The tone of the title? The expectations of a thriller? How well were they fulfilled?

2. How good an example of the thriller genre was this? Of the private eye thriller? The murder mystery?

3. What is the fascination for audiences of the American private eye thriller? The murder mystery, the private eye's access to different places from the police, the individual versus the police, the individual’s skill and the police's lack of it? How was this illustrated in this film?

4. How much did the film depend on Frank Sinatra and his style as Tony Rome? Was it well done?

5. How important was the background of Miami and the rich society of Miami? The amorality of the background? Is this necessary for private eye films that only crimes can be committed in this situation?

6. The value of the location photography, widescreen and colour, bouncy music?

7. Is Tony Rome a character at all? How did he contrast with Santini with his family background? What kind of private eye was Tony Rome? Attractive qualities?

8. How credible a heroine was Kit? Raquel Welch's style? glamour, a kept woman, drink, the races, her involvement in the murder? The fact that she was being used by criminals? Was her involvement with Rome credible? Was it meant to be?

9. How realistic were the criminals? The rich criminals and their background, the dives, the go-go dangers like Maria, the homosexuals? What did this add to the atmosphere of the film?

10. The significance of Gronsky in the film? His contribution to the plot? Dan Blocker’s bulk and violence?

11. Did the film have a good plot? Is It a good example of this kind of film?