THE LAST VALLEY

UK, 1970, 122 minutes, Colour.
Michael Caine, Omar Sharif, Florinda Bolkan, Nigel Davenport, Per Oscarsson, Arthur O'Connell, Christian Roberts.
Directed by James Clavell.

The Last Valley shows a remote village during the final decade of the Thirty Years’ War. At the beginning of the credits, the two arms of a cross separate and become fighting soldiers. A note tells us that in the name of convenient religion, princes warred against each other for power and butchered Europe. The first minutes of the film, shot in fog and darkness, show us massacre, flight, hunger, fear and horribly, the massed dead from plague. Then the wandering teacher, Vogel (Omar Sharif) comes Into the sunlight and the peaceful valley.

As a visual presentation of these troubled times, the film is excellent, combining natural Alpine beauty (filmed in the Tyrol) with sets, costumes, lighting and tableaux reminiscent of the art of the times. Given this strong feeling of the 17th century, we accept the modern style dialogue.

Most of the issues of religion, superstition, territorial greed, mercenary victimising of peasants and cities, witchcraft are shown (some might say overloaded) in the film.

Michael Caine has seldom been better, using an Oskar Werner-type inflection and intonation, as the strong and practical leader, Captain. Omar Sharif is better than usual as the intellectual, yet devious, Vogel. The supporting cast is good, although Per Oscarssen's priest-fanatic is too reminiscent of what we expect of Rasputin.

James Clavell (To Sir With Love), a novelist as well as cinema man, is completely responsible for this film and has made a success of it. It is much more than an adventure story. It Is an attack on the worst aspects of worldly and ideological religion which turns people against each other. A fine film.

1. How did the background music and art work during the credits set the tone of the film (especially the two arms of the cross which became fighting soldiers)?

2. Comment on the effect of the opening sequences up to Vogel's discovery of the valley - what image of the Thirty Years' War did it give - darkness, fear, hunger, wandering, murdered peasantry, butchering mercenaries, flight, plague, fog, harsh mountains. How effective was this?

3. What was your first impression of the valley - sunlit, green, Alpine beauty, ordered harvests, etc?

4. Why did Captain's soldiers fight with him? What religion did they belong to? Why were they so indifferent at times to what religion each belonged to? Were any of them religious fanatics? How was this portrayed?

5. What kind of man was Captain - what were his attractive qualities, what repelled you? What kind of a leader was he?

6. What kind of a man was Vogel? What did you think of his initial advice to Captain? Was he callous and bloodthirsty, or just a theorist, even a hypocrite, as Captain suggested?

7. Do you think the valley was typical of the times, or was it packed with too much detail - peasants, work, Gruber's leadership, the authority of the priest, the priest having wife and children, superstition, the shrine, selling of indulgences in anticipation of sin, fanaticism, a witch, the burning of the witch, etc, ? What impression of the times did this give you? Was it the same all over Germany? Was it the same in the cities? (Note Vogel’s family killed at Magdeburg and his sister burnt as a witch.)

8. What was the dramatic impact of the moving of the shrine?

9. What was the point of the incidents of Hansen's escape and attack?

10. Why did Captain go back to the war? What impression did the siege scenes make on you?

11. Erika - did she believe in witchcraft? Why was she tortured and burnt? Was the priest too fanatical (looking like Rasputin)?

12. Comment on the themes of - true religion
- intolerance
- survival.

13. How prevalent was this kind of religious "warring" in other countries of Europe at this time? The date is 1641; Cromwell was set in the 1640s and 50s,

LAST SUMMER

US, 1969, 91 minutes, Colour.
Barbara Hershey, Richard Thomas, Bruce Davison, Cathy Bums.
Directed by Frank Perry.

Last Summer is a 20th century parable, starting with our ways of happiness and finishing with our ways of cruelty. Many critics saw it as similar to Golding's Lord of the Flies, a study of a microcosm of cruelty but this time with sexual implications.

The film was critically acclaimed and Cathy Burns received an Oscar nomination for her role as Rhoda. But many audiences found the language, the visualising of something of youth's permissiveness and the shocking rape at the end too much for the screen. Judgments differed - for example, the U.S. National Catholic Office for Motion Pictures classified the film as A - IV, morally unobjectionable for adults, but with reservations. The Australian version was cut by the censors by, it is said, up to seven minutes, including a minute or two of the rape scene.

The film is beautifully photographed and well acted, reminding one strongly of many of the attitudes and much of the language of to-day's adolescents. While most would not suffer the tragedy the film shows, it is a visual rendering of some of the consequences of their fantasies. Frank and Eleanor Perry were responsible for the film. Controversial but poetically rendered material is their field - David and Lisa, The Swimmer.

1. How typical are the language and the behaviour of these adolescents?

2. Does the film deal with the problems of young people of our time?

3. What did the fact that the four cams from broken families or parents uninterested in their children contribute to their attitudes?

4. What was the meaning of the symbol of the wounded bird, saving it and teaching it how to fly? What did it show of the adolescents as persons - sensitivity, interest, etc.?

5. Why did Sandy destroy the bird? Why did she lie? What were the boys' reactions to her lies?

6. What was your first reaction to Rhoda? What was the group's first reaction? Was it because she was ugly, strange, an outsider?

7. Comment on the bonds of friendship formed by each telling an ugly story about their behaviour?

8. How strong were the sexual instincts in the friendship? Comment on the two boys' attitudes towards Sandy. Who had the deeper feelings? Note the sexual fascination, their flirting, bravado, exhibitionism? Peter's curiosity, Darmy's talking about 'laying her', curiosity on the beach.

9. How did the befriending of Rhoda show the group's looking after the gull all over again?

10. What broke down the barriers between the group and Rhoda – note Rhoda 's story of her mother, the washing of each other's hair, and Rhoda's, Peter's teaching Rhoda how to swim.

11. What did the computer dating joke reveal about the group? Their baiting of Annibale and their leaving him? Cowardice and cruelty?

12. Was the rape scene well dramatically prepared for - heat, irritability, boredom, turning on Rhoda (like the killing of the gull?

13. The climax - Danny's lust, Sandy's looking on, Peter's cowardice. This time all have killed. The finale of Peter's stunned sorrow?

14. Some have likened the theme to that of Lord of the Flies, Golding treated of innate savagery but, in keeping to children, kept to basic cruelty without sexual implications. Is Last Summer a Lord of the Flies involving teenagers? If it is, what does it say about human nature? Is it pessimistic or realistic?

LA STRADA

Italy, 1954, 107 minutes, Black and white.
Giulietta Masina, Anthony Quinn, Richard Basehart.
Directed by Federico Fellini.

La Strada is considered by most people to be one of the most moving films ever made. It is early Fellini and easy to comprehend Fellini although many of his later interests are here - madness, the Church, clowns, the Italian people, the sad heroine.

Anthony Quinn gives an excellent performance (ten years before Zorba and the variations on Zorba which followed) as Zampano the strong man, a carnival performer, tough with little human feeling. Richard Basehart is Matto, the clown, tight-rope walker, mischievously provocative but with a kindly simple wisdom. And Giulietta Masina is Gelsomina, surely one of the screen's most beautiful performances. She is the simple girl who becomes Zampano's assistant, who enjoys her work, suffers from Zampano until there is nothing left for her. She is symbolised in the stringed melody of ‘La Strada’ played by Matto and which lives on after her death. And Zampano discovering this lies, a broken man, on the sea shore.

The film is a picture of a particular section of the Italian people, but it considers poorer representatives of this section, the simple, the persecuted and the hard life they lead. The film elicits sympathy and understanding for life's victims. Fellini, as everyone knows, has gone on from these films of the 50's to complex psychological explorations of society, individuals and himself, and he has become a fad and a fashion (as well as a genius.)

1. The title of the film is simply "The Road'. How does this offer the key to the meaning of the film?

2. The film as an example of Italian movie realism: social themes, real people on real locations, and real-life development of plot. Is it a good example? Is this 'realism' the reason for the film's impact and success?

3. Was it a sad film? Why? Was it a pessimistic film? Why?

4. Was Zampano a repellent character or did he have some likeable qualities? How brutal was he, how selfish, how insensitive? What kind of a man was he? How much could he be blamed for the hard things he did?

5. Did you like Gelsomina? Why? Was it Guilietta Masina's personality or was it the character of Gelsomina and the situations of the film?

8. Madness and foolishness are often dramatic vehicles for communicating the truth in paradoxical ways. What did Gelsomina's slow-wittedness convey about what it is to be a human being with real feelings and needs ?

7. Was Zampano a happy person? Did he like people? Why? Did he enjoy his work?

8. Was Gelsomina a happy person, did she enjoy her work?

9. What was the function of Motto (literally, the fool) in the film? How did he illuminate the personalities of Zampano and Gelsomina? Was he too imitative for Zampano? Did Zampano mean to "kill "him"?

10. Why did Zampano leave Gelsomina?

11. What role did the musical score play in the film, especially Motto's theme which became Gelsomina's? What emotional effect did the theme have?

12. How did Zampano change after he left Gelsomina? Had he learnt anything about himself?

13. What was the meaning of the ending? How had Gelsomina, her person, her goodness and her innocence affected Zampano?

14. Was this a great film as it has been acclaimed?

THE LONG WAY HOME

US, 1998, 100 minutes, Colour.
Jack Lemmon, Sarah Paulson, Betty Garrett.
Directed by Glenn Jordan.

The Long Way Home is one of Jack Lemmon's final films. As with Tuesdays with Morrie, he plays a man in his seventies, retired, facing the prospect of death. Lemmon is sympathetic as well as powerful in the role. His character is retired, his house and goods sold, he moves in with his son and fussing daughter-in-law. The opportunity comes for him to visit an old friend in California and he hitchhikes across the country with a young student, Sarah Paulson, going home to her family in Carmel. The film shows the bonds between the two, the differences between the generations, the rapport. They finally arrive in Carmel, the girl discovers that her father is dying, gets support from Lemmon. Meanwhile he visits his friend of fifty-five years earlier, a girl he almost married. For movie buffs, there is a bonus as she is played by Betty Garrett, who appeared in such musicals as Neptune's Daughter, On the Town, Take Me Out to the Ball Game and, with Lemmon, My Sister Eileen. However, she appeared very little on-screen.

The film is directed by Glenn Jordan, director of a number of films including adaptations of Neil Simon like Only When I Laugh as well as many telemovies.

1. A pleasing telemovie? A portrait of old age? The differences between the generations, clashes, rapport?

2. The title, its irony about Tom's journey home? The long way, via California? The film as a road movie, the journey on the road, being picked up as hitchhikers, getting the bus? From Kansas to California?

3. The American countryside, the small Kansas country towns, the range of scenery, the shops, the motels, the contrast with the affluence and pleasant surroundings of California?

4. The character of Tom: age, experience, love for his wife, the long marriage, his daughters feeling that he was distant, the sons wanting affection from their father? His not realising this? His talking to his dead wife, the grave, walking along the street? The sale and his keeping the plane, the cabinet? His daughter-in-law fussing over him? His relationship with his sons? His going to cash the cheque, wandering, meeting Marco at the circus and their discussions? His wandering home, searching for the short cut, fall, on the road, almost knocked over by Leanne? Helping her with the tyre, going in the car, the diner, the men harassing Leanne and his hitting them, their pursuit, the crash of the crash of the car, his decision to go to California, the hitchhiking, the night in the motel, her changing in front of him and his embarrassment, lying on the bed clothed, the altercation at breakfast? His continuing on, the bus, the trucker and her comments? The need for phone calls, his avoiding them? The policeman finding them? His continuing on, California, Leanne's home? The meal, Leanne's father dying, the mother and the fights? His discussions with Leanne about family? The phone call, his going to see Ronnie? His delight, spending the day, reminiscing, what might have been, the photos, inviting her to visit? His final phone call, the decision about discussions, a toolshed and his continuing to work, his future? A rounded portrait of an old man?

5. Leanne, with her boyfriend, going back home, the gift of the car, her chatting with people, nearly killing Tom, changing the tyre, the diner, her being harassed, driving fast and crashing the car? Her liking Tom, their discussions, staying at the motel, her thoughtlessness, apology? Her father, his dying, her sadness, talking with him, the clashes with her mother? Helping Tom to see Ronnie? The farewell?

6. Tom's family, the two boys, their age, experience, marriages, their attitude towards their father, to put him in a home or keep him in the house? The phone calls and their being anxious? Bonnie and her fussing, concern? Tom returning home to them? The absent sisters and the reasons?

7. Leanne's father, genial, dying? Her mother and wealth, proper, clashing?

8. Marco and the circus, the friendship? The ride and the discussions and memories? The police, the clerk at the motel and his phoning?

9. A film highlighting the fact that people are living longer lives, the children generation being older but having the responsibility for their parents? Reassessing family, the distance of the older generation, the children generation and the grandchildren needing affection, intimacy and love?

LIMELIGHT

UK, 1952, 141 minutes, Black and white.
Charles Chaplin, Claire Bloom, Buster Keaton, Sydney Chaplin, Nigel Bruce, Norman Lloyd.
Directed by Charles Chaplin.

Limelight is another masterpiece by Charlie Chaplin. However, it is a film of his old age, written and directed by him when he was in his early 60s. It was released worldwide in 1954 except in the United States. Chaplin was a persona non grata in the United States at the time of McCarthyism?. In fact, he was not permitted to enter the United States for some decades and Limelight was not released until 1972. It qualified for the Oscars presented in 1973 where Chaplin’s musical score, with the very popular Terry’s Theme from Limelight, won the Oscar.

Chaplin had a long film career in the silent era with his Little Man comedies. After appearing in numerous short films, he began to make feature films in the 1920s including The Kid, The Circus, The Gold Rush. With the coming of sound, he did not adapt entirely and still used the techniques from the silent era including his films from the 30s: City Lights, his masterpiece Modern Times. At the beginning of World War Two, he mocked Hitler who had a similar moustache in The Great Dictator. After this he made only a few films: M’sieur Verdoux in 1947, Limelight, A King in New York in the mid-1950s and, what proved to be a cinema disaster, The Countess from Hong Kong with Sophia Loren and Marlon Brando in 1965.

However, Limelight is an impressive film. Chaplin plays a faded comic, along with his friends played by Nigel Bruce (Doctor Watson of the Basil Rathbone Sherlock Holmes films) and Buster Keaton. He meets a lonely and suicidal ballerina and the interaction between the ageing clown and the young woman is most moving. Clare Bloom, who had made a film in 1948 – and was still in strong career sixty years later on screen and stage – received the BAFTA award as best promising newcomer. She more than justified the faith that Chaplin had in her to make her the star of Limelight.

The film blends comedy and tragedy, reflections on the meaning of life as well as nostalgia for one’s achievements in the past.

1. The overall impact of this film? Is it a Chaplin classic? Its impact in the early 'fifties? Its banning in America and its not being allowed to be released there till the seventies? Chaplin's style, the content of his film, in many ways summing up his career?

2. Comment on Chaplin's contribution to the total film: writing the screenplay, acting, comedy styles, the direction, the music?

3. The meaning of the title, reference to the stage, to fame, to an audience? The caption at the beginning, the indication of the story of the clown and the ballerina, the emphasis of age and the passing of talent and the arrival of new talent? Nostalgia, regret, ageing?

4. The impact of the openings the introduction to Calvero, the Chaplin character, his age, drunk? London 1914, the streets, the apartments? The transition to Terry, the smell of the gas, the discovery of her suicide attempt? Calvero's intervention and its repercussions? The introduction to characters, themes and issues so quickly?

5. The contribution of the landlady, a typical landlady of this place, her prim propriety, severity especially as regards external moral attitudes and behaviour? Her rebuke of Calvero, suspicions, Calvero on the stairs with the oranges? Her sub-letting the flat, condemnation of Terry, indication that she was a prostitute? The irony of the landlady appearing later with Calvero and his musical friends and their drinking?

6. Chaplin's insight into the character of Calvero, the portrait of a clown and an artist? The importance of his thought, philosophy of life? Calvero as drunk, as sober? As alert and sensitive to Terry and her plight? His kindness? Allowing himself to be understood as her husband? His tenderness, the incident with the soup, talking and listening to her?

7. How important was Calvero's philosophy of life? The outlook on life of the long speeches penned by Chaplin? Optimism and hope, life to be lived? Yet the reality of decline of powers, age? Sorrow? The importance of Calvero and his posters, his dreams and memories of his past?

8. How humorous were Calvero's acts? Their playing in dreams, early indication of his reputation and music hall style? The importance of the act with Phyllis and Henry, the fleas? His singing? The spring routine and Terry entering into
his dreams? His reprisal of this and the people at the Middlesex not appreciating him? The presentation of the essence of Chaplin's acts in those selected for the benefit night? How did these acts get to the essence of Chaplin's stage work and comic routines?

9. Clare Bloom's performance as Terry? The innocent young girl? Her suicide attempt, the explanation of her background, her dancing, her illness? The psychosomatic aspects? Her response to Calvero and his kindness - leading to devotion, love? How much love, how much pity? Her fear at not being able to walk? The mutual lessons that these two cripples taught each other? Her buoying up of Calvero, supporting him? Her reaction to his failure and her indignation and standing on her feet? Why the psychosomatic effect of her being crippled?

10. How did Calvero change through the influence of Terry? His going to the agency and being kept waiting, his style in pretending that he needed conditions for his contract? The failure and people walking out? His delay in returning home and confessing this to Terry? The change with Terry's walking and their walking through London at night? Terry's recovery as compensation for his failure?

11. How suitable was the lapse of time of several months? Terry's career, her role in the ballet line at the Empire? The importance of her being chosen to audition? The regard of the producer? Her dancing to the composer's music? The realisation that she had fallen in love in with Calvero and wanted to marry him? His presence during the audition and Terry's return to him?

12. How important was Terry's memory and the story of the composer? The way that these sequences were visualised - flashback and dream? Her work in the store, Neville and his being helped by Terry? Her losing her job? Calvero's prophecy that they would meet again and finish in the sunset? Calvero realizing that Neville was the man of her memories? Yeville as a character, romantic hero for Terry? Accompanying her? Their meal together? His going to the army? His accompanying her home after the premiere and Calvero hearing them talk? The influence on his decision to disappear?

13. The impact of the ballet - as explained by the director? As visualised? Calvero and his contribution to the comedy? Terry as heroine? The importance of her stage fright and his slapping her and her stunned going onto the stage? The success of her dancing?

14. Calvero's happiness in her success? The sorrow at his own failure and the accident of his discovery about his replacement? The importance of his disappearance? His playing with the musical group in the hotel and his aplomb in meeting Postant and Neville again?

15. The effect of Calvero's disappearance on Terry? Her sorrow? The collage of her international success? Her change and maturity when she sought out Calvero again? The tenderness of their meeting, the bonds between them?

16. The build-up to the benefit night? Terry's hopes, Postant's expectations? A chance for Calvero to assert himself and be appreciated? The preparation, the sequences in the dressing room, the significance of Buster Keaton and his performance?

17. The nostalgia of his success? The humour of the performance? Chaplin and Buster Keaton working together? The build-up and his falling into the drum with the consequent Injury?

18. The pathos of his illness? The sentiment of his success and appreciation and imminent death? Terry and her dancing as he died? The optimism in Calvero's dying happy?

19. How well-delineated were the characters, as part of their environment, as types for the themes explored?

20. The value in Chaplin's comic style and its mellowed presentation of man, woman, ballerina and clown, age, success and failure, redemption, love, beauty and humour?

THE LADY VANISHES

UK, 1938, 97 minutes, Black and white.
Michael Redgrave, Margaret Lockwood, Googie Withers, Dame May Whitty, Paul Lukas, Basil Radford, Naunton Wayne, Cecil Parker, Linden Travers, Catherine Lacey.

One of Alfred Hitchcock's most famous films.

It was very popular in its time and has lasted well. However, the fact that it was made in England in the thirties is quite evident, especially in the use of studio sets and backdrops. They look particularly artificial.

However, the screenplay by prominent writers-directors, Sidney Gilliat and Frank Launder, keeps the action and the humour moving. The novel was by Ethel Lena White, The Wheel Spins. There are excellent performances especially by Michael Redgrave in one of his earliest roles. Dame May Whitty was the famous vanishing lady and Paul Lukas an expert villain. Basil Radford and Naunton Wayne made a very good comic appearance as the two Englishmen abroad preoccupied with cricket - and they made a career together of playing eccentric English gentlemen.

There are many Hitchcock touches in this story of a train trip. Hitchcock was very fond of journeys and trains. It also is in his particular area of espionage and captured the atmosphere of pre-war Europe. Hitchcock was to make only one more film in England, the unsuccessful Jamaica Run and then moved to his Hollywood career beginning with Rebecca, which won the best film of 1940 at the Academy Awards. There was an elaborate and colourful re-make by director Anthony Page and writer George Axelrod in the late seventies. It was an international co-production starring Elliot Gould and Cybil Shepherd. Angela Lansbury was the vanishing lady and Arthur Love and Ian Carmichael took up where Naunton Wayne and Basil Radford left off. Herbert Lom exerted his usual style as the villain.

1. The film in considered classic Hitchcock. His British phase? Audience expectations from a Hitchcock thriller?

2. The quality of enjoyment of this film in terms of plot, the drama, the mystery, the comedy overtones, thriller aspects? How well worn?

3. The cinema techniques and the artificiality? The use of studies and artificial nets? Do these detract from the impact of the film? Those in comparison with the implausibilities and the tricks of the plot?

4. How plausible was the plot? On analysis most people find it impossible and some of the incidents, for example Miss Froy being a spy and the message communicated in a tune impossible? Did this matter while the film was in progress? The film's capacity for engaging audience involvement?

5. The importance of the European setting? The contrast with England? English people on the Continent and the spy atmosphere? The hero and the heroine and their comic meeting? The importance of the comedy about the rooms? Gilbert's recording the folk dancing? Iris and her spoilt society attitude? The build-up of the atmosphere of the hotel and the delay? The night, the sinister aspects of the hotel? Preparing the audience for the plot?

6. The introduction of Miss Froy as a genial old lady, her connection with the sudden death of the musician? Her reality and the questions about her existence? Her name on the window and its inappropriate disappearance? As a character? Her running off to get the message to England? How plausible while she was on the screen?

7. The creation of a sinister atmosphere at the station and Iris's collapse, the sinister aspects of the train, the carriage, and the passengers and their look?

8. Audience response to Dr Hartz, the revelation then that he was the villain? The introduction of the nun and her high heels? The nun changing sides?

9. Iris and her relationship with the people in the carriage? The truth and nobody believe her? The later influence of the characters in the carriage especially the conjurer in the freight carriage?

10. The sub-plot of the Todhunters and their own melodramatic atmosphere? Their telling lies, the truth, and lies again? Todhunter's fear, the stupidity of his death?

11. How enjoyable were the characters Caldicott and Charters? Their chatter about the cricket? The supposedly typical English tourists? The irony of their worrying about the cricket, arrival back for play being washed out?

12. The atmosphere of suspense and the search of the train? The lies and the truth?

13. The growing atmosphere of trust in Dr Hartz? His poisoning them, and their trick response? The gradual growing pace of the suspense and the plot?

14. The final melodrama of finding Miss Froy, the nun, her help, the train on the side track, the siege, Miss Froy to escape?

15. The humour of the ending, Gilbert's inability to remember the tune, finding Miss Froy had delivered the message?

16. How enjoyable a piece of classic thriller escapism?

LABYRINTH

UK, 1986, 101 minutes, Colour.
Jennifer Connolly, David Bowie.
Directed by Jim Henson.

Labyrinth is a fantasy from its creator, Jim Henson. He directed the film and his studios and workshops provided the scenery and the characters. Henson, well known for his work with the Muppets, was the creator of many series and movies including the classic, Dark Crystal. His workshops provided the characters for The Teenage Mutant Ninja Turtle movies.

This is a film about a young adolescent girl, her resentment against her step-mother, and anger with her step-brother and wishing that the goblins would take him. Her wish is fulfilled and she goes on a quest of self-understanding as she goes to rescue the baby from the goblin king. Davie Bowie is the goblin king - and provides the songs for the film as well. She journeys through the labyrinth, meets some Henson style creatures, encounters the goblins - and finds that she has control over her imagination, makes the goblin king vanish, recovers Toby and celebrates with the Goblins. A Copy of the Wizard of Oz is on her shelf - and perhaps gives a clue to Labyrinth as a variation on the Oz theme. The screenplay was written by Monty Python actor and writer director, Terry Jones. Star Jennifer Connolly was to win an Oscar for A Beautiful Mind. The film was popular - but some how or other lacks the magic of Henson other films.

1. Fantasy, 80s style? For what audience? Boys or girls, both? What age group?

2. The work of Jim Henson, his imagination, creatures, fantasy adventures?

3. The American world and its ordinariness, Sarah in that world? The transition to the goblin land and kingdom? Layout and decor, special effects? David Bowie's musical score and songs?

4. Sarah, her age and experience, love for her father, rehearsing the romantic play and then coming back to reality? Not communicating with her father? Her anger with Toby and wishing him away? The king of the goblins and his visit? The effect of the loss, he change of heart, going to search for the baby? The effect of her experiences and growing up?

5. The visuals of the labyrinth, the kingdom, externals, interiors? The throne room, the room of stairs etc.? The crystal ball and seeing the present and future in the ball?

6. Sarah, her adventures, Hoggle and his help, his misleading her? The kindly monster? The adventure, the threats? The passing of time? The mischief from the goblins? Her becoming lost?

7. Her courage, keeping going, the rescue, the happy ending?

8. The king of the goblins and David Bowie's style, songs? Mischief, taking the baby, the threats? Vanishing when Sarah wanted him to?

9. The various characters, Hoggle, the monster, the goblins - personalities, style, the adventures?

10. A pleasing fantasy, a young girl, her change of heart, the world of magic and goblins?

LADY OF THE CAMELIAS (STORIA VERA DELLA SIGNORA DALLE CAMELIE

Italy, 1981, 115 minutes, Colour.
Isabelle Huppert, Bruno Ganz, Gian Maria Volonte, Fabrizio Bentivoglio.
Directed by Mauro Bolognini.

Lady of the Camellias is the story behind the popular tale of Camille by Alexander Dumas. Audiences know the Camille story well from the opera by Verdi, La Traviata as well as Camille starring Greta Garbo. There have been other versions (including a lavish telemovie with Greta Scacchi). The film has beautiful sets and decor, an atmosphere of 19th century countryside France as well as Paris. The cast is very strong with Isabelle Huppert very effective as Alexandrine, the naive yet calculating young woman who becomes the celebrated Courtesan of Paris. Gian Maria Volonte is effective as her father and servant. Bruno Ganz is her protector and husband. The film was directed by Mauro Bolognini, director, for many decades, of contemporary, dramas as well as some period melodramas including The Ferramonti Inheritance.

1. Audience familiarity with the story of Camille? The operas and the films? This look at the background of the story?

2. Production values, colour photography, 19th century sets and decor, costumes? The strength of the cast?

3. The title and the focus on Alexandrien, the courtesan, the flowers? Her career, consumption and death? The writing of the play by Alexander Dumas, immortalising Alexandrine as the Lady of the Camellias?

4. The play within the film? The performance, the dramatisations? Dumas and his writing, his interpretation of his experience?

5. Alphonsine as the country girl, her poverty, the hardships of her life? Pills? Her work, the gutter? Her being used by men? Men wanting to rescue her? Her being taken by her father to the presbytery, the priest and his response, hanging himself? Her reaction?

6. Her relationship with her father, his attitude to the family, the need for money? Moral questions? Seeing his daughter as a prostitute? Her going to Paris? The encounter with Serge? Relationships?

7. Alphonsine adapting to the life of Paris, work? Relationship with the girls at work? At the theatre? At Les Halles? The response of the men? At the theatre, allowing herself to be picked up, her calm attitude towards the encounters? The idea of being protected and a comfortable way of life?

8. Isabelle Huppert’s performance as Alphonsine - naive yet shrewd? Strength of character? Motivation? Dogged by illness all her life? The many men in her life and her dealings with them? The rewards of being a courtesan? Well set-up, clothes, and luxury? Money? Her father coming to Paris, acting as her steward? Not being known as her father? Her servants and lifestyle?

9. Serge, reading, the money? Help?

10. The encounter with the count, the relationship, his travels, proposal, the marriage and the arrangement? His absences, his return and the effect on Alphonsine?

11. The character of Alexander Dumas, his celebrated father, literature and high society? The young man of the city? His relationship with women, with the courtesans? His growing love for Alphonsine? The model for Armand in his story?

12. Alphonsine and her illness, the prostitutes and their style, at the theatre? Defying everyone? The count and his care for her? Her growing illness, going to the country? Dumas and his support of her? The violence of her death? Consumption and the racking pain? Her isolation? The response of her father, protecting her - and also receiving the money?

13. The portrait of her father, loving his daughter, yet cold and callous? Serving her, the go-between? His final words- and his response to the final performance? His wanting money?

14. 19th Century France, society, values? romance and reality? The experience of death? Romanticised as Camille?

THE LAST TIME I SAW PARIS

US, 1954, 116 minutes, Colour.
Elizabeth Taylor, Van Johnson, Walter Pidgeon, Donna Reed, Eva Gabor.
Directed by Richard Brooks.

The Last Time I Saw Paris is based on F. Scott Fitzgerald's 'Babylon Revisited'. The story is updated to the post World War Two period.

The film is lavish in production, has a strong M.G.M. cast - but is not effective as intended. The film was written and directed by Richard Brooks who has moved from novel and screenwriting (Crossfire) to film-making: Crisis, The Light Touch. He was to have success with adaptations of plays like Cat On A Hot Tin Roof, Sweet Bird of Youth as well as film adaptations of Lord Jim, In Cold Blood.

Elizabeth Taylor is beautiful and wilful in the central role. Van Johnson is a pleasing hero - and is quite affecting in his final scenes of pleading to see his daughter again. Roger Moore appears briefly in one of his earliest film roles.

The film tries to suggest the high life of Paris - but does so on a very modest scale. Jerome Kern's melody recurs throughout.

1. An entertaining popular romance of the post-World War Two period? based on F. Scott Fitzgerald's story? An adaptation of his work?

2. M.G.M. production values: the atmosphere of Paris in the '40s and 1950s? The affluent world of the E1swirths? The rich Paris life - galleries, restaurants, nightclubs, apartments? The strong M.G.M. cast? Musical score and Jerome Kern's melody?

3. The title and its reference to Charlie - the opening with his return to Maurice's Bar, his memories, the flashback device? The resolution?

4. The atmosphere of the end of the war, the liberation of Paris, the exuberance, Charles and the military and his encounter with Helen? The chance meeting with Marian? The visit to the Elswirth’s home? His being captivated by Helen? The end of the war in the Pacific? The soldiers being demobbed? The engagement to Helen, marriage? His settling down in Paris? The attempts to write novels and failure? His skill at his work at the paper? Helen and her social life? The birth of their daughter? Marian's marriage? Elswirth's devotion to his daughters and interest in Charles? The irony of Charles interviewing Lorraine, Marian's seeing him, Helen's reaction? The phone call about the money and the oil? The change in his life? His creative work stopping, his feeling inadequate, withdrawing? The effect on Helen? Her infatuation with Paul? The background of Helen's susceptibility to flu, Charles' reaction and locking her out in the rain, her death? His devotion to his daughter? His grief? Marian taking his child from him? His return to the United States? Success and his coming back for his daughter? The support of Claude? Of Mr Elswirth? His visit to Marian, her hardness, her coming to the restaurant as he watched Helen's picture, her relenting, the happy ending? Van Johnson in this central role, credible as the journalist-author, the moving sequences of his pleading for his daughter?

5. Elizabeth Taylor's attractiveness as Helen, the goodtime girl, expelled from school, extravagant, her love for her father, the contrast with Marian? Her pursuit of Charles, marrying him, her daughter? The whirl of her social life? The contrast with Charles? His failure and moving out and her becoming more domesticated? Her illness? The flirtation with Paul? The encounter with Lorraine? Her being out in the rain after discovering that Paul was merely using her? Her death and its pathos?

6. Marian and her attraction towards Charles, her jealousy of Helen, her marrying Claude, her never admitting the jealousy, the encounter with Lorraine, wealth, her hardness at Helen's death, taking the child? Claude's telling her the truth about her infatuation with Charles, her relenting?

7. Mr. E1swirth and his happy-go-lucky style, regard for his daughters, spending money, the high life? His regard for each of his daughters? Spoiling his granddaughter? His regard for Charles? Supporting him at the end?

8. The whirl of Paris and celebrities like Lorraine, her many marriages, the infatuation with Charles, going with him in the car? Provoking jealousies? The comparison with Paul and his role as tennis bum, gigolo? The affair with Helen? His not wanting to be serious and its consequences for Helen?

9. The atmosphere of Paris - newspaper offices, restaurants and bars, the high life?

10. The domestic drama with the focus on Charles' and Helen's daughter, her French and American backgrounds, wanting to be a ballet dancer, her grief for her mother, missing her father, the reconciliation?

11. Popular romantic themes, popularly presented?

THE LAST REBEL

Italy, 1971, 90 minutes, Colour.
Joe Namath, Woody Strode, Jack Elam.
Directed by Denys Mc Coy.

The Last Rebel is a spaghetti western of 1970. It is not particularly startling and is a vehicle for ex-football player Joe Namath - not particularly convincing in the central role. Enjoying themselves are the veterans of this kind of western, Jack Elam as the villain and Woody Strode as one of the heroes.

The film is set at the end of the Civil War, the declaration of Lee's surrender. Namath and Elam escape and go across the West, robbing, womanising, falling out with each other. On the way, they liberate a slave, Woody Strode. There is also a young black boy who becomes an integral part of the plot. There are some prostitutes as well as some wealthy women - who, in behaviour, are similar to the prostitutes.

The film focuses on a plot line rather than character development - although Elam gets more and more villainous, even to using some of the men of the town in Ku Klux Klan raids. Strode is the noble and silent hero.

Typical enough of the many westerns at the time, during the influence of Sergio Leone's Clint Eastwood films. They utilise scenery well, rely on the conventions of the western - but do not offer much else.