WILLIE AND PHIL

US, 1980, 103 minutes, Colour.
Michael Ontkean, Margot Kidder, Ray Sharkey, Jan Miner.
Directed by Paul Mazursky.

Willie And Phil but, more especially, Jeannette, are meant to represent New Yorkers (Americans?) who lived their twenties through the 1970s: middle class, educated, on for causes, but more preoccupied with themselves. In fact this slow moving film, written and directed by Paul Mazursky, is almost totally introspective, as three narcissists try to work themselves out and fulfil themselves - their parents, however, do get a chance to register bewildered puzzle and protest. Is Mazursky saying that the '70s were a more permissive self-searching decade before young adults rediscovered some conventionality? The difficulty with such a contrived romantic comedy for three' is that it is difficult to generate much sympathy for Willie and Phil and, even, Jeannette. Mazursky had more success with Bob and Carol, Ted and Alice, Blume in Love, Harry and Tonto, An Unmarried Woman. Willie and Phil resembles more his Alex in Wonderland and Next Stop Greenwich Village.

1. The impact of the film for comedy, romance, characters. representing an era? The work of writer-director Paul Mazursky? His interest in New Yorkers, the '70s? The changing of behavioural patterns and attitudes? His interest in films and film-making? A tribute to Francois Truffaut? His voiceover narrative and its tone?

2. The three characters as representing Americans in the '70s? Living through their 20s? The influence of the '60s, their social and personal attitudes, lack of commitment, search for self, work? Re-entry into a more conventional mainstream? Impact for American audiences? Non Americans?

3. Male-female relationships? Affection, friendship, love, commitment? Marriage, divorce? The masculine point of view of the screenplay? Jeannette's point of view? The changing emphases and audience response? Feminism and the '70s?

4. The tribute to Truffaut, liking Jules and Jim? The 1970s viewing and the seeming patterning of attitudes, life, details of behaviour on the characters? The similarity of the characters? Free spirits? Joy of life? The contrast with the clashes of the New Yorkers? The lyrical sequences of picnics, roller skating, bike-riding echoing the French film? Seeing the film at the end and the contrast with the people imitating The Rocky Horror Picture Show? The deliberate contrivance of this film?

5. The significance and tone of the voiceover commentary? The work of the director? Comment on behaviour, imitating remarks (which are repeated)? Irony as well as straightforwardness? Pleasant communication as well as satire? Distancing the audience from the characters? Moving plot and character development along?

6. The introspective nature of the film - focusing almost solely on the three characters? Their own narcissism? The establishing of the relationship between Willie and Phil from the film, conversation, their respective work, the sexual encounter with the models and the revelation of their attitudes and guilt? Sharing? The sighting of Jeannette in the Washington Square Park? The interaction? The setting up of the menage a trois 1970s style? The film's continual focus on the three and their focus on themselves? Taking themselves seriously? could the audience take them as seriously?

7. Willie and his Jewish background, teaching, the class on Hamlet with the black student doing the Soliloquy ? and Willie's response? His relationship with Phil's model friends? His friendship for Phil and sharing so much experience? The encounter with Jeannette and his love for her? The development of the relationship and shared experiences? The visit to Willie's parents and countering their criticism? The visit to Jeannette's mother? Jeannette's decision to have the child and her pregnancy? The marriage commitment? Willie's delight at Zelda's birth? The possibility of deeper commitment and developing relationship based on self-awareness?

8. Willie's desire to go to the farm, his lack of realism in getting the farm, his successful work and the visit of his father? What was possible for him, not possible for Jeannette? Her wanting to go? His decision to go with her?

9. The sketch of Phil? his photography in New York, his intense Italian background, his sense of guilt? Sexual relationships? The importance of the friendship with Willie? The lifestyle, especially as illustrated by the decision to take L.S.D.? the background to the taking of the drug, the pornographic film, the return home, Willie at the piano and Phil in bed with Jeannette? The morning after and their reactions? Phil's sense of guilt, especially towards Jeannette? Yet his continued love for her? The marriage? The liaison with Jeannette's sister? His decision to go to California? Setting up house with Rena? The artificial California lifestyle?

10. Willie trying to adapt to California? His decision to leave? His interest in the health and religious trends of the '70s? The flashbacks to his trip ? Hawaii with Rena, his experiences in India, the shaving of his beard? His return and his decision to stay? The growing bond between Willie and Phil as symbolised by Jeannette's sexual distance from them both?

11. Phil and his moving in with Jeannette? Care for Zelda? The quality of life? The importance of his parents arriving ? the car ride with the intensity of his mother's reaction? Her hostility towards Jeannette and their decision to return?

12. Jeannette adapting to California, needing to be with people, her love for her daughter? Holding both Willie and Phil at a distance? The significance of her dream in flying over New York? Her decision to go back and work as an independent filmmaker?


13. Zelda and her place in the family, with Willie and Phil? Her seeming to adapt to situations? The voice-over saying that she related well with all the characters?

14. The final sequences in New York? Jeannette at work, her love for the Russian? Willie and returning to his teaching of ten years before? Phil and his commercial success? The comment on their going to see Jules and Jim? Their looking at the Rocky Horror addicts? The comment on their subsequent marriage and ordinary lifestyle?

15. Audience response to the style of the film ? the dialogue and its seriousness, the temptation to be pretentious? How serious the portrait of the characters? The detail of the presentation of their characters? The blend of charm and parody?

16. Insights into the American way of life in the '70s for the younger generation? Male-female relationships, the commitment, decisions, search. career? The mainstream of ordinary life as background to searching for self?

WUTHERING HEIGHTS

UK, 1970, British, 103 minutes. Colour.
Anna Calder- Marshall, Timothy Dalton, Judy Cornwall, Ian Ogilvy, Harry Andrews, Pamela Browne, Rosalie Crutchly, Hilary Dwyer, Julian Glover, Hugh Griffith.
Directed by Robert Fuest.

Wuthering Heights is a new version of Emily Bronte's novel, filmed by American- International to benefit by the much-boosted return to romanticism in 1970. The previous version, directed by William Wyler and starring Laurence Olivier and Merle Oberon, was also romantic for its time, 1939. This version is by no means outstanding. It holds the interest and keeps close enough to the first part of the novel on which it is based. It cuts short the novel by having Hindley shoot the young Heathcliff after Cathy’s death. One of the main defects of the film is the casting of Anna Calder- Marshall as Cathy. She is too short and stocky and does not come across as dynamically as she should. For this reason Timothy Dalton's fiery intensity seems unbalanced. However, Judy Cornwell as Nelly Dean and Julian Glover as Hindley are very good. This is a story of passion, betrayal and loneliness which shows clashes by selfishness. It is a story which probably appeals to adolescents because its hero and heroine tempestuously searching for their real selves.

1. Their main purpose behind this version of the classic novel is to present a tempestuous love story? Why?

2. The setting of the isolated Yorkshire moors was an important factor in the novel. It was one of the main reasons why people were as they were. Do you think the film conveyed a vivid enough impression of the setting: the houses, the hills, the weather, the farms ? and how it moulded the Earnshaws and Heathcliff?

3. Why was Heathcliff not fully accepted into the Earnshaw family? How did his upbringing compare with that of Hindley? Why did Heathcliff bear grudges? Was he justified? What trust did he place in Cathy?

4. Was Cathy a spoilt girl? Did you like her? Why did she love Heathcliff? Was it only because she knew no one else?

5. Why was Cathy so entranced by the Lintons? Why did she so quickly despise Heathcliff? Was she selfish?

6. Why was there such a clash between herself and Heathcliff? Was it between their temperaments? Their passionate self-centredness that wanted to overcome itself in love? What were the conflicts going on within Heathcliff and within Cathy?

7. How do you explain Hindley's personality and his parent's attitude towards him? His clash with Heathcliff and his gradual subjugation and degradation?

8. What did Heathcliff intend by going away, getting rich and returning? Was it solely revenge?

9. His attitude towards Isabella and her infatuation for him? Can anything excuse his behaviour and hatred? Did this completely alienate him from the audience? why?

10. Did Cathy ever love Edgar? Did Edgar know what was going on within Cathy? Did Cathy love Heathcliff or was it an intensely passionate infatuation?

11. What is the role of Nellie Dean in the film?

12. The film cuts short the novel almost half and exacts retribution by Hindley and Isabella shooting Heathcliff. With Cathy dead and Heathcliff spiritually dead with her, was this a fitting end for this film version?

WUTHERING HEIGHTS

US, 1939, 105 minutes, Black and White.
Merle Oberon, Laurence Olivier, Geraldine Fitzgerald, David Niven, Flora Robson, Hugh Williams, Donald Crisp.
Directed by William Wyler.

Wuthering Heights has become something of a classic in terms of Hollywood film-making and novels becoming films. Only part of the original novel is used. This was also the case in the colour remake by Robert Riest in 1970. William. Wyler, at one of the peaks of his career (at the time of Jezebel, The Letter, The Little Foxes and Mrs. Miniver) was the director and Merle Oberon very effective as Cathy. Laurence Olivier in his brooding style (as also in the next year with Rebecca) was Heathcliff. Geraldine Fitzgerald is very striking in a supporting role.

1. The status of this film as a classic of Hollywood in the 30s? Samuel Goldwyn Production, William Wyler's direction, Laurence Olivier starring as Heathcliff? Working with Merle Oberon? The recreation of England in the 19th century, themes, the world of Emily Bronte?

2. The particular aspects of the film in its style, black and white photography, musical score? Sets etc.?

3. The transition from Emily Bronte's novel? The creation of isolated 19th century atmosphere? Characters within this environment? Passion, repression, love and hatred, revenge? How good was the adaptation for the screen? Using part of the novel only? The ending?

4. The effectiveness of the structure: Lockwood's visit, Ellen Dean's memory and her narrative? The introduction to the mystery of Heathcliff, his behaviour and character? Seeing Isabella at the end and then seeing her within the flashbacks? The important elements of time and how much time had elapsed?

5. The flashbacks to childhood, the happiness of the family with the father, his kindness towards Heathcliff. Kathy's reaction to him, Hindley's jealous reaction? The wilful nature of the children?

6. The harsher aspects of childhood? The father's death and the transition to severity? Hindley as a coward and his victimisation of Heathcliff? Heathcliff's reaction? His sense of being an orphan and being put up with? How much did the childhood sequences affect the behaviour of the adults later?

7. Hindley's character, his becoming a victim of himself. the degradation with his drinking, cruelty, attitudes towards Cathy? Brutalising of Heathcliff? The motivation for Heathcliff's revenge and his victimising of Hindley? Taking his money house, pride?

8. The contrast with Cathy and the presentation of her wildness, the cliff and her Castle, her capacity for love, impetuosity? Her changing as she grew into a woman? The quality of her love for Heathcliff and its wild passionate nature? The irony of the injury and throwing her against Edgar? Her ambition and wanting to have wealth and position? The fickleness of her attitude towards Heathcliff and using Edgar?

9. The comparison of Heathcliff's wildness and passion with that of Cathy? The importance of the sequences on the mountain and the cliff and all that that meant? The symbols of nature and the wildness of the moors for the loving couple? Heathcliff's inferiority and sense of cruelty. revenge? The sequence at Edgar's house and the brutality with the dogs? The fact of his going off and return? Impulsive nature?

10. The passionate nature of the cliff sequence and their romantic nature? The words that Cathy used there as the place for her real self? The return to the cliff at the end?

11. How credible was Cathy's erratic behaviour, the importance of her talk in the kitchen and Heathcliff overhearing it, going out in the rain? Her lost opportunities and the repercussion for all?

12. Her love for Edgar, for position? Her married life? Fidelity and yet the impact of the return of Heathcliff? Her going on errands? Her life and her illness? Edgar's understanding?

13. The contrast of Cathy and Isabella? Isabella as repressed, overshadowed by Edgar? The atmosphere of the Linton household? Her throwing herself at Heathcliff, not listening to advice, especially that of Cathy?

14. What did the characterisation of Ellen with her memories and her presence in the house offer? Of Joseph and his constancy? Dr. Kenneth and his knowledge of the principal characters over so many years?

15. The importance of Heathcliff's departure on impulse and resentment towards Cathy, his acquiring of wealth, his return, his systematic revenge? What had he achieved by the time of Cathy's death? His cruelty towards Isabella?

16. The dramatic impact and feeling of Cathy's death? The end of the passion? The presence of Heathcliff, Edgar and the flower? The mystic type ending with the two lovers reunited? Cathy's mysterious return and taking Heathcliff to the cliff?

17. Men and women in the 19th century, the two aspects of women: Cathy and Isabella? Two aspects of men: Heathcliff and Edgar? Compatibility, flashes, love and hate? Means, circumstances changing people's life? Remoteness, 19th century repression? The dark side of human nature as explored by Emily Bronte?

THE WRONG GUYS

US, 1988, 86 minutes, Colour.
Richard Lewis, Richard Belsen, Louis Anderson, Tim Thomerson, Franklin Ajaye, John Goodman, Ernie Hudson, Timothy Van Patten.
Directed by Danny Bilson.

The Wrong Guys is a small-budget comedy, relying on the talents of stand-up and TV comics including Louis Anderson, Richard Lewis, Franklin Ajaye. The film also has a fine comic performance from John Goodman (Roseanne as well as films like True Stories, Raising Arizona, Punchline).

The film shows boys in a scout troop in 1961, as well as the Grunski brothers who torment them. 25 or more years later, Louis decides that it is time for a reunion. They all arrive, the glimpses of their subsequent lives are indicated, the Grunski brothers turn up - and they are all menaced by an escaped convict and his gang. Goodman is the convict with the Bogart style, named Duke Earle.

It is all filmed in beautiful Wyoming mountain country ? and while the plot is corny and predictable, the vitality of the stars and the filming of even obvious jokes is entertaining.

The finale is a great boost for the scout movement in America. Slight but entertaining.

1. Enjoyable comedy? Piece of Americana? The scouts? The wilderness? American criminals? A nice blend?

2. The use of Wyoming wilderness photography, the beauty of the forests and the mountains? As part of the plot? The contrast with the styles of the various characters and their lives? The musical score?

3. The title, the reference to the group, amongst themselves, changing from when they were children, not the F.B.I., Duke's attack on them?

4. The sequences of the boys in childhood: establishing each of the characters, Louis as fat leader, Richard as needing a psychiatrist, his arguing with himself, the dollar note and the noose and being caught by the Grunski brothers; Bill and his eyeing off Louis' sister, Tim and his robustness, Franklin and his patter? Their mothers? The Grunski brothers and their annoying people, on their bikes, the peashooter, etc? The fading of the children and their growing up?

5. Each of the characters as adults and the similarity with their childhood: Louis still at home with his mother, getting fatter? Richard and his neurosis as a doctor, arguing, his phobias? Tim and his rugged life, the surfer, girlfriend? Franklin and his smooth talk on the radio station? Bill and his clothes design, putting belts on his models to highlight their figure? The quick establishing of each of the characters?

6. The establishing of Duke and his gang and their escape from jail, in the wilderness?

7. The reunion, their all arriving, Louis' mother? Wanting to go home? Louis and his hiring all the equipment, the rousing of their spirit, each with his characteristic reaction? Carrying everything out into the wilderness, camping, the disasters with the tent, with the pegs, with the axe, the folding bed? The night, the friendship amongst them, remembering their old spirit, clashes as well as reconciliations? Tim and Bill going off to the women's centre, talking with the women, getting their comeuppance, having to run away dressed in the women's dressing-gowns? Louis and Richard and their walking, the discovery of the criminals, the legend of one-armed Pete and Franklin's fear, the pill and his sleeping through Duke's destroying the camp? The destruction of the camp and their deciding what they would do? The arrival of the Grunski brothers?

8. Duke and his gang, in the forest, going to his uncle's hut? The injury of the young man, the clash between Watson and Duke, the fights? Duke going out and shooting things up? Thinking the campers were the F.B.I?

9. The Grunski brothers, their car, seeing the campers, their picnic and littering, the clash with the squirrel and the squirrel winning? Taking the engine? The clash with the campers, wanting the engine? Its falling on Duke? Joining the group, being sworn in as part of the cubs? Their sense of honour? Duke pursuing them?

10. The pursuit, in the wilds, the shooting, the making of the raft, going down the water, Duke emerging from the water, Tin, going over the waterfall as doing the waves? His use of the medal, ringing the F.B.I., ringing their mothers? Their mothers coming to rescue them? Their using the dollar and noose trick on Duke, but the squirrel helping him free?

11. Heroes, the F.B.I. arriving, the newspapers and photos, the scout troop and the pinning of the highest medal on each of them ? with their characteristic reaction?

12. A good-natured piece of Americana, obvious jokes nicely done, verbal and visual humour? The personality of the group? And a boost for the scout movement?

THE WORLD'S GREATEST LOVER

US, 1977, 89 minutes, Colour.
Gene Wilder, Carol Kane, Dom De Luise.
Directed by Gene Wilder.

The World's Greatest lover is, of course, a spoof of Valentino. It came in the middle of a Hollywood trend of the '70s, examining the stars and styles of Hollywood '20s and '30s e.g. Gable and Lombard, W. C. Fields and Me, Won Ton Ton ... There was also Ken Russell's film of Valentino with Rudolf Nureyev.

Gene Wilder produced, directed, wrote, composed a song and starred in this film. He does not seem to control himself and goes for exaggerations; one reviewer remarked 'more decibels than laughs'. He had appeared to excellent effect in Mel Brooks' films: The Producers, Young Frankenstein, Blazing Saddles. With Marty Feldman, another Brooks protege in Hollywood, he made The Adventures of Sherlock Holmes' Smarter Brother. Feldman was to make The Last Remake of Beau Geste, In God We Trust and Yellow Beard. Wilder has some funny slapstick jokes, some gentle parody, but there is a lot of exaggeration. Carol Kane, on the other hand, is rather restrained. (She had appeared in Hester Street and received an Australian Film Institute nomination for her performance in Norman Loves Rose.

There are some good moments, some points being made about screen myths and fantasies and the contrast with ordinary reality. They come through despite the slapdash slapstick.

1. Quality of humour, send up? Spoof? Seventies' interest in films about Hollywood? The send up of Hollywood? The influence of Mel Brooks and his films?

2. Gene Wilder's contribution to the film? His contrast with the real Valentino? His trying to capture a piece of Americana, the period, the Hollywood studios, the dream, reality and fantasy? The colour photography, sets and decor, the musical score, especially the tango rhythms and the final song?


3. Valentino as the first matinee idol and the reasons for this? The first universal idol? His sex appeal, style, film vehicles? The impact on men ? and their dreams and imitation? women's emotions and vicarious experience? The Mediterranean type with the touch of fierce cruelty? The fans, the fan mail? The more quiet presentation of the real Valentino in this film - his advice to Rudy and to Annie? The parody of Valentino's image?


4. The slapstick opening ? the studios, satire on movie producers, the range of yes-men (especially the Chinese with the Ingmar Bergman accent), the search for gimmicks? Studio rivalries? Dom De Luise as Zitz and his shouting style? Caricature of the eccentric Hollywood producer? His ideas, questions, his barber contradicting him? His emotions? The comedy with the yes-men and the barber? The quest, the announcing of it, the conduct of it, the screen tests,, his emotional response to Rudy? His dismay at the end?

5. Rudy and his initial fantasy? The Valentino image - sex appeal, macho, tangos etc.? His waking up and the reality? The comic turns at the factory, especially on the assembly line? His job opportunities and losing them?

6. The introduction to Annie? her emotional response to the movies? The marriage and Rudy's enthusiasm, her trying to respond? The explanation of her later leaving him? Their reconciliation?

7. Themes of marriage, sex by numbers and manuals, the presuppositions that what was seen on the screen was real? Rudy and his decision to become the new screen idol? The humour of the train trip and the humour of the mistaking of the sexes with the homosexual overtones The reprisal of this with the camp dancing in the hotel? The poking fun at male-female roles?

8. Reaching the hotel, the mistakes in getting the main suite, the comedy in the room, the overflowing bath, the loud uncle and his family? The contrast with the pathos of Annie leaving? His trying to pretend she was there? The comedy with the manager of the hotel and the verbal routines with the uncle etc.? The yes-man for the celebrity?

9. The screen test, the actress and her response? Rudy imagining Annie and his violent emotional reaction? The director and his desperation? The filming of the screen test and the barber's response? Zitz and his response? The final test and again Rudy imagining Annie and the moving performance? The women reporters in tears? The satire in the scenes? Audience knowing what had preceded in terms of relationship with Annie? The genuine feel?

10. The real Valentino and his work, discussions with Rudy in the walk along the street, the agreement to the deception, the entourage and their going along with the seduction scene? The build-up of the seduction scene? The comedy of Rudy pretending? Annie’s genuine searching for fulfilment and sympathy? Reality and fantasy? The final confession and the happy ending as the new Valentino rejects his screen role but rides to rescue his wife?

11. The character of Annie, her bewilderment about the marriage, going to the studio, getting in, being thought of as an extra, the bus trip, going to the tent? Her encounter with what she thought was Valentino? Sexual fulfilment? The aftermath and her disillusionment? Her wanting Rudy to win the test and her leaving?

12. The American dream of success? The poor sequence and Rudy not being the Valentino type? His decision to ride away? The spoof of the ending with the horse overtaking the train and riding off into the sunset?

13. The ingredients of American farce, the traditions of slapstick American comedians? Broad humour, routines? American pathos about the ordinary hero - the little man? The dedication to Fellini - its meaning? Pretentious?

THE WORLD IN HIS ARMS

US, 1952, 104 minutes, Colour.
Gregory Peck, Ann Blyth, Anthony Quinn, John Mc Intyre, Andrea King, Carl Esmond, Eugenie Leontovitch.
Directed by Raoul Walsh.

The World in His Arms is a lively sea-action adventure with 19th. century settings. It is based on a novel by Rex Beach, author of The Spoilers. The film is directed by Raoul Walsh, veteran of many action films of the '30s and '40s at Warner Bros. (They Drive By Night, High Sierra) and many action adventures of the '50s. It was his only film for Universal Studios.

Walsh had worked with Gregory Peck in Captain Horatio Hornblower. Peck gives his usual solid performance. Ann Blyth is an attractive heroine. Anthony Quinn does his typical impersonation as Portugee. He was still working in supporting roles, although at this time he won his first Best Supporting Actor award for Viva Zapata.

1. Enjoyable action adventure? Popular material? The perennial appeal of seagoing 19th. century actioners?

2. Colour and location photography? San Francisco and Alaska in the 19th. century? Atmosphere and flavour? The sea sequences, the race? Battles and brawls? Rousing musical score?

3. The romantic title? The focus on Captain Clark, his work, an American, the Russians. Alaska? The romance with the Countess Marina? Themes?

4. The portrait of Captain Clark? Gregory Peck's style? His wealth, seal-poaching in Alaskan waters. the clashes with the Russians, the arrival in San Francisco, the rough crew? On the town? The encounter with the Countess Marina? Her plea for his to take her to sea? His rivalry with Portugee? Falling in love with Marina? The journey to Alaska? The kidnapping by Prince Semyon? His reaction, drinking? The boat race? The seal catch? Captured by the Russians, the escape, the explosions? Rescuing Marina? Potboiling heroics ? stylishly done?

5. Countess Marina? her fleeing with her servant, Prince Semyon and the arranged marriage, San Francisco, her desperation, the plea to Portugee, the refusal, Jonathan Clark? Masquerading as a maid? Falling in love? The kidnapping? The final rescue? A typical romantic heroine?

6. Anthony Quinn's style as Portugee, bravado. San Francisco, the seals, the rivalry with Jonathan Clark? His refusing Marina? The race? His tactics to win the race?

7. The portrait of the Russians? Prince Semyon and the arranged marriage, the pursuit of Marina? Capturing her? Capturing Captain Clark? His defeat? Marina and her maid? The Russian entourage?


8. The historical background of power struggles in the Pacific? Alaska and Russia? Russian claims? The buying of Alaska by the Americans? Seal-catching, seal-poaching? The race and adventures on the high seas?

9. Traditional themes of action, romance, competitiveness? A piece of Americana, popular style?

WORLD GONE WILD

US, 1988, 90 minutes, Colour.
Bruce Dern, Adam Ant, Michael Pare, Catherine Mary Stewart.
Directed by Lee H. Katzin.

World Gone Wild is an odd futuristic adventure, obviously modelled on the Mad Max films, especially details of Mad Max Beyond Thunderdome. Bruce Dern is an eccentric-type leader, Katherine Mary Stuart is an attractive teacher, Michael Pare is the suave leader on whom charismatic hopes are put, Adam Ant is the odd villain, Derek Abernathy. The film is set in the middle of the 21st. century, there is a drought and people in need of water, there is a small community with water, they are menaced by a madman who leads white-clothed young men in almost religious ritual style - but who, of course, are brainwashed into massacres. There is also the portrait of an ugly brawling city of the future. There are confrontations and action ? and the whole thing is resolved with falling rain. Direction is by Lee H. Katzin, veteran of many action films and telemovies.

1. Futuristic adventure? parable?

2. Towns of the future, the landscapes, the ugly city? Musical score?

3. The title and the focus of themes? Pessimism about the future?

4. The initial massacre, the seemingly innocent white-clad boys and their murders? The people massacred? The emergence of Ethan as leader?

5. Ethan as leader, magic powers, his going to find George, the trek to the city, Angie's disgust? The return, the followers and their martial skills? In the town, organisation, the arrival of Derek Abernathy and his men? The final confrontation? The rain?

6. Angie and her teaching, the massacre, going to the city with Ethan, her disgust, the encounter with George, her surprise, his return, falling in love with him, the violence of the confrontation?

7. George as leader, brought up by Ethan, his life in the city and the echoes of military competitions and shooting like the Thunderdome? His return, doubts about helping, it being forced upon him, confrontations, mellowing? Romance, final heroism?

8. The various leaders and those coming from the violent and murderous competition? Their skills, their return? Contribution to the town? The final battles, death and survival?

9. Derek Abernathy and his English style, his suave manner, the initial massacre, his followers? His charismatic leadership and religious revival style? Kidnapping the boys? Their wanting the water, fighting the groups? The murders? Violence, the murder entertainment, final confrontations?

WORDS AND MUSIC

US, 1948, 121 minutes, Colour.
Tom Drake, Mickey Rooney, Perry Como, Mel Torme, Betty Garrett, June Allyson, Lena Horne, Ann Sothern, Allyn McLerie?, Gene Kelly, Vera Ellen, Cyd Charisse, Janet Leigh, Marshall Thompson.
Directed by Norman Taurog.

Words and Music is a lavish M.G.M. musical about the collaboration of Richard Rogers and Lorenz Hart. In the mid?'40s musical biographies were popular - Cole Porter and Night and Day, George Gershwin and Rhapsody in Blue, Jerome Kern and Till the Clouds Roll By. This is a rather glamorised story of the songwriters. In fact, Hart was a lonely homosexual who had an alcohol problem and died young. This may be suggested in the undertones of the screenplay but is not particularly evident. Mickey Rooney tries hard to portray the complexities of the character. Tom Drake has an easier task in portraying Richard Rodgers with some charm. Rodgers, of course, was to go on to a new career and success in collaboration with Oscar Hammerstein. A lot of the M.G.M. stars have dramatic roles and a lot of the superstars make guest appearances for songs and dances. The musical numbers are the highlight of the film. Direction is by Norman Taurog, a veteran of many M.G.M. musicals and comedies, later to work with Martin and Lewis and Elvis Presley. Choreography is by regular M.G.M. choreographer Robert Alton. Gene Kelly choreographed his own version of Slaughter on Tenth Avenue, danced with Vera Ellen.

1. An entertaining musical? The portrayal of a song writing collaboration and its success? The story of the American musical?

2. M.G.M. production values - colour photography, re-creation of the period, the use of the stars? The insertion of the musical numbers? A film of technical bravura?

3. The conventions of the musical biography? an outline of facts, basic information - then romanticised for conventional plot? How acceptable as entertainment? As biography? The glimpses of creative collaboration - musical composition. creation of lyrics? The production of songs, musicals?

4. The portrait of Hart and Rodgers? Hart as the eccentric spoilt and only son? His relationship with his mother? Shyness and awkwardness, moodiness? Erratic behaviour and humour? His seeming ignoring of people? Rodgers not knowing how to deal with him? Perseverance? His creating of lyrics e.g. 'Manhattan'? And the ability to do several things at once? His infatuation with the singer ? the proposal, her refusal, his loneliness, going out to Hollywood, wanting her in the musical? His relationship with his mother? Wealth and extravagance? Friendship with Rodgers? Parties in Hollywood? The seemingly empty life despite success? Mickey Rooney's skill in portraying this character? Tom Drake more straightforward as Rodgers? earnest, a man of musical skill. charm? His wanting to give up? The support of his family? His falling in love with Julie? Marriage? Coping with Hart? Success?

5. The sketching of the supporting characters and their highlighting Rodgers and Hart ? Hart's mother and her concern, Julie and her love for Rodgers, Julie's family, the friends of Rodgers and Hart, the girl with whom Hart was infatuated etc.?

6. The M.G.M. stars and their performing the Rodgers and Hart songs? As characters in the film? AS musical inserts? The popularity of Rodgers and Hart music? The clever lyrics? Judy Garland and Johnny One -Note, I Wish I Were In Love Again; Betty Garrett and There's a Small Hotel, Perry Como and Blue Room and Mountain Greenery, Lena Horne and The Lady is a Tramp, Where or When, Mickey Rooney and Manhattan, Gene Kelly and Vera- Ellen dancing the jazz ballet, Slaughter on Tenth Avenue, June Allyson and the song from Connecticut Yankee, songs by Ann Sothern, Mel Torme, songs and dances by Cyd Charisse?

7. The contribution of the M.G.M. musical to the development of cinema styles? Cinema entertainment?

THE WOO WOO KID

US, 1987, 94 minutes, Colour.
Patrick Dempsey, Talia Balsam, Beverley D'Angelo, Michael Constantine.
Directed by Phil Alden Robinson.

The Woo Woo Kid is an unusual title for a comedy written and directed by Phil Alden Robinson. it is a star vehicle for Patrick Dempsey who made an impact in Can't Buy Me Love as well as A Fighting Chance. His leading ladies are Talia Balsam and Beverly D'Angelo.

The film is allegedly based on a true story, of a precocious teenager who, in fuel, elopes with two older women. The story might sound somewhat prurient or a variation on the 80s teenager films. However, it is quite different ? and is quite a warm-hearted comedy, American style. The atmosphere of the '40s is recreated, the war, the war effort, there is also a strong musical score of big band music. The film is, in many ways, inconsequential, but, on the other hand, it portrays its characters with some delight and entertainment.

Robinson was to have later success with Field of Dreams, Sneakers and The Sum of All Fears.

1. Enjoyable human comedy?

2. The title, based on a true story with a touch of weirdness! The voiceover and its authenticity? The 57 year-old and his memories? The comments of a 15-year-old boy of 1944?

3. The atmosphere of the '40s, California, the war? Homes and schools, hotels, jails, factories? A strong period flavour?

4. The decor, clothes, music and the big bands?

5. The introduction, the atmosphere of the war, the black and white photography and the newsreels, the world situation, the comment by Sonny on the values of the time, the standards?

6. The focus on Sunny, his relationship wit his morose father and his vague mother? His measuring his height and his rather making him lick the wall, his mother's putting him an a stand? Literally in the doghouse? His parents and their vagueness? Their interaction with their son? Their strong surprise at his behaviour, the reporters and the police coming, his father waking up and trying to save him from the police, his mother's behaviour in court?

7. Sonny and his age, his behaviour at school, his devices for appearing sick, moving with the older boys, getting them gas, the encounter with Judy, finding her nice at the party, her writing the letter for him for school, her sad story with her husband, his sneaking out to see her, the party and having her alone, her husband bashing her and Sonny's reaction, the plan for eloping, their getting away, Sonny getting the police to arrest her husband for the draft, the trip?

8. The celebrant's refusing the marriage, the old man marrying them, the romance at the diner, the night in the hotel, the pressure on then from the other couple, getting the bus, wiring home for money, Denver and the arrest?

9. Judy and Sonny in jail, the court, the reporters, the build-up and the reputation? The interviews with each?

10. Judy as a pleasant young woman, her age, living with her de facto and his brutal attitudes, her two children with her mother? The parties, the relationship with Sonny? Helping his, being bashed, the decision to separate? Eloping? her happiness, the interviews, her being charged with kidnapping? the separation? Her disappearance? Listening to the radio about his eloping with Francine?


11. The decisions about Sonny, going to work, the factory, Boarding with Mrs Marver and her snooping, interference? Francine and her jokes, leading Mrs Marver on? Attraction towards Sonny? the buying of the dress? Waling and discussing their lives? Her husband overseas? The decision to elope? Going to Paradis? The sexual encounter?

12. Sonny and the paper, deciding to give himself, the Sheriff's disbelief, being put in the hut, the woman looking after him? Interviews? Francine and the interviews? Her husband at war and his reaction? His return? Her wearing Sonny's dress? The attitude of the judges in each case towards Sonny?

13. His arrest, going to court, with his father, escaping from home? Going to the cinema? the encounter with Wendy, telling his story, her being his own age, marrying in three weeks and living happily ever after?

14. A film of nostalgia, innocence and experience?

WON TON TON - THE DOG THAT SAVED HOLLYWOOD

US, 1975, 92 minutes, Colour.
Bruce Dern, Madeline Kahn, Art Carney, Ron Leibman, Denis Morgan, Teri Garr, Sterling Holloway, William Demarest, Virginia Mayo, Rhonda Fleming, Rory Calhoun, Ricardo Montalban, Jackie Coogan, Johnny Weismuller, Aldo Ray, Ethel Merman, Yvonne de Carlo, Joan Blondell, Broderick Crawford, Richard Arlen, Dorothy Lamour, Phil Silvers, Alice Faye, Nancy Walker, Stepin Fetchitt, Gloria De Haven, Rudy Vallee, George Jessell, Ann Miller, Dean Stockwell, Dick Haymes, Tab Hunter, Robert Alda, Ritz Brothers, Victor Mature, Fernando Lamas, Zsa Zsa Gabor, Cyd Charisse, Peter Lawford, Guy Madison, Ann Rutherford, Milton Berle, John Carradine, Walter Pidgeon.
Directed by Michael Winner.

Won Ton Ton - The Dog That Saved Hollywood had many funny moments and lines (none brilliant), an excellent performance by the expertly versatile comedienne, Madeline Kahn, some satire on Hollywood, its types and its phoney values, and an underlying theme of the precariousness of stardom. In fact, via Won Ton Ton (alias Rin Tin Tin), the screenplay parodies Hollywood plots, especially the rise, decline and fall of an actor. Won, with the alcoholics in the street, attempting suicide, makes us realise the real pathos of ephemeral celebrity. (Which makes one wonder why a score of veterans have appeared, many momentarily, in this film.) While entertaining, a comparison with, say, Silent Movie, shows it should have been better.

1. The significance of the title, the reference to the dog and the parody of Rin Tin Tin, the emphasis on Hollywood and the background of the film about the studio needing to be saved? How enjoyable a comedy? How enjoyable a parody of Hollywood, Hollywood films, the biographies of stars? Was there more in the film than the surface comedy and parody?

2. The re-creation of Hollywood in the 20's, the suburb itself and the city, people searching for work, talent, ambitions? The presentation of the studios, the chiefs, the atmosphere of fantasy in film-making, the technical side of making silent films? The presentation of the Hollywood way of life and all that that means?

3. How did the film rely on comedy set pieces: of the identity of the dog, of the identity of the stars, car chases and crashes, slapstick details etc.?

4. How enjoyable was the parody of Rin Tin Tin? The importance of the detailed parallel of the rise of the dog as a star to the rise of the human star, success and failure? The details of the dog at the height of his success, wandering the streets, the alcoholics, suicide, rejection and the final happy ending? How much insight into the fragility of the success of a film star?

5. The presentation of won Ton Ton as a dog, his saving qualities and the hero aspect of his stardom? The pictures in which he acted, the presentation of silent films and their style? The conventions of directors, stars, technicians, the atmosphere of the studio and the dog fitting into this?

6. The film relied a lot on guest stars in very small spots. What did this contribute to the film? The value of the audience trying to spot the ageing film star? The comment on Hollywood by presenting so many of the older stars in this way? A tribute, satire?

7. Comment on the presentation of the nastier side of Hollywood, overwhelming ambitions, the careers, the cut-throat competition, starving? Estie and her being victimised by Hollywood? The studio chiefs? Grayson and his manipulating? How ugly was the picture of Hollywood?

8. The alternate focus of the film from Won Ton Ton to Estie Del Ruth? The quality of Madeline Kahn and her comic performance, how well delineated was her character, the Hollywood type hoping for stardom, her starving, the detailing of her hopes, the way that she was used, her training of the dog, her being the heroine for Won Ton Ton and the various ways in which he rescued her, especially at the beginning with the studio hands? Her wanting her own career? The humorous side of the build-up of her own career via the poor film on Custer? Her love for Won Ton Ton and devotion to him, the search and the happy ending? How clever was the gentle parody in the presentation of Estie?

9. The contrast with Grayson as the hero? As seeing him guiding the tours, driving the bus, the humorous parodies of his ideas for films in the 20s which were successes in the 70s? The American push, his using of Estie and Won Ton Ton? His lies and his manipulation? And yet his being the hero for this film? His love for Estie, the clashes with J.J. Fronberg? His final giving up of all Hollywood atmosphere? A good delineation of a Hollywood type?

10. The satire in the presentation of J.J. Fromberg, Art Carney and his depiction of the studio boss, his harshness and ruthlessness, success, being deceived by his own ambitions? Representing Hollywood?

11. How suitable was the satire of Valentino in the character of Rudy Montague? His personal style, the scene where he went to the theatre in drag and all the preparations for this, his reactions to his own films? His vanity and petulance, his attitude towards his career, his agreeing to be in the picture with the dog and Estie? His dismal failure? The irony of his handling of the press interview? How harsh was the satire on this kind of Hollywood star?

12. Professor Quicksand as a conventional villain for this kind of melodrama? The presentation of his cruelty and harshness, the irony of his cruelty to Won Ton Ton? The presentation of his shows, the inevitability of Won Ton Ton being sent away and escaping?

13. The big build-up of the search for the dog, the use of the media, the sensationalism, the various claimants to finding the dog? How enjoyable and accurate was the parody of the search and the people involved in the search, the claimants? The contrast with the almost trite ending on the seashore with the real dog and the uniting of all parties? Was that ending appropriate for this kind of film?

14. The film relied a lot on the impact of its incidentals. What did they contribute: the tours, Grayson and his selling of the bus, the sneak previews, the presentation of the columnists and their questions. the stagehands and their observations, the details of the silent filmmaking, cowboy heroes, gatekeepers, butlers and cleaners, Joan Blondell and the ironic line about Marilyn Monroe as Norma Jean, the dancing black butler, autographs, J.J. Fromberg and his succession of girlfriends, the detailed parody of the Academy Awards and the giving out. the envelopes the stars expecting and Won Ton Ton winning, Victor Mature and the Mafia, The Godfather theme, Mexican pornography, drunks, slapstick comedy?

15. How valuable a contribution to insight of the American movie world?