WORKING GIRL

US, 1988, 108 minutes, Colour.
Melanie Griffiths, Sigourney Weaver, Harrison Ford, Joan Cusack, Alec Baldwin, Oliver Platt, Kevin Spacey, Olympia Dukakis.
Directed by Mike Nichols.

Working Girl is a bright New York comedy of the late '80s. It was nominated for Oscars for Best Film, Best Director, as well as screenplay and acting performances by Melanie Griffith, Sigourney Weaver. It is a variation on the Cinderella story with a benign touch of the famous Joseph Mankiewicz film All About Eve.

The film is set in the working district of New York, finances and deals. Melanie Griffith is the ambitious Staten Island girl who is able to take advantage of her boss's absence and create a deal, fall in love with hero, Harrison Ford.

While the material is familiar, it is played with deft style by the cast and has a witty and intelligent dialogue. (Joan Cusack (Broadcast News) was also nominated for Best Supporting Actress for her role as the heroine's friend.) Another nomination was the theme song sung by Carly Simon.

1. A popular film of the late '80s? Career, business, men and women?

2. The credentials of the film: stars, director Mike Nicholls and his films, award nominations?

3. The New York background, the city skyline with the credits, the Statue of Liberty, Staten Island, the ferry, the contrast of the two worlds of Manhattan and Staten Island? Offices, big business and style, the business society? The musical score, the use of songs, the theme: 'Let the Rivers Run?'

4. The title, the focus on women, the workforce, struggle, success?

5. Melanie Griffith as Tess: the ordinary girl, life in Staten Island, lifestyle, friendship and travel with Cyn, their talk, work, ambitions, the stock market, her being set up with the executive and his wanting sex, her violent reaction? Her revenge against her two colleagues? Going to the employment agency? Going to Katherine? Change of style, dress, hairdo? The interview and Katherine inviting her to collaborate? Preparing for the social? Tess's reading, getting ideas about Trask? The idea to Katherine, Katherine's refusal? The irony of Katherine's accident, the commission to Tess, at her apartment, using her clothes? Discovering the tape? Making a decision about Trask? Going to see Jack at the social, at the bar, drinking, knocked out, the night? The irony of the meeting with Jack? Sharing ideas and plans? Covering Katherine's absence, the office,. using Cyn? The setting up with the meeting and Trask? The wedding and Jack and Tess crashing it, her ingratiating herself with the family, with Trask? Personal life: Mike, relationship, sex, his betrayal of her, the clash, Cyn's engagement party, his performance and proposal, her refusal? Jack and the deal, falling in love with him? The irony of Katherine's sudden arrival? Her discovery of the notebook? Tess being exposed, confessing honestly,? leaving? The popularity with the women in the office? Her ideas, the radio information, the information to Trask? Katherine's making a fool of herself? Tess getting the job, communicating it to Cyn? The new secretary in her office and phoning? Her repeating Katherine's words ? but meaning them? A Cinderella future?

6. Katherine and the style, Sigourney Weaver's presence? Sweeping into the office, the superficial charm, the talk about two-way communication? Her social, social style? Her attitude towards the Trask deal? The hoped-for proposal? The accident, in hospital, Jack and the proposal, the tape about the Trask deal, her recuperation, absence, return and the infatuation with Jack and his resistance? Tess and the question of Jack's ethics? The truth? The takeover and her arrival on crutches, her bitchiness, shown up and humiliated in front of Trask, ousted?

7. Jack as a pleasant hero, good at his job, the relationship with Katherine, at the bar, his encounter with Tess, the drinks, the night, looking after her? The irony of the meeting? The plan, working together, sharing, falling in love? The deal, the interviews, the crashing of the wedding? The truth, his going on with the deal, rejection of Katherine, love for Tess?

8. Trask and his business sense, the wedding and the crash, his listening in to the meetings, the deal, his admiration of Tess, exposing Katherine, with the radio owner, the end and her new job?

9. Mike, at home on Staten Island, in love with Tess, dominating her, sex, the birthday gift and the kinky clothes for himself, the fight, his proposal, her not accepting, the girlfriend?

10. Cyn and her friendship, gaudy style, secretarial, jokey, engagement, standing in for Tess?

11. The world of American business, New York, offices, style, plans, deals, money?making2 Trask and his entourage? The radio owner and his money sense?

12. A Cinderella with ingenuity story?

WONDERFUL LIFE

UK, 1964, 113 minutes, Colour.
Cliff Richard, Walter Slezak, Susan Hampshire, Melvyn Hayes, Richard O'Sullivan, Una Stubbs, Derek Bond, Gerald Harper, The Shadows.
Directed by Sidney J. Furie.

Wonderful Life is a very enjoyable and attractive Cliff Richard vehicle. While having a strong singing career for many decades, Cliff Richard appeared in several films from the late '50s to the mid~'60s. His debut was in the dramatic film Expresso Bongo. However, he made more impact in lightweight and attractive musicals like Summer Holiday, Finders Keepers and Wonderful Life.

Richard appears with The Shadows and the heroine, singing and dancing, is Susan Hampshire at the beginning of her career. Una Stubbs also appears. The older generation is represented by veteran Walter Slezak and English character actor, former hero, Derek Bond.

The film anticipates the films with the Beatles and is very reminiscent of aspects of Richard Lester's Help. Direction is by Sidney J. Furie, who uses a lot of television commercial techniques and editing to get a zany effect for his portrait of Richard and his fellow singers as well as for the very many musical numbers. Most of the numbers are particularly geared towards Cliff Richard's voice and style with a touch of rock and twist. However, the film is worth seeing for the collage effects of many of the songs, most particularly a romantic song with the hero and heroine dressed in many of the traditional cinema styles. The editing is fast-paced and the effect enjoyable and lavish. This is then outdone by a further song on the history of the cinema in which the whole cast dramatises in song various aspects of cinema ranging from Charlie Chaplin and the Keystone Kops, through Valentino and vamp style films to sentimental gangsters, to Fred Astaire and Ginger Rogers, Gone With The Wind, right up to a parody of the gang-dancing in West Side Story. It is done with pace and verve. In fact, this must be one of the brightest of English musicals with lively choreography and editing.

The flimsy story has Cliff as Johnny with his friends, The Shadows, stranded on the Canary Islands looking for bananas. They come across a film-making group with director Walter Slezak and heroine Susan Hampshire. It is not revealed until the end that Susan as Jenny is the director's daughter. Derek Bond is the faded matinee idol who faints at any scents of danger. Between the literal reels, Cliff and the boys become involved in making a film of their own to boost Jenny's confidence. It is a Beau Geste type film with parody of the expected scenes from such an action film - even, at one stage, dubbed as the Twist. The deception is ultimately found out but there is reconciliation all round: the good bits are combined to make one good film from two bad ones! The final song has a message ? the need for youth and vigour as well as an experience.

The film was typical of the energy in British filmmaking in the early '60s. Sidney J. Furie went to the United States and continued his career over several decades with films ranging from The Naked Runner, Little Fauss and Big Halsey to The Entity, Iron Eagle and Superman IV. Cliff Richard was still a popular singing star in the late '80s.

WOMAN WITHOUT CAMELIAS

Italy, 1953, 105 minutes, Black and white.
Lucia Bose, Gino Cervi, Ivan Desny, Alain Cuny.
Directed by Michelangelo Antonioni.

Woman Without Camelias was the third feature by Michelangelo Antonioni. Antonioni wrote and made documentaries until 1950 and then directed Story of a Love Affair. His interest in human relationships, the focus on men and women in society (especially a society with class distinctions of people moving from one class to the other) was to be of interest through out his long career.

This film has the Italian film industry of the early '50s as its background - both serious and comic. The film focuses on Italian society and expectations of men and women. Antonioni with his compositions and angle photography is able to explore character, character reaction and situate it with background images serving as symbols.

Lucia Bose was the heroine of his first film and is most attractive (perhaps not persuasive as a shop girl) as the heroine. Gino Cervi (later to be the Mayor in the Don Camilla films) is a genial producer. A young Ivan Disney is the callow diplomat with whom the heroine falls in love.

The film reflects the Italian black and white film-making style of the times - but also is seen in retrospect as a preparation for Antinion’s intense films of the '60s and his explorations of the '80s.

1. The work of Michelangelo Antonioni? Its impact? Contribution to Italian cinema? This film seen in retrospect?

2. Italian realism of the '40s and '50s? The meaning of Italian society at the time? Authentic atmosphere, locations? Black and white photography? Antonioni's skill in compositions, lighting? Creating character, tension? The musical score?

3. The atmosphere of realism in characters and situations? Yet the artificial world of filmmaking and success? The 'real world of film-making and its artificiality?

4. Portraits of men and women? In themselves, in relationship? Italian context? Love, relationships, expectations, demands, passion, exploitation?

5. The theme of transition from class to class? Clara and the opening of the film (her background, parents, Milan, work in the shop, her employer, and his later pleasure in her success), her being taken into the world of film? Her pacing up and down in front of the theatre and reactions to her film? The change in her life at 20, publicity and success, wealth? Expectations of manners, moral situations? Her work in film, her relationship with Gianni? Her being trapped in a career and marriage? Yet her allowing it? The glamorous star - yet always out of place in this artificial and glamorous world?

6. The portrait of Clara, talent or not? Her instant success? Gianni's choice and control over her? Her rehearsal for the sex epic? Worry about the censor? The type of film for which she was suitable? Gianni's sudden proposal, her confiding in her friend, her doubt about the marriage, his bringing her parents to visit and forcing her consent? Her allowing herself to marry? The aftermath and the delay in returning for filming? Gianni's tantrum? His not wanting her to appear in the popular kind of film? His seemingly puritanical reasons, his prim preservation of his wife's reputation? The decision for her to be Joan of Arc (and the echoes of Ingrid Bergman's film, even in the visual scene at the Venice Film Festival)? Clara at Venice, her being welcomed, the reaction to the film, her leaving? Discussing the reactions in the train with Gianni? The encounter with Nardo? His following her after the premiere, sympathetic? Her meeting him in Rome, the background of the desolate meeting-place, his proposal and her turning him down, her concern? His return home to his apartment and her presence there? The beginning of the affair and the irony of her returning home to Gianni's attempted suicide? The isolated experience of Clara? having to refuse film offers? The discovery about Gianni's financial situation and her continuing the initial film? The discussion with the actor and his theory about the quality of commitment to acting? Her not attending the premiere of 'Woman Without a Destiny'? The phone calls, her mother, not speaking to Gianni, her leaving him after the reviews ? leaving the letter despite Nardo's insistence? Going off with Nardo and discovering his callow attitude? The phone call to the hotel and Gianni's reaction? Her being alone, changing her appearance, cutting her hair, time passing? Her visit to the studio ? and people gossiping as she went past? Asking Gianni for a job? The producer of the popular sex and costume romps wanting to sign her? Her decision to sign the contract? Her ringing Nardo and committing herself to him? Her trying to smile for the camera? the final glimpse? What future?

7. Clara's relationship to men - Ercolino as friend and mentor? Giovanni as controller. husband, employer? Nardo as charming diplomat, lover, exploiter?

8. The portrait of Ercolino and his role in the film industry, help, reliability? Relationship with Gianni?

9. Gianni as producer, controller, making decisions for others, the passionate marriage, his protectiveness, jealousy and its stupidity? His financial difficulties? His freedom after Clara left him? Successful career?

10. Nardo and his work, friends, the affair, setting it up, the hesitation, following Clara, propositioning her - audience response to her committing herself to him at the end?

11. The world of filmmaking, glamour and artificiality? The contrast with Clara's parents, her previous employer?

12. Antonioni's insight into human nature, passion and relationships?

WHITE NIGHTS

Iran, 2002, 105 minutes, Colour.
Directed by Farzad Motamen.

White Nights takes its title from the film by Antonioni, whose poster is on the wall of the university professor's room. It also is based on Dostoevsky's novel of the same name which is seen at the end of the film.

The film is in the vein of the Italian films associated with that of the film in the poster. This is particularly the case of Michelangelo Antonioni where characters meet, interact, have intellectual and emotional discussions, have a tendency to philosophy and existential angst. (The main protagonist of this film is the actor who was the central character in the film Parole, made along the same lines.)

The film focuses on a professor of literature who listlessly reads poetry. He is challenged by one of his students to read his material with feeling. He himself takes refuge in books and has a rare book collection. By chance, walking home, he meets a woman waiting for a friend. They talk, she trusts him, she stays with him for four days while waiting for the friend to come to get her. During these days they talk (almost incessantly) and discuss all kinds of issues of life and fantasy, commitment to reality, escape into literature. As they talk, the young woman who has a low opinion of herself, becomes more self-confident. The professor, whose mother won't even speak to him, realises that he has cut himself off from human contact and gradually discovers a friendship and love for the young woman. The major interruption to these dialogues are meals at a restaurant and visits to the bookshop. Eventually, on the fourth night, the man comes for the woman and she decides that she loves him and goes off with him. However, she returns to explain this to the lecturer. He, in the meanwhile, has sold his collection of books, keeping only one as a memory of his transition from the world of fantasy into a commitment to reality, even speaking with his mother.

The film is well made and acted - but, with films of constant conversation, requires patience and stamina in responding to it.

1. A film of conversation, psychological exchange, emotions?

2. The title, the allusions to Italian film-making and the film modelling itself on those of Antonioni? The allusion to Dostoevsky?

3. The structure of the film, the focus on the lecturer, the encounter with the woman, the interludes at the bookshop, their continued discussions, at home, walking the city, meals? The musical score?

4. The character of the professor, his explanations of himself, his not speaking with his mother, his reliance on books, his collection of rare books? The listlessness in the class, the students not listening, making noise? The young women talking with him and challenging him? The discussions with the bookshop owner? The chance meeting of the girl, his presumptions about her, the conversation, her trusting him? Her staying with him, his reactions, listening, talking, reflecting? His discoveries about himself, about her, his ability to encourage her to self-confidence? The decision to sell all the books? The bookkeeper and his arrival? The cheque? The final book that he kept as a memento of his change? The girl, the fourth night, the man coming to get her? His rendezvous, her not coming? Her final explanations, his love for her, total commitment, ability to let her go? His transformation?

5. The young woman, waiting, the encounter with the man, able to trust him? The discussions, her place in the house, feeling at home, the meals? The books? Discussing, exchanging ideas? Her gradual self-confidence, attachment to the professor? His declaration of love? The man coming for her, her going, return, explaining her love, leaving the lecturer?

6. The bookkeeper, the discussions with the professor - and his finally coming with the bandage and his ironic explanation that nobody will believe the truth?

7. The lecturer's mother, her ignoring her son, the ending?

8. The effect of this kind of intellectual and emotional conversation film on an audience for its own emotions and understanding of human nature?

A WOMAN UNDER THE INFLUENCE

US, 1974, 146 minutes, Colour.
Peter Falk, Gena Rowlands.
Directed by John Cassavetes.

John Cassavetes has a special style - long sequences of mundane incidents which he invests with an intense humanity, a build-up of detail and mood, with close-ups and expressive studies of his cast (like the breakfast sequence here, or Mabel's return from hospital). The impact is a harrowing portrait of a suburban housewife unable to cope with the influences of daily living and a loving husband unable to grasp what is happening to her. Peter Falk is good but Gena Rowlands (Mrs. Cassavetes), so good in her husband's Minnie and Moskowitz, gives an extraordinary performance, completely living the character of Mabel. Memorable, and a serious reflection on modern living.

1. The meaning of the title, the nature of the influence from drink to life, the indication of themes? The emphasis on the general title of 'Woman'? The feminine response to this film, the masculine response?

2. The importance of John Cassavetes' style, the presentation of a slice of life, the atmosphere of reality, the style of improvisation in action, situation and conversation by the characters? The atmosphere of authenticity with the improvisation? The nature of the camera work, the hand-held camera, the concentration on faces, the mobile camera for conversations? The importance of the musical background, the classical music used? The point of view of Nick for the outlook on the situations and characters?

3. How convincing a character was Mabel? The particular qualities of Gena Rowland's performance? How was she meant to be a typical woman, mother? Her attempts in trying to please her husband and children, her mother and her mother-in-law, the doctor? The stress that she was not being herself and the constant advice for her to be herself? How worried was she, how neurotic, the verge of breakdown and the effect of breakdown on her? Did she symbolize the plight of the modern woman and the modern housewife?

4. The importance of the initial situation for audience involvement and sympathy: Nick and his character, his being presented at work, his relationship with his friends, the hard work and the erratic hours? The communication via his phone call, his love for Mabel and the quality of his relationship with her? The children and their mother? The children going off with Mabel's mother and all the helter skelter of getting them away? The effect of anticipation?

5. The importance of Mabel's disappointment and her inability to cope with Nick's not coming home, the scenes of her drinking, aloneness, the collage of her wandering about the house, relaxing? Why did she go to the hotel, why did she pick up Garson Cross? The quality of their conversation, his puzzle about her? The fact that she took him home and that he went with her? The puzzle of the aftermath and Cross's inability to understand? The fact that Mabel called him Nick and wanted him out of the house? What did this behaviour reveal about her?

6. The impact of the twenty minute breakfast sequence? The fact that it was presented so naturally, the range of moods, the number of individuals involved, their personalities, the improvisation of their meeting each other and talking? Nick feeling at home, his satisfaction at the table? Mabel and her embarrassment, her knowing some of the men and not the others, her erratic way of behaving, the joy of providing for them? The particular incidents and Mabel's going too far, the consequent embarrassment? Nick's harsh reaction and the men leaving? How much did this reveal of the home situation and Mabel's madness?

7. How did the film show Mabel's fear of madness and her wariness of breakdown?

8. The long sequence of Grandma and the children arriving, of their all being in the bed, the whistling? The contrast with the breakfast sequence?

9. What did Mabel's waiting for her children after school reveal about her, her wandering up and down the street, her conversations with people, her poking faces at people? The importance of the fact that she pulled faces, mouthed words, revealed her attitudes? People's opinion of her?

10. The significance of the party, her singing of 'Swan Lake' and the sign of her madness, the dressing up of the children? Roy Jensen and his inability to understand what was going on? His embarrassment and fear?

11. The transition of mood when Nick arrived, his confrontation of the situation, violent reaction and slapping of Mabel? The consequent fight and embarrassment, her calling him a 'jerk'? The brink of madness?

12. Audience response to Nick's mother and her arrival, her dominant aggressive attitude, her attitude towards Mabel? The doctor and his smooth-talking way to Mabel, trying to get her to have an injection? This sequence as important of showing Mabel in her madness? The fact that she was committed?

13. Nick's reaction to his wife's breakdown, his lack of comprehension, his inability to take it? The sequences at work, people's reactions and questions and his harshness, the symbolism of the Mexican's fall down the hillside and his injuries? Nick's responsibility? The contrast of moods and audience preoccupation with Mabel?

14. The significance of the day at the beach, forcing his children to enjoy themselves, his hard attitude and relenting after the swim, giving them the beer to drink on the back of the truck, a better relationship with them at the evening? This sequence as a symbol of what was happening while Mabel was in hospital? Was it enough?

15. The caption of the six months' gap? The importance of having no visuals of Mabel during this time? How absent was she from the film? Nick's not visiting her or at least no indication given?

16. The build-up to Mabel's return with Nick at work, the sense of urgency, the crowd gathering for the party’ and their way of behaving, their comments, Margaret's judgement about whether they should go home, Margaret and Nick handling the situation, people's reactions and their going home?

17. The film's building up expectations about Mabel's arriving, the audience wondering how she would be after the treatment, a tense atmosphere, the number of people, the weather, the party?

18. How was Mabel when she arrived, the tentative attitude, being overwhelmed? Comment on how each of the principal characters handled her return? Nick and his awkwardness, Margaret, Adolph, the relations? Her anxiety to see her children and the tenderness of her meeting with them?

19. The easy unease of everybody at the table, the various faux pas that Mabel made, her comment on the figure of the girl, her asking her father to stand up for her, her comments about everybody going home? The importance of the leave-taking sequence and the effect on each and on Mabel?

20. Audience anticipation when she began to manifest the symptoms of madness, the 'Swan Lake', her going berserk and attempting to kill herself, the importance of Nick's slaps and the kids' reactions? Could Mabel have been permanently damaged?

21. The importance of the long goodnights to the children, the tenderness of this and the acceptance of Mabel as their mother? Her different reaction to each child? The effect on her?

22. How permanent would the reconciliation be? The importance of their clearing the table, their working together, not answering the phone? The musical background?

23. Comment on the amount of skill which went into the presentation of these themes?

24. Comment on the value of the film's exploration of society, America, individuals, sanity and madness, contemporary pressures, people's expectations of one another, the roles of wife and mother, husband? Ignorance? Treatment of breakdowns, hospitalization, shock treatment etc.? Was this an adequate comment on modern society?

A WOMAN'S FACE

US, 1941, 105 minutes, Black and White.
Joan Crawford, Melvyn Douglas, Conrad Veidt, Reginald Owen, Albert Basserman, Donald Meeks, Connie Gilchrist.
Directed by George Cukor.

A Woman's Face is a Joan Crawford vehicle of the early '40s. She had worked with director George Cukor in Susan and God. This was the period in which Cukor made Two-Faced? Woman, Greta Garbo's last film, and Keeper of the Flame with Tracy and Hepburn. Cukor is considered to have a very good manner with actresses. He seems to tone down some of Joan Crawford's aggressive mannerisms in this film and she gives a persuasive performance as a Swedish woman with a scarred face who is a potential killer. The structure of the film is a court case with a succession of witnesses telling the story. The effect is cumulative and it has a traditional happy ending. The film has the customary gloss of M.G.M. films of the period. German actor Conrad Veidt is effective as the villain. The film was based on a Swedish film of the late '30s starring Ingrid Bergman.

1. An enjoyable thriller? Melodrama? Human interest story? The basic appeal of this kind of melodrama?

2. M.G.M. '40s production, use of studios even for locations. black and white photography, smooth production? The stars and their impact?

3. The Swedish setting - how persuasive? The American cast giving an American tone to the Swedish setting? How credible the plot, characterisation?

4. The courtroom framework for interest, judgments? The structure of the screenplay the court setting and judicial inquiry, the succession of viewpoints of the witnesses, individual angles on the truth? The effect on continuity with the interruptions and return to the courtroom? Annals story in the middle of the witnesses' stories? The cumulative effect and the final judgment?

5. The initial judgments on Anna, the accusation of murder? The emergence of the truth and judgments against her, her plan to kill the little boy? Her change of heart, the possibility of redemption? The happy ending and final judgment?

6. The film as a Joan Crawford vehicle? her more subdued presence,, her strong manner? Her role as a scarred woman? Her capacity for evil, her ownership of the roadhouse, her work with the gang, her hardness? The influence of the scar on her face? Her story, her fear of love and preoccupation with it? Her being charmed by Barring and allowing him credit? Her blackmailing and hardness? The encounter with the doctor, her decision for surgery, the transformation to beauty and the capacity for love? How deep her hard approach to life, defensiveness? The infatuation with Barring and her decision to be his partner? Her accepting the fact that she would murder the boy? Her work. the experience of the family and the change of heart? The symbolic dilemma on the chair lift and her last-minute change? The credibility of her suicide note? The killing of Barring? Her redemption?

7. The glimpse of the gang - at work in the roadhouse. the waiter and his testimony, his fawning, getting so much money from Barring, presenting himself in a good light in the court, not having any children, his wanting to get out at the end? The manager and his wife and her wisecracks? The gang and blackmail? Their pushing themselves to save themselves in the courtroom?

8. The doctor and his wife and their presence in the court - the wife and her flirtations, her story and putting Anna in a bad light, the loss of the letters, the blackmail? The clash with Anna? The visit and the confrontation? Her being found out by her husband? The final clash in the courtroom, the divorce? Her selfishness? The doctor and his reputation, the separation from his wife, his skill as a surgeon, the discovery of Anna, his showing her the book, the operations, his insight into her character, rediscovering her in the country? His infatuation with her?

9. The contrast with Barring - as an elegant and wealthy type, his wanting credit, his lavish tips? His shrewdness in acquiring the letters? His charming of Anna? His wanting to make her his partner? The passionate entanglement and his using her? The discussions about love. the relationship. murder? His sinister presence? His getting the job for Anna, his presence at the country estate? The dance, the present to the Consul? His pushing Anna and giving her a time limit, the conversation overheard by the housekeeper? His sense of being thwarted especially at the chair lift? The sleigh ride, his death? An evil man ? his talk about the Devil and incarnating evil?

10. The Consul and his household, joviality and joy, the presents, the little boy and his attraction towards Anna, the tender sequences between them, the effect on Anna, the impact of Barring, her thinking of killing the boy especially on the chair lift, saving him by shooting Barring?

11. The housekeeper and her primness, her jealousy, her taking of the note, her testimony in the court and her comment on lying, her telling of the truth and admitting she was a fool?

12. The doctor and his presence at the estate, his curiosity about Anna? His following her, seeing her saving the boy. his declaration of love in the court? The happy ending?

13. Anna and her testimony, the cumulative effect of the story, her reliance on the Consul's note, the truth? The impact on her of her scar, the effect of the operation and transformation?

14. The group of witnesses? at the bar at the beginning, their chatter in the room, their effect on one another?

15. The happy ending and the final conversation between the doctor and Anna? A future?

16. Themes of crime, hardness, blackmail, corruption, the incarnation of evil and corruption, love, transformation? Soap opera material - entertainingly done?

WOMAN OF STRAW

UK, 1964, 114 minutes, Colour.
Gina Lollobrigida, Sean Connery, Ralph Richardson, Johnny Sekka, Laurence Hardy, Alexander Knox.
Directed by Basil Dearden.

Woman of Straw is the kind of crime thriller associated with the name of Alfred Hitchcock. However, this is a British production by the team of Michael Relph and Basil Dearden (dramas like Dead of Night, films of social concern like Sapphire, Victim and popular entertainment like Khartoum).

The film is attractively presented, a world of British affluence. Particularly striking is the cast with Ralph Richardson excellent in the central role of the cantankerous victim. Sean Connery (at the same time as Marnie and The Hill, after the first James Bond films) is suitably suave and sinister as his nephew. Gina Lollobrigida adds glamour to proceedings. There is a strong supporting cast.

The film is enjoyable of its kind, enjoyable while it is screening, though not compelling.

1. The popularity of the popular crime thriller? Murder, wealth, mystery? Clues, police, resolution? Double cross?

2. British production: Majorca, the sea? An affluent world and its style? The classical music background?

3. The mystery and the screenplay: the structure of the film, setting the situation, audience expectations, their being thwarted, ironies and twists?

4. Charles Richmond as the focus? His house, business, fussiness, his playing on his being a cripple? The importance of his health, the possibility of his dying? The dogs and the bite? His power? Tony and the relationship with his wife? Decisions? Servants and leapfrog? Arrogance, a monster? Maria and her presence, attentiveness? Manipulated by Tony? Charles Richmond's attraction to Maria? The yacht? Behaviour, overboard? Coming to plead? Proposal, marriage? His happiness and his dying? Ralph Richardson's 'acting' as the corpse, a sinister presence, the glasses falling and his eyes, his presence days after his death? The irony of the final tape?

5. Maria in herself, chosen for performance, her reactions, meal, leapfrog, overboard, cuisine? Tony and the attraction? Her disgust? The return, the money? The job clash? Leaving, returning, marrying? Happiness? Her changing - the reaction of Thomas? The clues? Plan, growing anxiety, the police, the truth, prison, the court? The strange revelation - her being used, vindicated?

6. Sean Connery's style as Anthony Richmond? suave, behaviour with his uncle, the truth in his villainy, his choice of Maria, using people, smooth manner, the trip, the tricks, the execution of his plan? The getting of the body off the boat? Tense moments? The final clash with Maria, the irony of the revelation, the clash with Thomas, his death?

7. The portrait of the servants - relationship with Charles Richmond, his manner? Maria and her place with them? Her being saved by the tape? The irony of Thomas' place, his taking the tape?

8. The picture of the police and their investigations, discoveries, twists?

9. The crew, their contribution to the events, contribution to the court proceedings?

10. A background of affluence, international journeys, wealth? Madness and cruelty? Love, hatred and betrayal?

THE WOMAN IN RED

US, 1984, 82 minutes, Colour.
Gene Wilder, Kelly Le Brock, Charles Grodin, Joseph Bologna, Judith Ivey, Gilda Radner.
Directed by Gene Wilder.

The Woman In Red is based on a French screenplay, Un Elephant Ca Trompe Enormement by Jean Loup Dabadie and Yves Robert. The screenplay was adapted for the screen and directed by its star, comedian Gene Wilder.

One of the reasons for the adaptation was the fact that this successful French original was seen by comparatively few Americans. Wilder's adaptation is pleasant enough - but seems arbitrary in comparison with the original (which it imitates quite frequently).

Wilder's performance is one of the values of the film - his moon-eyed sentimental but comic hero. Judith Ivey, a stage actress who appeared in Harry and Son and The Lonely Guy, is his enthusiastic wife. His friends are played by Joseph Bologna and Charles Grodin. There is a comic touch by Gilda Radner (from Saturday Night Live) who married Wilder. Model Kelly Le Brock is very attractive as the woman in red. There is a popular musical score by Dionne Warwick and, especially, Stevie Wonder.

1. An entertaining comedy? A piece of Americana? Sex comedy? with the frothy touch? How serious? A Gene Wilder vehicle: acting, writing, directing?

2. The backgrounds of San Francisco, the city, American men and women and their '80s behaviour?

3. Colour photography, gloss, advertising, restaurants? The contribution of the songs?

4. Was it evident that the film was an adaptation from a French comedy? How effective an adaptation?

5. The credibility of the plot: mid-life crisis, the seven-year itch etc.? The reality of infatuation and its consequences? Audiences identifying with Ted? The attractiveness of Charlotte? The ironies of the reality of Charlotte, her marriage? Insight into the middle-aged man and his crises? The ending and Ted's fall ? for what? Yet the wink of the reporter? The tone of the out cuts used during the final credits?

6. The framing with Ted on the ledge: audience curiosity, the voice-over and comment, the narrative throughout the film, emotional response to Ted falling at the end?

7. Gene Wilder as Ted? The nice middle-aged man, faithful? His friends and their macho style? Their pranks Bud and his blind man routine in the restaurant and driving off, getting Ted away from his wife etc.? Sympathy for Ted? His relationship with Didi and his children? His deceiving them? The impact of Charlotte's appearance, his fascination, the song and the rhythm and her skirt? The comedy of his following her: the lift, the lights, the phone call and the mistake? The set-up for his infatuation and fall?

8. Didi and her love for her husband? Dropping him at the tennis? Friends? The talk about the phone call and phoney excuses for going out? Ted's staying? The mistaken call from Miss Milner and its consequences and her scratching his car? Miss Milner at the office? Going horse-riding - encountering Charlotte, the comedy of his not being able to ride, his throwing away the earring in the street then searching for it? The plan to go to San Diego, Didi and the telegram? His being trapped on the plane? His changing his clothes and his hair and colleagues' reaction? Finally going on the date with Charlotte, his happiness? The irony of the birthday celebration and his being found out? Bud saving the day? The genuine fight with Joe and discovering it was a set-up? Going with Charlotte for the modelling, going home, the sexual encounter and the jokes about the socks etc.? Her husband's arrival and his being on the ledge? The television cameras and his reaction? Didi and the children seeing him? A month of Ted's life? Tongue-in-cheek ending?

9. Didi as a faithful and attractive wife? The admirer of her daughter and his solicitations during the phone call? ' Seeming strength, declaring her weakness, her jealousy? Her love for Ted, presence at the party, watching him on TV? The children?

10. Charlotte: attractive, the woman in red, the music and her dancing on the air vent, her modelling of the posters, riding, the humiliation for Ted? her deciding to go out with him, the party, being rescued by Bud? The attractiveness, the modelling session, the bedroom scene and her husband arriving?
The truth about Charlotte? Feet of clay etc.?

11. Miss Milner and her being poked fun at, the date and her delight, her sitting in the restaurant drunk, scratching Ted's car, the further phone call, the encounter in the cafe and her taking the brake from car, her reaction to his change of hairstyle and clothes?

12. Joe as the philanderer, seeing him inaction with waitresses, his attitude towards his wife, her walking out on him, the reconciliation, Didi and Ted minding the child - the contrast with their domestic style? His playing pranks, rescuing Ted for Charlotte? Incorrigible?

13. Michael and his affair with the doctor's wife, her phone calls during the night, his participation in the pranks? The tennis sequence?

14. Bud as quiet, pleasant and sensitive, his relationship with Eric, the homosexual partner arriving and publicising his affair? Ted's reaction? His visit to his apartment and telling the joke about 'what problem'? His macho behaviour in rescuing Charlotte? (The sympathetic portrait of the homosexual?)

15. Jokes, sight gags? Laughing with Ted, at him? The psychological underpinning of the film? Moral behaviour? Repercussions?

WOMEN'S PRISON

Iran, 2002, 104 minutes, Colour.
Directed by Manijeh Hekmat.

Women's Prison is a very strong Iranian film, written and directed by a woman director, focusing on central characters who portray women in prison. The film shows the possibilities of social critique in Iranian cinema at the beginning of the 21st century, although the film had some difficulties with the censor. It can be seen as a prelude in story form to the prize-winning Iranian film, The Circle, showing what happened to three women on the day that they were released from prison, the impossibility of their bettering their lives because of their prison records. (The Circle continued to be banned from public screening in Iran for several years after its winning the Golden Lion in Venice 2000.)

The film covers a period of almost twenty years, focusing principally on the governor of the prison who is strong-minded, wants to be compassionate, experiences all the difficulties of trying to maintain order in a prison. The other principal character is a young woman, a troublemaker who nevertheless becomes a leader for her fellow prisoners, decides to remain in the jail, unable to leave it, becoming a more respected older woman, a role model for the younger prisoners. The comparison between the lives of the two women is very striking and the film is an absorbing experience both for understanding of Iran, the place of women, the significance of prisons and their effect on the lives of the inmates.

1. An insight into Iran in the '80s and the '90s? Society, women's place in society, change?

2. The Iranian film industry, their social concern, personal stories, the aftermath of the revolution, the role of Islam? The war with Iraq and its ever-present memories? A secularised society? The problems in Iran at the beginning of the 21st century?

3. The prison, the location, the focus on the corridor, the cells, the office, solitary, the yard? The glimpse only of outside? The musical score?

4. The structure of the film: entering with Taherah, the status quo in the prison, her challenge, the possibility of change, her treatment of the prisoners, the various episodes illustrating her style, the reaction of the prisoners, her successes and failures, seventeen years, the build-up to the differences in twenty years, the takeover, Mitra exiting, Taherah staying within the prison?

5. Mitra as the focus of the plot, at a young age, the reason for her being in jail, the interactions with Taherah, Taherah wanting to break her? Her experience of the changes over the twenty years?

6. The situation of the prison, the corridor and its mess, the groups and their defiance, Mitra and her being a spokesperson, the other leaders in the group, the age of the women, old and young, the pregnant woman, their appearances, clothes?

7. Taherah and her arrival, her work with the assistant who was softer, the confrontation of the women, her tactics, discipline, solitude for the leaders, putting the women in the yard, no food, cold, no visitors? Searching and confiscating? The years passing with her authority, imposition, her cruelty, wanting to crush rebellion? The role of the law, rules, superiors' whims? Her hopes for change?

8. The portrait of Mitra, as a young woman, her crime, her leadership of the women, their relying on her, the importance of her helping with the birth? Her background as a midwife? The possibility of her leaving, the difficulty of bail? The appeal to the judges? Her defiance of Taherah, Taherah changing her attitude towards Mitra? Finally the application, Mitra refusing to go because she had no-one outside? The new breed, her being seen as the auntie, the den mother? Helping the young ones, the experience of violence? The drugs? Her discovery of Essie, telling her story, Essie's escape and return? Her finally deciding to leave so that she could help Essie?

9. The year 2000 and the changes, the number of young girls, the crowding, their insolent behaviour, feeling freer, street kids and the drugs, their attitudes towards authority? The violence, the drugs, the deaths in the ward?

10. The transition to the 21st century? Mitra and Taherah as old Iran, the way that they confronted the new? Taherah continued to be imprisoned as Mitra left?

11. Themes of the status of women in Iran, men? Prisons as symbol of the quality of life and standards in a country?

WIDOW'S PEAK

UK, 1993, 97 minutes, Colour.
Mia Farrow, Joan Plowright, Natasha Richardson, Adrian Dunbar, Jim Broadbent.
Directed by John Irvin.

Widow's Peak is a tall story, an Irish tale set in the mid-'20s. Filmed in beautiful Irish locations, water and sunlight, the film is set in a village where the hill and the aristocracy live is Widow's Peak. Most of the women who live there are, in fact, widows. They are lorded over by Joan Plowright as Mrs Doyle- Counihan. She enjoys herself in this grande dame role. Also on the hill is the bedraggled Mia Farrow, a poor woman who is allowed to be part of high society in the village. She has a mysterious past. Into the village comes British widow, Natasha Richardson, a ball of style who sets her cap at the grande dame's son, played by Adrian Dunbar. Jim Broadbent is the dentist who is in love with Mia Farrow.

Things go along quite swimmingly for Natasha Richardson, except that she clashes, sometimes quite viciously, with Mia Farrow. However, when Mia Farrow disappears, the ladies all turn on the unmasked Natasha Richardson, eventually accusing her of murder. There is a humorous twist at the end where the townsfolk live unhappily ever after and Mia Farrow and Natasha Richardson go off on a world cruise with money gained from slander suits.

Director is John Irvin, whose films range from action shows like Dogs of War to more gentle dramas like Turtle Diary. The story and screenplay are by Hugh Leonard, author of Da.

1. An entertaining Irish tale? The period? The twist in the tale?

2. The location photography, beauty, the season, the period setting, costumes? The musical score, Irish songs, songs of the '20s?

3. The title, the hill, the widows and the description of them?

4. A women's story, the focus on the women, the men on the sidelines? The twists, comic and serious?

5. Mrs Doyle- Counihan and her presiding over the town? Her car and her driver, her haughty manner with the people, her hold over her son Godfrey, the other women of the village, her committees, her control? With the church and the canon? Her taking Catherine under her wing, supporting her? The arrival of Edwina, the possibilities for Godfrey? Her drinking and being tipsy? On the boat, the race, the fair? The dinner for all the relatives? The announcement of the engagement, the unmasking of Edwina?

6. Catherine and her infatuation with Mr Clancy, at tea with him, the tea in the saucer for the cat, her roses and winning competitions, her dependence on Mrs Doyle- Counihan, the arrival of Edwina, claiming that she saw right through her, the overt hostility, the visits and the destruction of the roses, the dance and her claiming the prize and Edwina tripping into her, the open enmity? Her talk about murder? The boat, its going aground? Finally on the boat with Edwina and her disappearing?

7. Edwina and her style, arrival, engineering the puncture, Godfrey passing by, her story, her husband with the VC, the south of France? Patronised by Mrs Doyle- Counihan? Godfrey recommending the maid, the maid and her hiring, her rules, the maid reading her letters and gossiping? Godfrey and the picnics, the car going down the hill, the dance and her enjoying it, the Irish dancing, the crowd of characters at the dance, her visit to Catherine, destroying the roses, the build-up to the engagement, on the boat, racing, setting Catherine and Mr Clancy aground, at the fair, the sailor and his denouncing her?

8. Godfrey and his niceness, dependence on his mother, not working, pretending to be ineffectual? Needing to break free, falling in love with Edwina, even though she was unmasked, his still being devoted, his not being able to bring himself to follow her, sinking in the boat?

9. Mr Clancy, the teeth, Godfrey, his visit to Catherine, his playing in the band, his shock at Catherine's disappearance and her reappearance? Part of the happy ending?

10. The Mass, Catherine not going on her bike because of the brake, praying, confronting Edwina, the anonymous letter after Edwina interrogated the maid, going to the dinner, her story, with the sailor and his back-up, Edwina coming from a brothel, the made-up story? The revelation of her own secret, her daughter and her death?

11. The boat, Catherine's disappearance, the police investigation, the crowds, the hysteria, Mrs Doyle- Counihan leading the crowd against Edwina? The lawyer and his visiting Mrs Doyle- Counihan and revealing the slander? Catherine's reappearance, her story?

12. The ending on the boat, the revelation of the truth about the relationship between mother and daughter? The sting in the tale/tail?