A WOMAN CALLED GOLDA

US, 1982, 192 minutes, Colour.
Ingrid Bergman, Judy Davis, Jack Thompson, Leonard Nimoy, Anne Jackson, Ned Beatty, Robert Loggia.
Directed by Alan Gibson.

A Woman Called Golda was Ingrid Bergman's last film role. She is excellent as the Israeli prime minister, Golda Meir. Bergman brings her strength, dignity and experience as well as warmth to the role - both in telling her story to young children in a Milwaukee school and as involved in so much of the politics and strategies of the establishing of the State of Israel.

Australian Judy Davis, after her performance in My Brilliant Career, was chosen to portray the young Golda. She does this well - even imitating the style that Bergman would use for her performance. The leading man is Jack Thompson in a role made up of composite figures in Golda Meir's life. He gives a subdued performance with a persuasive accent - playing against type as he did in so many Australian films. There is an interesting international cast headed by Leonard Nimoy as Golda's husband Maurice.

The film uses Israeli locations, re-creates the period well, incorporates contemporary film of the State of Israel and Arab attacks. Direction is by Alan Gibson, director of television programmes and a number of English movies, including Christopher Lee Dracula films.

1. An entertaining telemovie? A television treatment of Golda Meir: portrait, biography, history, tribute? The telemovie style: the flashback framework: the voice-over commentary by Golda?

2. The United States and location photography, Israel and location photography? The contrast of the two countries? Decor and costumes? Period authenticity? The transition from America to Palestine - the kibbutz, Jerusalem? The transition to the war period, the '40s and '50s, clashes with Egypt, the 6-day war, the war with Syria? The musical score?

3. The success of the film as biography - sufficient information given about Golda Meir, the outline of her life? The film as a portrait - from Golda as a girl to Prime Minister? A credible life and transition to political power and world influence? The dramatising of a portrait? The use of television - a world celebrity in the television age?

4. The film as an Ingrid Bergman vehicle, her last film, her impact, her contribution to the warm portrait of Golda Meir? The climax of Bergman's career? Judy Davis and her fitting into the pattern of Ingrid Bergman's performance? The framework of Golda Meir talking to the Milwaukee children? Coming to her American home, her talking to them in the form of a memoir, their innocent questions and delight and her answers? Her story answering their questions - and therefore those of the television audience? Her reflections on her life? The meaning of her life for the children? Her secretary prompting her and supporting her?

5. The young Golda and the explanation of her experiences in Russia, the persecution of the Jews, coming to America? Her eagerness growing up in America? Her friendship with Maurice? Her verve, for example, her not appreciating the music that Maurice loved? The bond between the two, the decision to marry, her love for Maurice? Her forceful persuasion of him to go to Israel and to the kibbutz? The difficulties and her impatience? The irony of the kibbutz not accepting them - and changing their minds? Her exhilaration for being on the kibbutz - the jobs, the chooks, fixing things on the roof? The contrasting effect on Maurice and his finding it difficult? The friendship with Ariel and the others? The emergence of her capacities as an organiser, being on committees? The social life of the kibbutz - and her early impetuosity and being shot at by Arab snipers? Her continually learning, the jealousy of others? Her being relied on? Shaping her for her future role?

7. Maurice as a gentle man, following Golda, his tastes. interests, the difficulties in going to Palestine? The effect of life on the kibbutz, illness? His wanting to leave and Golda's going with him? Their going to Jerusalem, the difficulties of work, poverty? The children? The sequence with Golda in the Arab shop trying to bargain for food? The riot and Ariel's rescuing her? The two parting? Maurice's later return - and Golda's regret that she could not stay with Maurice? The fond meeting in later years?

8. The presentation of kibbutz life, the spirit of work and comradeship, the enthusiasm for building something, the Arabs and the snipers, the overseeing role of the British in Palestine?

9. Golda and her work in Palestine, with groups, the role of the British, diplomacy? The bond with Ben Gurion and his leadership? The changes in Palestine after World War Two? Applications to the United Nations, the hostility of the Arabs? The United Nations' vote for the State of Israel? The establishment of the parliament, the leadership of Ben Gurion, Golda's political role?

10. The sequence of the encounter with the Arab king? Their diplomacy, her role as a woman diplomat and the reaction of the Arabs -the proposals, his later assassination?

11. Ben Gurion and his achievement, the wars, the Arabs? The lighter touch with Golda hiring her secretary and the clash with Ben Gurion?

12. Golda and the reality of her cancer, retirement, people, calling her to come back to politics, her ability to unite people? The secrecy of her illness?

13. The 1973 war, the disaster, people's reaction, reaction against her?

14. The achievement of Golda Meir, a world leader, a woman having world leadership in the 29th. century? A portrait of the establishing of Israel?

WOLFEN

US, 1981, 109 minutes, Colour.
Albert Finney, Diane Venora, Edward James Olmos, Gregory Hines, Tom Noonan, Dick O'Neil.
Directed by Michael Wadleigh.

Wolfen is the only feature film directed by Michael Wadleigh. Wadleigh had achieved great notoriety and fame about the event in Woodstock. Using multi-screens, filming for three days, capturing the atmosphere of this rock festival as well as the society commentary that it made on American society in the late 60s, the film was considered a documentary masterpiece. On the evidence of Wolfen, it seems a great pity that Wadleigh did not make any more films.

The film was based on a novel by Whitley Striber. It is a werewolf story. However, it also has social comment as well as political implications, linking the fate of the wolves with the experience of the American Indian. Both were deprived of their lands with consequences that led to prowling violence.

The film is also a New York detective story with Albert Finney relishing his role as a tough policeman - and with some edgy dialogue. The film visualises some of the horror of the attacks by the wolfen - giving it a gory overtone of animal menace as well as destruction. Incorporated in this are also themes of religion and the transcendent so that all in all, Wolfen is a potent mixture. However, with the violence of the animals, many audiences who may appreciate its message, may not want to view the violence.

1. The blend of police detection, political and social comment, horror and multiple killings, animal menace, religion and the transcendent? An entertaining film?

2. Use of Panavision colour photography? The impact of the city of New York: skyline, bridges, Manhattan, Staten Island, the slums and demolition of South Bronx? New York representing the western city? Symbol of western culture? The attention to detail, buildings, atmosphere? Editing and pace for suspense, shocks? The use of the Steadicam camera - the eye-view of the Wolfen, movement, speed? The use of colour, negative colours? The point of view of the Wolfen? Involving the audience yet distancing it? The contribution of the electronic sounds, musical score? The song in the restaurant? The orchestrations and the synthesised music?

3. Special effects, violence, gore? The visuals of the animals? Movement, smashing and destruction? The use of surveillance techniques and the filming of surveillance?

4. The background of technology and surveillance? The role of the law, surveillance outside the law? Prying and voyeurism - and the audience sharing this watching the film? Observation of behaviour? The use of surveillance techniques for discerning the truth? Monitoring? The surveillance for detection work? The contrast with ordinary detective work - slog, footwork, use of hunches and brains, observation and prowling? The wolfen and the innate gift for surveillance? Prying on human behaviour, self-protection? The wolfen with the natural gifts and technology catching up? The film's continual contrast between nature and technology?

5. The focus on Wolfen - the initial deaths and their gore, the audience not seeing the wolves? The later glimpses, the eyes in the church? The glimpses through Dewey Wilson's eyes? The gradual information about the deaths - no metal, teeth, the information about the hair, wolf's hair? The information about wolves - and the documentary films? Ferguson and his sympathy for the wolves? The point about their being predators, not killers unless provoked? The theme of the extinction of the wolves and of the Indians and buffalo? The linking of the wolves to Indian totems? Survival of the wolves under the cities? The theme of shift-shaping by the Indians and Eddie's becoming the wolf? The experience of Dewey or seeing the wolves, Whittington’s death, the scratch on his face? His going to the Indians and hearing the story - the age of the world, Indian harmony with nature, the tribes, the extermination, the humans seen as savage, progress in the cities seen as the destruction of nature, the Wolfen striking out to protect themselves? Dewey's confrontation and reconciliation with Wolfen?


6. Wolfen and audience response to wolves and fierce animals? Wolfen and the slaughter of the human beings, devouring them, self-protection? The visual impact of their stalking human beings, understanding, attacking, speed and movement? The background of voodoo, of New York and the Dutch buying New York and Manhattan from the Indians? The ironwork symbols at the battery and the windmill? The symbols of transcendence? The gods and the Wolfen totem? The role of nature? The psychological impact of the film - wolves as symbols of man's interior drives? Savagery and fighting? The preying on other human beings by technology and surveillance? The disappearance of harmony? Dewey and his confrontation of his Wolfen? The reconciliation with them and their disappearing? The importance of the mythical truth of the Wolfen? Dewey's final comments on their clash with human beings?

7. Themes of human selfishness. pollution of the cities, exploitive development, human garbage in the slums? New York symbolising other cities? The Indian and Dutch background of New York? The killings of the Van der Veers - at the battery and on the graves of their ancestors? The exploitation of the modern Van der Veers - politics, business, drugs? The traditional ancestors and their power over American presidents? The map and the control of the Van der Veers of the world? The opening, the ceremony, the wedding anniversary, going back to the ancestors and dying through the Wolfen?

8. The Indians and their survival? The protesters of the '60s and the '70s - and the ironic comment about commercials for Levis? Their work on the New York bridges? The opening and Eddie's throwing the bottle? In communication with the spirits? The encounter with Dewey on top of the bridge and using the imagination to defy death - flying like an eagle? Eddie's explanation of shape-shifting? His demonstration of turning into a wolf and behaving like a wolf? Baying at the moon? The explanation of shape-shifting? The Indians' explanation of Wolfen and their being in touch with nature? The final frame on the heights of the New York bridge?

9. The contrast with the background of urban guerrillas and terrorists: the fact., their telling lies to promote their own violence, reputation? The variety of terrorist groups - and the indication that it was almost chic to be a terrorist? The final arrests and the wolf symbol?

10. How much better were the police, the security watchers than the people whom they were surveying?

11. Police and their work - the human element, the offhand style of the ordinary hero, the thoroughness of their work? Dewey, Whittington, Warren - talks. cracks, attitudes of the slob, their relating to one another? The continued eating - no matter what the circumstances, even in the morgue? Relationships, liaison between Dewey and Rebecca? Their earthiness in coping and surviving? Their deaths?

12. Dewey as the ordinary American hero: waking, jogging, contact with headquarters, arriving by helicopter? His continued eating? His skill in detection work, inquiry? His cynicism towards officials? The working relationship with Warren? His power of observation. visits to the morgue and the occasion of so much explanation of forensic law to the audience? Meeting Rebecca, seeing her interrogation of the terrorists? His discussing himself with her? Hesitance in relationship? His protecting her, sexual encounter, rescuing her? His visit to the van der Veer towers and his attitude towards them? His work with Whittington and sharing discussions, friendship? Ferguson and his information? Prowling the Bronx slum and the church with Rebecca? The remarks about the influence of religion in their past? The search of the church, the sounds of the baby? The vigil in the tower and Whittington's death? His interviews with Eddie and his strength of character on the bridge? Seeing Eddie's demonstration of Wolfen? The encounter with the Wolfen and his glazed eyes? His return to Wall Street and the smashing of the Van der Veer plan? The siege by the Wolfen in Wall Street? The confrontation, Warren's death? The escape with Rebecca? The final confrontation, especially with the white Wolfen and his reconciliation with them? Their disappearance? His final warning?

13. Rebecca as heroine - her skills, interrogation, surveillance, personal life and encounter with Dewey, the search of the church, the visit to the cafe, his protecting her, the night, the final rescue?

14. Whittington and his skill, humour, information, the vigil with Dewey and the tragedy of his death? Ferguson's information, being at home with the wolves, going to search for them, his becoming their victim?

15. Warren and his nerves? His death? Dewey and his attitude towards the mayor? The culmination with the death of Warren - and the morbid discussion about the head and speaking after death? Warren's head?

16. The comparison of the Wolfen with terrorists? The apocalyptic name of the Gotterdammerung and their wolf symbol?

17. Audience interest in detective work, the horror, politics and the shift to social commentary? The skilful film-making for using techniques for contemporary comment?

WIZARDS

US, 1977, 81 minutes, Colour.
Voices: Bob Holt, Jesse Wells, Richard Romanus.
Directed by Ralph Bakshi.

Ralph Bakshi directed the 'R' certificate savage satires on modern U.S. urban life (in which he constantly found parallels with Hitler and Nazi violent oppression), Fritz the Cat; Heavy Traffic and Coon Skin. Back to PG style, he ventures into fairytale fantasy of the future, out in the atmosphere of Star Wars, and the mythic confrontation of the personifications of good and evil. (Evil is once again Hitlerian. A projector and Nazi propaganda have survived nuclear holocaust). Heroes, heroines, quests, battles, endurance: the ingredients are there - not original, nor profound - but lightly done in attractive animation. Bakshi became a more optimistic and animated Lord of the Rings.

1. The entertainment value of this film, moralizing? The purpose in the mind of the film-makers? For what audience was it destined? An American audience, wider audience? The significance of the captions at the beginning and the book and its pages of history?

2. The quality of the animation, the nature of the skills required and exercised? The contribution of colour, shapes, the human beings, the caricatures, the mutants, landscapes? What atmosphere did this visual impact make?

3. The importance of the musical accompaniment combining with the animation? For entertainment, for parable purposes?

4. The use of comic-strip style, stills at various points?

5. How much insight into the world of the present? How much insight is given by journeys of the imagination into the future, science fiction and fantasy? The future as built on the past? The inter-relationship of past, present and future?

6. The portrait of the world? The comment on the 20th century with the references to fascism? The visualizing of Hitler and Nazi oppression? The contrast with the final optimism in which this kind of fascism can be destroyed? The fact of nuclear destruction and yet human beings emerging from mutants with purpose?

7. Comment on the presentation of this future world: what had happened to the world that we know (audience reaction to this?), explosions, bombs the world that we know (audience reaction to this?), explosions, bombs, the world of the mutants and the fear that this can engender? The human beings who would survive?

8. The atmosphere of the galaxies and the cosmic significance of this story? The atmosphere of Star Wars and the future being greater than our world? A parable for enterprise in the present?


9. How well did the film use the language and characters and ethos of fairytales? The reliance on the tradition of the past for moralizing purposes? wizards, elves, princesses, ogres within this framework?

10. The placing of the situation of the future: the dominance of evil, good needing to emerge - leading to the birth of the two children?

11. The presentation of good and evil in the future world? The generalizations about the cosmic clash between good and evil, moral good and moral evil?

12. How convincing was the portrait of evil: Black wolf and his appearance, his birth, his dominance over his brother, his kingdom, the assassins? The discovery of Hitler and the Nazi film and the projector? The projector and the irony of film as a promoter of evil? The behaviour of the assassins?

13. The contrast with Avatar and his goodness? The benign wizard? His creative magic? His living on the ruins of the United States? The genial nature of good and the challenge of evil?

14. The contribution of Weehawk, Eleanor? The assassin who was converted and became Peace? The influence of these three on Avatar? The characterizations, their backgrounds? The threat of Black Wolf controlling their minds and turning them evil, e.g. Peace, Eleanor?

15. The significance of the structure of the journey, a mission and quest? Good going to destroy evil? The dangers on the way, the goals? The power of evil? Creative imagination and its destruction?

16. The importance of the incidents and visits on the way - the Lilliputian episode and the people and their support?

17. The desert and the Arabs of the future?

18. The importance of the battle sequences - the use of so much of 20th century war and battle footage? The stylization in the photography and the animation and yet the underlying reality of this fighting?

19. The importance of the final confrontation between good and evil, Avatar and Black Wolf? The ability of good to triumph over evil? The destruction of the projector and the films? The liberation of those held in servitude by evil?

20. How justified was the happy ending? An optimistic treatment of a future world?

WIVES

Norway, 1975, 84 minutes, Colour.
Anne Marie Ottersen, Froydis Armand, Katja Medboe, Noste Schwab, Helge Jordal.
Directed by Anja Brelen.

Wives is a film from Norway. The Norwegian film industry is not very large and one might ask why a film about Women's Liberation made for and by women, should be produced in Norway in the mid-70s. One would expect such a film from other countries. The film is an interesting exploration of the lives of ordinary women, their getting together to discuss the meaning of their lives, their rebelling against the conventional restrictions for women in society and in many ways what they do throughout the film is an aping of masculine behaviour. It might seem strange to see women behaving like this. What about men? There are elements of humour, serious elements, questions to be asked in this inconclusive but at times penetrating study of ordinary women of the 70s.

1. The impact of this film in terms of enjoyment, message, emotional response? The title indicating all?

2. How evident was it that the film was made by women? For what purpose? A reflection of the 70s and liberation? The wider values of the role of women and their rights?

3. The basic feminine response to this film? To the liberation themes and the human rights themes? Was the film excessive or exaggerated? Balanced?

4. The basic masculine response to the film? An acceptance of the issues, rejection, a mixture of both? Why?

5. The impact of the structure, the initial introduction, the episodes and their gathering momentum, episodes illustrating various aspects of masculine behaviour and women's behaviour in the light of these? The unstructured ending?

6. What questions were raised by the film overall, by particular episodes, the characters? Were the questions fairly raised? Comparisons with masculine behaviour and masculine rights and attitudes? The final question and the indications of answer? In terms of rights, responsibilities, duties?

7. The initial girls' reunion and setting the mood for the film, the speech, the row of faces, the introduction to the main characters? The discussion about school days and memories? Girls growing into women influenced by their education? The statements of the teacher? The audience able to gauge the changes in each of the women? A sufficient basis for following them through the episodes?

8. The impact of the characters as women, as wives, their work, their yearnings? The particular differences between them? Their attitudes to marriage and children, to their husbands?

9. What motivated their going on a spree? Valid motivations, important yearnings? Their attitudes towards their husbands, especially Kaja and her fear?

10. The impact of the discussions in the sauna? Their decisions, their relating to one another after the years?

11. The importance of the shopping, the picnic, the reaction to the police, the humour of ogling the men, the parody of masculine behaviour? The point being made?

12. Their sense of freedom in going to the bar, allowing themselves to be seduced, the photography of the men posing as models and the parody of feminine behaviour? The discovery of the doll and their disgust? The ridiculing of the masculine types; picking them up, photographers, sex objects?

13. The nature of their argument and the fact that they did not always agree? Their hostility in the bar and their leaving? The humour of their flirting with strangers on the street and the impact on the various men, their answers? The atmosphere of improvisation?

14. The significance of the visit to Kaja's mother? The encounter between them, the old values, the memory of the past. the traditional role of wife and mother?

15. Mia and her return to her husband? Argument, love-making, obtuseness on the part of the husband? Mia's responsibility to work and the children?

16. The impact of Heldrun and her being sacked? Justice and injustice? Her reaction?

17. The exhilaration of the trip, their fight and hard words, the truth told about each of them? Heidrun's leaving, the joy of her return?

18. How effective was the final freeze? The end of the film,, but not the end of the story? What would happen? Were questions of marriage, responsibility and children and support of families well worked out? Was it important to leave these as questions? Why should such a film be produced in Norway in the mid-70's?

WITNESS FOR THE PROSECUTION

US, 1982, 97 minutes, Colour.
Ralph Richardson, Deborah Kerr, Diana Rigg, Beau Bridges, Wendy Hiller, Donald Pleasence.
Directed by Alan Gibson.

Witness for the Prosecution is a remake of Billy Wilder's classic version of Agatha Christie's play from the late '50s. The present telemovie is an adaptation of the screenplay Wilder wrote with Harry Kurnitz.

The film is updated, given the telemovie colour treatment and has an excellent star cast. The film also omits the flashbacks of the original, designed to show its star, Marlene Dietrich, and her ability to sing and entertain. This film version is a straightforward presentation of the plot and the court case. It is entertaining, especially for the home audience, and for those unfamiliar with the twist at the end, quite startling in its impact. This was one of the final films of Sir Ralph Richardson who steps into the Charles Laughton role. Deborah Kerr has Elsa Lanchester's part - and it is heightened for the star impact of this version. Beau Bridges takes the place of Tyrone Power - the callow-looking innocent who is guilty. Diana Rigg is intriguing in the Marlene Dietrich role. There is a strong supporting cast led by Donald Pleasence and Wendy Hiller as Janet Mackenzie. Direction is by Alan Gibson who directed a number of horror films in the '70s and several interesting telemovies including Ingrid Berman's A Woman Called Golda.

1. The popularity of Agatha Christie's novels, plays? Over many decades? Film versions? The classic version of this play of the '50s? Its adaptation for telemovie presentation? The wider audience, the home audience? Comparisons with the original?

2. The continued popularity of Agatha Christie's murder mysteries? Situations, characters - and the importance of the puzzle, the clues and the revelation? How vintage is this as Agatha Christie material? Original play with its twists and stage presentation? Cinema adaptation?

3. The strength of the cast? The charm - and irascibility - of Sir Ralph Richardson? Deborah Kerr and her career? Diana Rigg and her impact? Wendy Hiller? Beau Bridges as the bland hero-villain?

4. The atmosphere of the opening: Sir Wilfrid and his character, health, attitude towards the law, crustiness? The setting up of the murder situation - the screams, the death? The setting up of Leonard as the innocent victim?

5. Sir Wilfrid in the hospital, the British style, his illness, his devices for getting a drink, his going home, his colleagues, assistants? Miss Plimsoll and her interaction with him? Fussiness, concern? The interview with Leonard Vole and his style, questions, astuteness? The encounters with Christine and his gauging her reactions? His manner in court, devices for conducting the case, his questions? Miss Plimsoll and her continued fussiness, his outwitting her e.g. with lifts, places for hiding drink? The encounter with Christine in disguise and his being tricked? The melodramatics of the end and his response to Christine?

6. The film's focus on Miss Plimsoll as a star vehicle for Deborah Kerr? How credible was the regal Deborah Kerr in suggesting fussiness about Sir Wilfrid? Her ways of looking after him, tricking him? Her being outwitted? Her comments? Her reaction in the court - especially to the young woman and the irony of this being Leonard's girlfriend? Her final mellowness?

7. The nature of the murder, the details, the evidence? The screenplay guiding the audience to be against Leonard? Miss Mackenzie and her response? Her telling the stories of Vole's treatment of her mistress, slanting the evidence against him? The prospect of her inheriting the money? Her deafness and its repercussions on the evidence?

8. Beau Bridges as Leonard - young, callow, innocent face, the first confession, his story, his devotion to Christine? The clashes? The growing inconsistencies? His behaviour in the court, pleading? The final verdict and his relief? The girl arriving, his true reaction? The suddenness of his death? A sketch of callow evil?

9. Diana Rigg and her strength as Christine? A mysterious woman? The credibility of her having married Leonard? Her devotion to him? The seeming alienation? Her antagonising Sir Wilfrid and Miss Plimsoll? Her gratitude for Leonard's help, her love? Her giving Leonard an alibi? The irony of her being a witness for the Prosecution? The interviews with Sir Wilfred? The make-up, the letters and the condemnation? The character of Max? Her delight in Leonard's acquittal - the supreme love for her husband? Her fury at her betrayal? Audience sympathy with her at the end?

10. The incidental focus on the girl, her sitting next to Miss Plimsoll, the irony of the travel agency, the ticket, her going off with Leonard?

11. The Prosecutor and his style, legal devices, the cat-and mouse work with Christine? The judge and his presiding, reactions?

12. The appeal of court dramas, verbal exchanges, wit, evidence, circumstances? The jury and the appeal? The truth?

13. The theme of truth - reality and appearances?

14. The range of emotions - love, loyalty, hate, greed, exploitation? Agatha Christie-style?

WITNESS FOR THE PROSECUTION

US, 1957, 116 minutes, Black and White.
Tyrone Power, Marlene Dietrich, Charles Laughton, Elsa Lancaster, John Williams, Henry Daniell.
Directed by Billy Wilder.

Witness for the Prosecution has excellent ingredients for intelligent popular entertainment. Based on a very successful play by Agatha Christie, the director is Billy Wilder. Wilder is noted for his sardonic comedies and dramas e.g. Sunset Boulevard, The Big Carnival, Stalag 17 and others in the 50's, The Apartment, Irma La Douce, and The Fortune Cookie, in the 60s. Avanti and The Front Page in the 70s.

He does not indulge his sardonic attitudes here but presents Agatha Christie's court drama fairly straightforwardly but with comic ironies. Charles Laughton is superb as the judge. Marlene Dietrich is very effective in the ambiguous central role. Tyrone Power is an excellent choice for this kind of hero, especially with the ambiguous ending. There is effective support, especially from Elsa Lancaster (Laughton's wife) who received an Oscar nomination for her role. Witness for the Prosecution is murder mystery material at its intelligent best.

1. In what does the appeal of this film consist: the court sequences? Murder mystery? The dialogue etc.? The personalities in the film?

2. Was this a typical Agatha Christie murder mystery or was it a real life story? How realistic was it, far-fetched? Why?

3. How well did the film deal with the theme of truth and falsity; appearances and reality? How did it probe questions of justice? How did it invoke audience sympathies and play with them?

4. Why are films about trials and court-cases always interesting? Is it the situation? Is it the skill of wits and the trial?

5. How important was the opening of this film? The humour of Sir Wilfred and Miss Plimsoll? Why was this enjoyable? How did it create atmosphere for the film and for the characters?

6. How did the screen-play introduce the murder case into this humorous atmosphere? The arrival of Mayhew, the solicitor? His presentation of Vole? The case of Mr. Brogan-Moore? What did these two men contribute to the atmosphere of the trial and of the film?

7. What were your first impressions of Leonard Vole? Did you believe that he was telling the truth? In view of the ending how well did the acting confuse the audience and Sir Wilfred and the others? Comment on Sir Wilfred's astuteness and his attempts to get the truth? e.g. with the reflection from his monocle? How important were the flashbacks to give an impression of Vole and make him sympathetic?

8. What were your first impressions of Christine? How did the screenplay present her as unsympathetic and hard? Sir Wilfred's use of his monocle with her? In view of the ending, how well did the acting and the screenplay conceal the truth? Were you glad that Sir Wilfred had taken on the defence?

9. How well-filmed was the trial? Did the film create the atmosphere of alertness and tenseness in the trial? Audience sympathy with Vole? Our identification in part with Sir Wilfred because of his health? Miss Plimsoll and Carter and their attendance on Sir Wilfred? The enigmatic girl near Miss Plimsoll in the gallery? The role of the prosecutor and his trying to get all the advantages in this case etc.? Vole in the witness box? How important were the witnesses? How impressive was the cross-examination? The role of Janet McKenzie? The humour and the irony of the testimony? The fact that she had lost so much?

10. How did the film show that a trial is an ordeal? Its psychological effects on Vole? The sequences outside the court-room, especially in anguish about Christine's testifying?

11. How important was the flashback about Hamburg and the marriage? Was this well filmed and convincing? Did it alter the atmosphere of the film when it came? Changing the mood of the court trial?

12. Did you find the sequence about the letters convincing? Were you tricked? Was Christine's behaviour credible?

13. How much sympathy did you have for Christine in each of her appearances at the trial? When she testified severely against her husband? When she was broken down at the end? How important was this for the final revealing of the truth?

14. were you surprised at the truth? At the change of character in Vole? His behaviour towards Christine? Towards Sir Wilfred? The effect of the truth on Sir Wilfred? His suspicions towards the end? After all this effort, what had happened to him?

15. Was the ending and the killing too melodramatic? Did it fit in with the atmosphere of the film? Was it well prepared for? How?

16. The importance of Sir Wilfred saying that Christine had executed Leonard? Did you believe this? In British justice? Was anything else possible? Why did Sir Wilfred stay to defend her? Would he succeed?

17. Comment on the structure of the film with the use of flashbacks, the wit and the dialogue, the blending of serious drama and comedy etc.? How successful was this film compared with other court films that you have seen?

WITHOUT LOVE

US, 1945, 111 minutes, Black and white.
Spencer Tracy, Katharine Hepburn, Lucille Ball, Keenan Wynn, Carl Esmond, Patricia Morison, Felix Bressart, Gloria Grahame.
Directed by Harold S. Bucquet.

Without Love is the slightest of the Tracy- Hepburn romantic comedies. It followed the success in woman of the Year and the more serious Keeper of the Flame. It preceded The Sea of Grass. Later successes were to be Adam’s Rib, Pat and Mike - both directed by George Cukor, the slight Desk Set and the final film Guess Who's Coming to Dinner. This is a typical M.G.M. romantic comedy - plus morale- boosting for the war effort. Pleasant support from Keenan Wynn and Lucille Ball.

1. The film basically as a Tracy- Hepburn romantic comedy and enjoyable as such? The quality of interaction between the two? The blending of war propaganda?

2. M.G.M. gloss and style, romantic score, piano music? Black and white photography?

3. The basic plot: the battle of the sexes, the overtones of the screwball comedy, the serious highlighting of science and the war effort and propaganda? The irony of a marriage without love leading to love? The serious significance of the title and its irony?

4. Pat and his work as a scientist, Washington in the '40s, his war effort, the humorous encounter with Quentin when looking for lodgings, his influence on Quentin? The irony of the meeting with Jamie, pretending to be the caretaker? The war effort and his scientific background?

5. Spencer Tracy's style as Pat? His telling off of Edwina, supporting Quentin, friendship with Kitty? Admiration for Jamie, clash? Their work together? The proposal of marriage? Their exhilaration in the experiments and collaboration? The nature of the platonic relationship? Their scientific achievement? His fearing of Lila? The clashes with Jamie? The party, the attack on Paul, the happy ending and love coming into his life?

6. Katharine Hepburn's presence as Jamie, her style? Her story as told to Pat? Her detachment from life, from the house? Reliance on Kitty? The fascination of Paul? Antagonism towards Pat, support of his work and allowing the experiments? Her return, working with him, the marriage, her enjoying country life? Paul's challenge about her life without love? The Washington success? Her changing, disappointment, her fling, her telling the truth and the reconciliation?

7. The Washington scenes and success, the emphasis on the experiment and Pat's fulfilling it? The encounter with Lila and resolving the conflict? Seeking out Jamie at the party, the clash with Paul and testing his truthfulness? Jamie and her imitation of Lila? Confession? The final celebration and a marriage with love?

8. The humour of the portrait of Quentin - drinking, weakness, wanting to be a sailor, pressured by Edwina, loving Kitty? Edwina and the portrait of the snob and her come-uppance? Kitty and her genial success?

9. The emphasis on the war effort, the Washington staff, the professor, the scenes of the experiments?

10. Audience enjoyment of the perennial battle of the sexes? Rapport of Tracy and Hepburn, their particular styles, their screen quality for love and romance? Audience enjoyment of their films?

WITHOUT A TRACE

US, 1983, 115 minutes, Colour.
Kate Nelligan, Judd Hirsch, David Dukes, Stockard Channing.
Directed by Stanley R. Jaffe.

Without a Trace is good a solid drama about the abduction of a child. The film focuses on the child so that he is a real character before he is abducted and audiences can share the concern of his mother.

The film is a tour-de-force for Kate Nelligan. Always a strong presence on screen, she has to exhibit a range of emotions with the disappearance of her child, the concern of the family, her dealing with the New York police. As she grows more desperate, she tries more desperate methods, including going to psychics.

Judd Hirsch is the New York detective, a fallible detective, trying to do his best. There are also effective scenes with Stockard Channing.

While the film builds up momentum, has audiences very much emotionally involved in the search for the child, it has a happy ending which many will feel something of a let-down and has too much of the sentimental happy ending seemingly required by Hollywood.

1. A topical melodrama? The background of city life, marriage, the family, marriage break-up, children? The violence of the American cities? The threats of child pornography?

2. A popular treatment of serious themes? How well did it work? For American audiences? World-wide audiences? Impact for parents? Younger audiences?

3. The background of New York, city life, apartments, the streets? The people of New York, the police? The contrast with Connecticut? Authentic atmosphere? The presentation of the media - with media styles? Pace and editing for suspense, anguish? Contribution of the score and its atmosphere?

4. The effect of the introduction: Susan and her looking after Alex? The beginning of the day, her love for her son. impatience at his behaviour, his apology? Kate Nelligan's impact as an authentic mother? Love, concern, anger? Her seeing Alex to school? Susan's lecturing and her intellectual background, academic world? 3.30 and her beginning to worry about Alex? Phoning her friend? The possibility of his disappearance? The impact of the title?

5. The film establishing Alex as real: an only child, partly spoilt, the dog, giving his breakfast to the dog, apologising, his goodbye to his mother? The background of information of child pornography, Patrick Sullivan and his working in the apartment, the underpants and the blood? The discovery of his whereabouts? The strange couple and their kidnapping him? His return? The screenplay parallelling Alex with Manetti's son?

6. Susan and her role as wife, mother, lecturer? The situation with Graeme? Her having to cope? The police and the interrogations? The long search? The various suspects? The wisdom of going on television or not? Her going on talkback shows - and the encounter with the black mother whose child was dead? The relationship with her husband, her husband's girlfriend? The neighbours? The anguish, the calm? The growing friendship with Manetti? His visits, information, her going to the station? Impatience with him? Time passing? The meetings at the school? Her ability to cope - or not? Her growing obsessiveness? The showdown with Graeme at the restaurant? Her attack on her friend and telling her off? Her attack on various people? Phone calls? The impact of the search - the visit to psychics? The visit to the prison to see Patrick Sullivan? Her almost giving up? The sentiment of the ending and the reuniting with Alex?

7. The contrast with Graeme: the background of the marriage. the break-up. academic careers? The police suspecting him of kidnapping his son? The type? His reaction? Sharing concern with his wife? His growing with her, going to the meetings. the visit to the psychic? His response to her obsessiveness and his being attacked?

8. The portrait of Manetti as a New York detective? Skill, type, making mistakes, errors of judgment? The film filling in his background: wife, alienation at times, children and concern, home life? Parties and barbecues? His trying to grow closer to his son? His wife's attack on him? The evidence that he used, the following up of phone calls, the cranks, the psychics? The passing of time? His friendship with Susan? His strong stances with her? The outing with his son, following the information given and going to Connecticut, the driving and its dramatic presentation, the discovery of Alex, the return? A three-dimensional portrait of a police officer?

9. The presentation of the police, their methods? Skill? Limitations? Heavy pressures?

10. The picture of psychics and their contribution to police work? Audience belief or disbelief? The psychic and her information - especially about the blue car? The irony of the blue car being in the drive of the house at the end?

11. The media, their brutal interviews, intrusions? The use of the media for spreading information? The talk shows? The pathos of the

12. Patrick Sullivan: his work in the house, his coming to help, the truth about him, the story of his background, homosexuality? Susan visiting him in prison, his declaration of innocence? The illustration of homosexual kidnap, the fear of child pornography?

13. The people who kidnapped Alex, the pathos, their reasons - with the insane touch?

14. The film's highlighting the possibilities for children disappearing, cautions, the type of American society?

15. The dramatic effect of the plot? Audiences being caught up with the characters and the situations? Moods? Sentiment? The strength of the performances - and Kate Nelligan's credibility as Susan? The happy ending - with the touch of feeling let down?

THE WITCHES OF EASTWICK

US, 1987, 113 minutes, Colour.
Jack Nicholson, Cher, Michelle Pfeiffer, Susan Sarandon, Veronica Cartwright, Richard Jenkins.
Directed by George Miller.

The Witches of Eastwick is based on the novel by John Updike. It has been simplified by playwright Michael Cristofer (The Shadow Box). it has been directed by Australia's George Miller Mad Max films, Twilight Zone the Movie). He treats it as burlesque demonology - and it is enjoyable on that level. Jack Nicholson indulges his capacity for manic glee (Cuckoo's Nest, The Shining) as Darrel van Horne, a middle-aged, pudgy Devil incarnate who stops off at the New England town of Eastwick at the call, it seems, of three vivacious women played expertly by Cher, Susan Sarandon and Michelle Pfeiffer. They set up a menage a quatre until the witches turn on their devil to teach him a lesson (thanks to some clever special effects). The diabolical shenanigans are amusing and stylish, there is some satire on American manners, especially in the form of the town's denouncing do-gooder, Veronica Cartwright. This is an elegantly light moral fable about good and evil and the battle of the sexes. it is a stylish souffle.

1. Offbeat comedy? The blend of the serious and the comic? Satiric?

2. The work of George Miller? His interpretation of a renowned American author? Massachusetts locations, the town of Eastwick? The natural and the supranatural? Atmosphere? The special effects (in the Exorcist vein? The musical score and the range of songs? John Williams' score?

3. The choice of New England as the setting, the tradition of witchcraft and investigations in the 17th. century? Modern witches, tradition? The plausibility of the plot or not?

4. John Updike and his comic observation of men and women? Relationships? The spoof aspect of Updike's work?

5. The introduction to each of the witches: Jane and her performance with the band, the advances, her summoning up the storm? Alex and her sculpture work? Julie and her children? Felicia and the song? The ironies of the women and the contrasts?

5. The impact of the opening, the speech, the storm, an atmosphere which is ominous? The rain?

7. The reunion of the women, the esprit de corps among them? Their talking over their relationships with men, their needing them, spurning then? Their summoning of the ideal man? Their power? The intercut of the arrival of Darrel? Whose initiative for him to come and stay?

G. The gossip, the shopping, people unable to remember his name, the interview, buying all Alexandra's dolls, the shopkeeper and the effect? The social gathering and all the talk about him - and Darrel the focus of attention?

9. The concert and its comedy, the bearing of the snoring, Darrel and his sleeping? its effect? Felicia and the denunciation, the injury, the hostility towards Darrel and the women?

10. Felicia and her illness, her words in hospital, the heightened sequence in the church and her denunciation? Felicia at home? Clyde, the paper, his weakness of character, the Exorcist-style experience and her vomiting? His taking the poler to her? Her death?

11. Alex and her curiosity about Darrel, the ride, the invitation to the dinner, its being served meticulously, her abusing Darrel and attacking his manhood, the seduction, the sexual passion and its effect?

12. Jane as prim, her music lessons, the practice, his arrival, the heat and the fire, playing the duet, letting her hair down, passionate playing and seduction?

13. Her work on the paper, children? The pool and the seduction?

14. The set-up of the menage and its style, the balloons and the children, the scandal and Jane's reaction?

15. The making of the video and the telling of their stories? The revelation of their characters, attitudes, relationship with Darrel? The effect of the death of Felicia? The women turning on Darrel?

15. Darrel and the phone, the visit, the revenge, his age, the snakes, illness? The women and their fears?

17. Their pregnancies, the return, sending Darrel out for the food, taking the doll, casting their spells? The dog?

18. The effect of their witchcraft on Darrel, his pain, his going to the church, his chauvinist denunciation of women, in the street, the feathers and their blowing and his being blown across the open space, the car and its splitting, the explosion?

19. Eighteen months passing, the children, switching Darrel off as he appeared on the video - realism, satire?

20. The themes of men and women, chauvinist? The film as fantasy, tongue-in-cheek? Themes of American religion, tradition, evil?

WITCHES' BREW

US, 1979, 93 minutes, Colour.
Richard Benjamin, Teri Garr, Lana Turner.
Directed by Richard Shor.

Witches' Brew is a piece of hokum about witchcraft in an academic environment in the U.S. (and a spoof of the British Night of the Eagle/Burn Witch Burn). Richard Benjamin and Teri Garr are pleasant enough in the central roles. However, the focus is on Lana Turner as a dying witch who wants to put her soul into Teri Garr's body. There are many dull patches - but eventually it builds up to some mild interest with Lana's plots and spells.

1. An enjoyable piece of hokum? The academic world? The credibility of witchcraft?

2. The American campus? Hones, affluence? Special effects - especially for the Devil? Musical score and theme song?

3. The title and the focus on witches and witchcraft, spells and success?

4. The focus on Joshua and Margaret? Their life on campus? Classes - and Joshua stirring? Margaret and her friends and their spells for the advancement of their husbands? Joshua and his ambitions? The friendship with Vivian? The accusations and trouble for Joshua - the woman who failed and shot at him, the alleged homosexuality? His clashes with authorities? - The build-up to the dinner with Vivian, Margaret's transformation, Joshua being chased by the Devil? Joshua learning the truth about Margaret, from the deathbed, from Susan? At home, the confrontation, the violence? The happy ending? Margaret and her friendship with Vivian, being taken over, dying, the attempt to kill Joshua? The final humour with the spell for the baby?

5. Vivian and her place in society, a witch, her spells (computerised? Her friendship with Margaret, choice of her for her body? Her use of Linda and Susan? The transformation, taking Margaret's body, the attack on Joshua? Her fiery death?

6. Susan and Linda, housewives, ambitions, the various spells and ingredients with Margaret? Their own ambitions and husbands? Campus life? Turning on Vivian? Susan enlisting Joshua's help?

7. The academic world, professorships and tenure, merits and spells?

8. The oddball students - the accusation of homosexuality, the girl who failed and rang in the middle of the night, her shooting at Joshua?

9. The blend of the serious and the comic? Slow pacing? Credibility?