WINGS OF EAGLES

US, 1957, 110 minutes, Colour.
John Wayne, Maureen O'Hara, Ward Bond, Dan Dailey, Ken Curtis. Edmund Lowe. Kenneth Tobey. Sig Rumann, Henry O'Neill.
Directed by John Ford.

The Wings of Eagles is one of several John Ford film starring John Wayne and Maureen O'Hara. They worked together in Rio Grande and especially in The Quiet Man. This is a tribute to 'Spig' Wead, an air ace who suffered an accident, promoted the use of aircraft by the Navy, and who became a playwright and screenwriter in Hollywood. The part suits John Wayne very well and he is his usual self. Maureen
O'Hara has another spitfiery heroine role. Dan Dailey is all smiles as Wead's friend who rehabilitates him after his accident and is forgotten by him. There is a good supporting cast led by Ward Bond who, it is said, does an impersonation of Ford himself. The film is a colourful piece of Americana (Ford working in colour and Cinemascope). It is one more of his tributes to the old American way of life, the armed services and their comradeship, the strength of American men supported by strong American women.

1. The qualities of John Ford's films: Americana, the armed forces, strong heroes and heroines, action, war?

2. The film as a John Wayne vehicle - his embodying the character of 'Spig' Wead? A strong American hero? Matched by Maureen O'Hara? The film as a tribute to Wead. a biography? Hallowing him? Presenting the unpleasant sides of his character - especially the failure of his marriage and his relationship with his family? His being wedded to the armed forces and his love for action?

3. Ford's capacity for portraying zest and action on screen? Wead's aerial skill and energy? Air competitions,, warfare? His writing, success on Broadway, film-writing? Wead as one of the boys - and the strong tradition of boy-o activity in the forces? An image of the strong American hero?

4. Colour, Cinemascope, period re-creation, action sequences? The rousing musical score and traditional songs, especially from the forces?

5. The atmosphere of the opening: the Navy party and its style, Wead and the discussions about training and aviation, the Army rivalry and his reckless piloting of the plane, the crash? The discussion with the officers and the points made about Navy and aircraft? His winning the day., the needs for aviation development, the races, record-breaking, Senate committees, his achievement?

6. The seriousness of his work - yet the outlet with his fellows? The crashing of the Army party and the brawl and the cake? The later retaliation by the Army? The police coming in - like the Keystone Kops! The film's points about masculine comradeship?

7. The comradeship with the men: with Carson. Pinkus, Johnny? The friendship, the work together in the services, protecting one another, pulling strings to work with one another? Advancement? The final service in the war?

8. The character sketch of 'Spig' Wead - as embodied by John Wayne, his enthusiasm about flying, his skills, his behaviour at the party, serious discussion with the officers? The clash with Min at the party? Her vigorous reaction? The lyrical sequences at home - and the pathos of the death of the child? The two girls growing up? His continued absences from home? The clash with Min? Shifting houses? His return home and the girls asking permission to call him 'Daddy' etc.? Min and the possibility of a reconciliation? The accident?

9. The accident changing their lives? The impact on Wead himself. the ordeal in the hospital, courage for operations? The importance of Carson's support and insisting that he will himself to be healed? The long hospital sequences? Carson's insistence and ways of cheering him up? The doctors and nurses and their help? The singing, the irony of the surreptitious smoking and drinking? Wead eventually moving his toe, walking, the encouragement to take steps? San Diego and the battleships and the Navy's gaining aircraft? The suggestion that he write, his short stories and their rejection, ultimate success? His gradual rehabilitation, walking, visits? His success with screen work, the visit to the director, the plays and New York? The encounter with Carson and his having ignored him?

10. Min's visit to the hospital, his telling her to go and lead her own life? His love for her and the girls? His letting Carson go and his regrets when he met him again? A man who was always letting people go?

11. The possibilities of remaking his life? The discussion with the housekeeper? The visit to Min and inviting her back? His longing for his daughters? The sudden eruption of Pearl Harbor and his decision to go to the service, his intense involvement? Carson and his working with him? Carson's saving his life? The encounters with Johnny? His illness and the circumstances of his retirement? Tribute?

12. What kind of man did the film say Wead was: his strength, weaknesses, potential, failures, involvement in his work, ignoring of his family, happiness? A balanced tribute?

13. His effect on people - especially Min and Carson? His inability to relate well with people - his success with causes and with machines and strategy?

14. The humorous glimpse of Hollywood and the satire on John Ford?

15. The use of authentic war material in the film? The re-creation of World War Two and the Pacific war? John Ford's own involvement in it and his recapitulation of it in this biography?

16. The glorification of an America of the past, the old fashioned strong American virtues and patriotism?

THE WINDS OF KITTY HAWK

US, 1978, 96 minutes, Colour.
Michael Moriarty, David Huffman, Kathryn Walker, Eugene Roche, John Randolph, Scott Hylands.
Directed by E.W.Swackhamer.

The Winds of Kitty Hawk is an interesting and impressive telemovie. It was made as a tribute to the Wright Brothers, their experiments with gliding and flying and their final achievement. The film boasts good performances, if eccentric performances, by Michael Moriarty is Wilbur and David Huffman as Orville. A supporting cast includes John Randolph as Alexander Graham Bell and Scott Hylands as Curtis, the motor cycle rider who stole the Wright Brothers' plans and challenged their rights to patent.

The film shows two brothers who were dedicated to their work and to their vision, had very little personal life, were involved in struggles for patents, displayed their abilities in Europe before recognition in America. The film also shows the less glamorous side of inventing geniuses and their world - the rivalries, the industrial thefts, the wheeler-dealing for patents etc.

The special effects are excellent, contemporary planes were reconstructed for flight in the film and the Kitty Hawk sequences are particularly impressive. The film pays a warm tribute to the Wright Brothers and re-creates the period.

1. Interesting, enjoyable telemovie? A glimpse of American history? Tribute to the Wright Brothers?

2. The telemovie style and the how audience? Impact for American audiences seeing the Wright Brothers and their work? For the world audience - with the knowledge of experiments in gliding and flight, the development of the aviation industry? The story of themselves and their work? Struggles, disappointments, success? Scientific experimentation? Technology and its elementary development by hands and brains rather than by machines and computers? The achievement of the brothers? Their impact on the 20th. century world?

3. The re-creation of atmosphere. the period, the atmosphere of the United States? Flight and experiments? The use of sepia photographs and newsreel styles for authentic atmosphere? The musical score?

4. Audience knowledge of the Wright Brothers and their achievement? Admiration for them? The long tradition of experiments with flight? 19th. century scientific experimentation? The industrial revolution? Bicycles, gliders, planes? The experiments? Rivalries and secrecy? The nature of patents, government funds? Industrial espionage and stealing? The achievement of the brothers after they pushed themselves? Belonging to a pre-World War One world and the film's ability to take us back?

5. The names and dates technique? Historical characters? The background of newspapers, army experimentation? Orville's voice-over and comments?

6. The beginning of the film with the atmosphere of Dayton, the Wrights and their shop, bicycles, the sister and her care for them, their Bishop father and his style and interest. their girlfriends - and their distance from them? The shops. the railway station etc.?

7. Wilbur and his dreams, Orville and his practical style? Their knowledge of machinery? Of gliding and the scientific background? The opening with the atmosphere of the 4th. of July? Their contribution to America? Their obsessions, their lack of personal life? Wilbur's death at an early age?

8. The scenes at Kitty Hawk: the sands, the dunes, the winds? The exact situation for flight experiments? The scenes of flight, gliding, the accidents? The locals and their help? Tom and his admiration for the brothers? Their going year by year? Gradual learning, gradual change? The building of motors? The experiments with the wind? The Coast Guards and their help? Success and the photo?

9. The contrast with Professor Langley, the commission by the Army? His failures and the spur to the brothers? Alexander Graham Bell and his involvement? Rivalry? The tendency to look down on the Wright Brothers?

10. Curtis and his motor cycling, the visit to the Wrights, stealing? His collaboration with Bell? His inability to turn the plane? His using the plans? International races? The law courts? The New York race and his failure?

11. The patents expert and his warnings? The law, time, the possibility of stealing and further experiments? The explanation of protection?

12. The Wrights having to hide and experiment in the local fields? Their success? European success instead of American? Their international fame? The challenge to Wilbur by Curtis? Wilbur's historic flight round the Statue of Liberty - as a fitting dramatic climax to the film? His achievement and the voice-over comment about his death?

13. The film as presenting a chapter in American history? Human achievement? The human spirit?

WINDOWS

US, 1980, 96 minutes, Colour.
Talia Shire, Joseph Cortese, Elizabeth Ashley, Kay Medford.
Directed by Gordon Willis.

Windows received minimum release, yet it is a powerful, if oppressive, film. Directed by cinematographer Gordon Willis (and his eye is on people, windows and New York landscapes which don't connect or do ominously), the film is a symbolic thriller: the woman victimised in the city by madness, manipulation and sexual assault. Talia Shire suggests much by a seemingly passive performance. Elizabeth Ashley as her sophisticated friend has a flashier role but creates a complex character with violence but pathos. Echoes of Hitchcock themes: Rear Windows, Psycho knives and acceptance of guilt and responsibility, abound. But this very serious thriller and psychological study is not geared to the tricks of shock entertainment. Impressive. Willis makes his directorial debut with this film. He has photographed many excellent films and has worked on Woody Allen's principal films including Manhattan and Stardust Memories.

1. The significance and focus of the title? Indication of thriller - echoes of Hitchcock's Rear Window? Psychological drama? The symbolism of windows? Windows and the American city - the urban view, homes, people inside the windows? Indications of personal drama?

2. The importance of style: Gordon Willis. the director., as photographer? Presentation of his drama from the photographer's point of view? The photography of dark interiors? The focus on exteriors - vistas 'out there'? The credits sequence and the dark. the neon light,-? The world of the New York streets,, apartments, police precincts, psychiatrists' rooms? The observations through windows - of people. of events, of the city? The view from the windows? The collage of windows throughout the film? The use of devices for psychological melodrama? Knife-wielding thrillers? Police films? The blend of realism and symbolism?

3. Technical qualities: the use of close-ups. long takes for communicating characters and what was taking place inside them? The use of editing for an atmosphere of menace. the oppressive? Musical score - the use of sounds., the city, screaming etc.? The editing for the sounds and the music?

4. Audience familiarity with the New York setting: a place to work, live? Isolation in New York? People together but not close? The ordinary citizen as victim of cruelty and violence in New York? Passion? People being manipulated? Madness? What happens inside buildings and outside? Inside people and outside? People watching others.. hostility,, edginess? Urban alienation and the desire to be free of this?

5. The atmosphere of mystery of the film: the initial focus on Emily. her quickly becoming a victim? The repugnance of the attack? Audience sympathy for her? Andrea's presence - helping? The detective work? The place of Lawrence and his reappearance with the taxi? The mystery of the person watching through the telescope? The deaths - of the neighbour, of the psychiatrist? The build-up to the confrontation and the truth about Andrea? A satisfying puzzle for the audience? Wanting to work out the mystery? The place of the police? The horror atmosphere of the knife thriller?

6. The film as psychological drama: the focus on the characters. both Emily and Andrea going to Dr. Marin? Emily not going any more? The significances of the discussions with Andrea? Reality and illusion? Thwarted relationships, passion? Psycho drama and the acting out of impulses and fantasies? Psychological disintegration and collapse? Psychological liberation and freedom?

7. The feminine viewpoint of the film: the focus on Emily and audiences invited to identify with her? Experiencing her terror, her ability finally to cope? The portrait of Andrea - passion. perversion,, imagination, fantasy.. possessed by her fantasy? Ultimately pathetic? The plight of women in New York?

8. The character sketch of Emily - her relationship with her ex-husband, discussions with him and going home after work, the long sequence of the assault and its terror, threat? The darkness after the assault? The police and the interrogation? Her needing to trust Bob and visiting him at the precinct? The bond between them and a growing trust? Her timidity with him, keeping at a distance even in a room? Beginning to rely on him, falling in love with him, being saved by him - but also by herself? Her relationship with Andrea - as friend, ordinary and common sensed yet sensing evil, being alone with her, accepting her friendship, sharing and not thinking? Her moving house? Setting it up? The fact that she had been seeing Dr. Marin and decided not to see him again? The panic sequence with the taxi driver yet having the strength of mind to get out and phone the police? Her friendship with the neighbours - the telephone call and their watching, the death and her comforting the wife and taking her to hospital? The importance of her friendship with the cat, smuggling it into the building, concealing it from Bob, the horror of its death and being in the refrigerator? Her decisions about Andrea - the discovery of the truth, visiting her, her initial panic, awareness of the relationship, spending the night, ultimately commanding Andrea to stop and this being the step for freeing herself? Her ability then to relate to Bob? Her future? An ordinary woman, her experience in the city? A psychological fable about the alienation and terror of the contemporary world?

9. Andrea: suave, woman of the world, slick in her manner, wanting to help, imposing herself, arranging dates? Audience sensing of the true relationship with Emily? The many sequences with Dr. Marin - the significance of her poetry, her edginess like a cat moving around the room, smoking, at the blinds, the windows? Going to hospital? Her smooth leading on of Dr. Marin and the horror of her killing him? Her need to communicate with Emily, watching her through the telescope? The innuendo and the invitation? The tension in the confrontation, revelation of her passion? The deaths? Her wielding the knife against Emily? The truth about her setting up the initial assault and using Lawrence? The taping of Emily's response? Producing the knife in hysteria? The confrontation and her crumbling before Emily? Her final pathos? Elizabeth Ashley's skill in communicating finally just with her expression? Bob's comment that Andrea was always dangerous?

10. Bob and his work, dingy office, dates with Emily, Emily seeing him as a threat, locking the door, running out of coffee? Being with him but going to Andrea alone? Seeing him pacing around the room? Finally being able to stand with him as an equal?

11. The neighbours of New York - watching, reserved, sick and Emily's care, death? An image of relationships in the city?
12. The ugly taxi driver, the aggressive man., brutality, sexuality? Sadism in the taunts and whisperings. the taping? The use of the tape? His being used by Andrea and paid? The threat in the taxi?

13. Themes of sexuality: Emily's marriage and its failure, divorce? Friendship with Bob but hesitation? The phallic symbolism of the knife and the assault - by Lawrence and by Andrea? Threatening people by sexuality and rape? Ability and inability to cope? The inadequacy of sexual integration and relationship?

14. The emphasis on psychological help, self-assertion., being in touch with reality, the place of fantasy?

15. How satisfying a thriller, drama, parable about the difficulties of urban living? For men? Especially for women?

A WINDOW TO THE SKY (THE OTHER SIDE OF THE MOUNTAIN)

US, 1975, 102 minutes, Colour.
Marilyn Hassett, Beau Bridges, Belinda J. Montgomery, Nan Martin, William Bryant.
Directed by Larry Peerce.

One would have to be a stone not to be touched in some way by this true story of Jill Kinmont, potential Olympic champion, paralysed teacher. The treatment is full of sentiment, aimed at the sympathetic feelings of a wide audience, bordering on the cliche of theme and style, but invigorated by Marilyn Hassett's attractiveness in the central role and the boyish charm of Beau Bridges as the eccentric hero. The film is very American, patriotic and wearing its heart on its sleeve, humane with some sharp social comment about discrimination against paraplegics and underprivileged Indian children. It has attracted large audiences seeking straight-forward entertainment.

1. The title indicating the themes of the film? The final song? What kind of audience was the film primarily made for? How was this evident?

2. How important was the memory structure of the film? Its dramatic impact? Our knowledge of Jill's inability the poignancy of the memories? How did this involve the audience in feeling with the heroine?

3. Comment on the use of colour, music, piano music, the snow of the mountains, the emphasis on close-ups, tears etc.? How sentimental was the film? Did it blend sentiment with strength?

4. Did it make a difference in audience impact to know that this was a true story? What picture of America in the 50s and 60s? The American way of life, its effects on people? The emphasis on sport and achievement success, injury and its relationship to success or failure? How much American sentiment was there in the film? How does American sentiment appeal to overseas audiences? The presentation of sport, success, love and sorrow?

5. How attractive a character was Jill? Seeing her first with her injuries; the autobiographical quality of her commentary; the nature of her memories? Jill as a girl at school and skiing? Her enjoyment of sport skiing as a way of life.. her growing success? Jill pictured with her friends? Her relationship with A.J.? Her admiration for Dick Buick and her love for him? Jill as an idealist.. working towards success. her love for work?

6. What was the impact of the accident? The nature of accidents and the fact that they are irreversible? The effect of the accident on Jill? When did she face the truth? The support of her parents? The doctor and his trying to tell her the truth? Dave's visit and the emotions? Jill's regret about her past, her wanting to walk,, her gradual facing of the truth? The importance of so much visualising of the hospital and the physiotherapy?

7. What was the impact of the return of Dick? The preparation for this by seeing him earlier in the film as eccentric and as humorous? The humour of their conversation when he got her out of the hospital.. the lyrical happiness of their time together?

8. How important was the character of A.J.? A.J.’s polio as preparation for the audience for Jill's injury? The irony of their conversation about luck?

9. Was it wise for Jill to go to the rehabilitation centre? The irony and the cynicism of the patients? How important was this for audience sympathy for her? Audience response to the plight of paraplegics?

10. The importance of teaching. of Dick's taking her to the Indian reservation. of her goal in life. success with children, the humour of her going to classes with the others?

11. What kind of success did Jill achieve? The confrontation with the head of the college? Her help from the Indians? The picture of her teaching the Indian children and her communication with them?

12. The impact of her happiness in marrying Dick? The impact of the film with Dick's death? How well was it handled? Why was it moving? The effect on Jill?

13. How humane and true a portrait of human beings was this? Ordinary life, ambition, success. failure.. sorrow? The importance of courage? Why are ordinary films like this so valuable for people to see in terms of the human spirit?

THE WIND AND THE LION

US, 1976, 119 minutes, Colour. Panavision.
Sean Connery, Candice Bergen, Brian Keith, John Huston, Geoffrey Lewis, Vladek Sheybal.
Directed by John Milius.

The Wind and The Lion proves the colourful action-adventure is back. The costume and swashbuckling atmosphere is Morocco, 1904. The hero is E1 Raisuli, last of the Barbary pirates, compared and contrasted with the President-adventurer Teddy Roosevelt. One is the wind, the other the lion ( and played by Sean Connery and Brian Keith). Focus of conflict is kidnapped American widow Mrs. Pedecaris (Candice Bergen) and her children. There is interesting political theme underlying the presentation of heroism and the thundering hooves on African beaches. Writer-director John Milius is expert at U.S. myths (Dillinger and Melvin Purvis, Jeremiah Johnson and Roy Bean). Here he adds well to his gallery.

1. The general appeal of this film and its kind? The nature of historical spectacular? The 1970's spectacles in comparison with those of the past? Their quality?

2. The scope of this particular film, use of widescreen, colour, desert and American locations, Morocco, costumes etc.? How did this add to atmosphere and flavour.

3. The impact of structure: the detailed times and places, the three-fold emphasis: on E1 Raisuli, on Teddy Roosevelt, on the politics in Morocco? The contrast of Raisuli and Roosevelt?

4. The significance of the title, the references to Raisuli and Roosevelt? Explanations during the film, in the final letter? Comment on the overtones of Roosevelt as an American Grizzly Bear? His explanation, the finale?

5. The impact of the photography of surf, thundering hooves, sounds and silences, sand and desert, mountains and cities, the sea, water and dry desert etc.? The atmosphere of the film?

6. The response to the initial kidnap? The mayhem and havoc, destruction? The deaths, the preservation of Mrs. Pedecaris and her children? The role of El Raisuli during the kidnap? His fall from the horse, Mrs. Pedicaris's laughter, his slap? The explanation of his motives for the kidnapping? El Raisuli's attitude towards Morocco and the hold by the foreign powers, local corruption?

7. E1 Raisuli within his background: the Berber heritage, Africa and the desert, Islam, religion and the prophet, his style of rule and mightiness? His treatment of people, the executions, his assessment of barbarity and culture, his playing of chess, telling stories about himself and making himself a myth, his bluff towards the American powers? How admirable a man within his culture? The Barbary pirate?

8. The humane side of El Raisuli? With his men, his treatment of Mrs Pedicaris and the children, his admiration for Roosevelt, the continued contrast with Roosevelt? What ware the qualities admired in each man? Their weaknesses?

9. E1 Raisuli as part of history? The film's presentation of America and its attitude towards Morocco and the Berbers? The presentation of Roosevelt himself: his historic past, his Pourk as President, his love for sport, his poses for photographers, his calculated interviews, his shooting, hunting, boxing, attitude towards invasion, electioneering with the train? The significance of the bear-hunt and the unveiling of the stuffed bear? Insight into this American President?

10. The picture of America? At the turn of the century, its imperial attitudes, Hay and his advice to Roosevelt, electioneering, the American settings contrasting with Morocco, the sporting and outdoor locations, the quality of the interviews, for example about the bear and the American Eagle? The Americans in Morocco, for example the Consul and his threats and his gifts of lions to the Bashaw and the Sultan? The Marines and the Admiral? The American aggression and fixed bayonets? The clash with the Germans? American patriotism?

11. Audience response to the siege of the Bashaw? The quick-march through the city and the militaristic overtones? The comparison with the Germans? The final clash of Americans and Germans? The picture of the super powers and their role in Morocco?

12. The film's portrayal of Mrs. Pedicaris and her children? The strength of her personality, her coping with the situation, guiding the children, the escape, the rescue, her growing admiration for El Raisull, playing chess, threatening him, listening to his stories? The reasoning for her final rescuing him and urging the Americans on? The impact of El Raisuli in their lives, e.g. the boy's dream?

13. The ironic picture of the Sultan and his polo game on bikes, the Bashaw and his continual eating, even as people were killed about him? His corrupt attitudes?

14. The film's comment and insight into politics, greed, power struggles?

15. The quality of the film as an adventure? Which were the best incidents? Why do audiences respond favourably to such adventures?

WINCHESTER 73

US, 1950, 92 minutes, Black and white.
James Stewart, Shelley Winters, Dan Duryea, Stephen Mc Nally, Millard Mitchell, Charles Drake, John Mc Intire, Will Geer, Jay C. Flippen, Rock Hudson, Tony Curtis, Steve Brodie.
Directed by Anthony Mann.

Winchester 73 was a popular western of its time. In succeeding decades it has been considered a classic. It is the work of director Anthony Mann who went on to direct another seven films with Stewart during the '50s including Bend of the River, Thunder Bay, The Naked Spur, Man from Laramie, Glenn Miller Story, Strategic Air Command.

The film focuses on the Winchester 73 repeater, one of the most successful guns used in the West. The film also shows the gun changing hands which enables the screenplay to focus on many aspects of the American West: the gunfighters, the Indians, the outlaws. The film also shows the atmosphere of the outposts of the West, justice and law and order as well as the clashes with the Indians on the frontier. The film has a very strong cast - including early roles by Tony Curtis and Rock Hudson.

1. The status of the film? Its merits as a classic western? Entertainment value as a western?

2. The western tradition? The hero, outlaws, gunfighters, Indians, the frontier town, the saloon girl? The conventions of the western? How well used by this film? Developing the conventions?

3. Black and white photography, the atmosphere of the West, action sequences and pace?

4. The title and the focus on the gun? The gun as a weapon for safety, for danger. for killing? The episodic nature of the screenplay and the focusing on the gun as used by a variety of characters?

5. The portrait of the West: the western town, Dodge City in the 1870s, marksmanship contests, saloons, the gunfighters, the Indian traders, the Indian tribes, cowards. outlaws? Gun duels?

6. The focus on Lin Mc Adam? James Stewart's presence and laconic style? High Spade as his sidekick? Wandering the West? The vengeance theme? Mc Adam's father and his death? The contest and the build-up in the town? The clash with Dutch Henry Brown? The irony of Brown being Mc Adam's brother? Responsible for the death of their father? Brown stealing the gun? McAdam? and his pursuit of Brown. the encounter with the Indians? With Waco Johnny Dean? With Steve Miller? The relationship with Lola? McAdam's treatment of her? The authorities in Dodge City? Wyatt Earp? The build-up to the confrontation with Brown? The mountaintop, the gun duel? Vengeance and the retrieving of the gun? The portrait of a man of the West?

7. Dutch Henry Brown as villain? His behaviour in the contest, the stealing of the gun, the card game with Joe Lamont? The encounter with Johnny Dean? The getting back of the gun? The pursuit by Mc Adam? The build-up to the confrontation on the mountain, the long duel, confrontation, outwitting each other? Brown's death? A portrait of the western villain?

8. Joe Lamont, Indian trader, playing both sides, gambling, wanting the gun? The confrontation with Young Bull and his death?

9. Young Bull and his role with the Indians, the raid on the Cavalry, the death of the Chief? His using the gun? Steve Miller, his place in the West, his getting the rifle, confrontation with Waco Johnny Dean and his death?

10. Waco Johnny Dean, the outlaw, lack of moral stance. getting the gun, his returning it to Brown?

11. Lola and her place in Dodge City, the response of Mc Adam, his treating her as a lady? Dutch Henry Brown and his treatment of her? The role she played in the film in terms of plot, a woman of the West?

12. The entertainment value of the screenplay with its episodes? Its range of themes of the West? Its look at the West - critique, nostalgia?

WILSON

US, 1944, 154 minutes, Colour.
Alexander Knox, Charles Coburn. Geraldine Fitzgerald, Thomas Mitchell, Ruth Nelson, Cedric Hardwicke, Vincent Price.
Directed by Henry King.

Wilson was a big-budget project of Darryl F. Zanuck in 1943-44. It was not only a presentation of a President's life and career but also a propaganda piece for World War Two. Alexander Knox, generally a character actor in supporting roles, has an excellent opportunity for his impersonation of Wilson and relies on characterisation rather than mannerisms to illustrate this President. He was nominated for an Oscar. Many 20th Century Fox character actors fill out the supporting roles - including Charles Coburn, Sir Cedric Hardwicke. Geraldine Fitzgerald has the attractive role of Edith, Wilson's second wife.

The film has an interesting score by Alfred Newman and it incorporates many patriotic American songs and their themes as well as popular pieces like 'On Moonlight Bay' and 'By the Light of the Silvery Moon'. The sets are elaborate and there are re-creations of the White House and its interiors as well as the Hall of Mirrors at Versailles. The colour photography is impressive. All in all, Wilson shows the effect of its large budget for an intelligent political American film aimed at a popular audience.

Many of Wilson's speeches, of course, while bearing relationship to World War One, are particularly relevant to the American- German antagonism of the mid-'40s. The film opens with Wilson at Princeton and moves swiftly into his years as Governor of New Jersey and then to his eight years as President. He is shown as a social reformer and a serious idealist. This is particularly the case in the war years and his hesitation to commit America to war. However, when he does, he does so reluctantly and with an eye on peace. His moment of glory was the Versailles conference and the establishment of the League of Nations and the film presents his failure to persuade the Americans of the value of the League. Wilson then is presented as an important president but also as failing in succeeding with the ideal goals he set himself. Other films about presidents include The Wind and the Lion with Brian Keith as Teddy Roosevelt, Give 'em Hell Harry with James Whitmore as Truman. There are telemovies of Roosevelt and the Kennedys.

1 . The impact of the film, its reputation, a major film of the '40s? Reflecting American styles and interest of the time? Its place within the war effort? Its contribution to morale in the mid-'40s? Its impact as a film now?

2. Alexander Knox leading a veteran cast? Their contribution to political and social roles? The budget of the film,, its length, the contribution of the score and the medley of American songs both serious and popular?

3. Audience knowledge of Wilson? Attitudes towards the American presidency? Its status and reputation early 20th. century, in the '40s? In the '70s and later? Attitudes towards the world wars, peace? Knowledge of 20th. century politics, social reform? Wilson as politician, man of principle, idealist? A man for admiration, tribute? The film reflecting a period of the United States and of American attitudes in the world? The importance of Wilson's contribution to world peace but his failure to persuade America about the League of Nations?

4. The structure of the film: the introduction to Wilson at Princeton, his work reputation, family? The invitation to be Governor, his career as Governor? The campaign for presidency? His work, the re-election and the war issues, America's participation in the war, peace and the League of Nations? The background of Wilson's family life - his wife and daughters, his wife's death, the marriage to Edith?

5. The film's presentation of Wilson's personality: academic, dry, prim pet enjoying football and musical comedy, his devotion to his family - the family gatherings and the singing? His personal integrity, his reputation, his interest in reform, equal opportunity? Big Ed and his proposal for governorship, the rally and Wilson speaking out against the bosses, the clash with Tomelty and his becoming his secretary? A good choice for President?

6. The portrait of his wife and daughters - their participation in his decisions, the personal touches in his family life? Their arrival at the White House? His wife's support, her illness, her final bequest to her daughters and her urging them to have Wilson marry again?

7. The picture of campaigns and ballyhoo, the presidential nominations and the long meeting, the deadlock, the various manoeuvres, telephone calls, Wilson's listening to advice, his election?

8. The integrity of his work as Governor, the social reform in his early work as President?

9. His facing of the war situation, the sinking of the Lusitania? Lodge and the pressures to go to war? His reasons for waiting and not committing America? The campaign against him before the 1916 election? His finally winning? The irony of his committing America to war, his strong talk to the German Ambassador? The various speeches in the screenplay to explain his attitudes, his participation in the war? His awareness of the number of deaths in the war?

10. How well did the film use the device of speeches to communicate Wilson's attitudes, policies?

11. His focus on the peace plan, his decision to go to Versailles, his participation in the discussions, the setting up of the League, the clashes with Clemenceau? The opposition to the League in the United States. Senator Lodge and his campaign? The clashes on Wilson's return and his standing by his principles?

12. His decision to tour the country explaining the League. the successful tour, his illness and collapse?

13. Was it inevitable that he would be defeated on the League? His vision of it, the Republican opposition? The Republicans gaining power and the repudiation of the League? His final months in office, Edith and her work, the sequence of his leaving the White House and farewelling friends and enemies?

14. The portrait of Edith - her presence in Washington, a second chance for Wilson, his enjoyment of her company, the outings, the proposal and her hesitation, the gossip, his decision to marry? Her support, her presence in the White House, her making the decisions when he was ill?

15. How great a man was Wilson - as an academic, politician, President? As an American, as a world figure? A man of his times to be judged within the context of his times?

16. His contribution to America, America's image in the 20th. century world e.g. the sequence at the railway station with the boys going to war? His heritage for the United States? The Americans subsequently looking to him for example?

THE ADVENTURES OF THE WILDERNESS FAMILY

US, 1976, 100 minutes, Colour.
Robert F. Logan, Susan Damante Shaw.
Directed by Stewart Raffil.

The Wilderness Family was very popular in the United States presenting a typical American family fleeing the polluted and busy cities and trying to live by themselves and their own resources in the Rockies. It is conventional adventure material with echoes of such old stories as The Swiss Family Robinson. The film is attractive in its presentation of the Rockies, the animals both friendly and dangerous. There is enough excitement to keep the attention of young audiences. Robert F. Logan is the star and continued the successful series into a sequel and an alternate on the same story called Shipwreck. Parents watching the film might have reservations about the judgment and behaviour of the children, especially the young boy, Toby. However, this kind of 'wholesome family entertainment' was a tonic for audiences in the '70s and has perennial appeal.

1. The appeal of the film? The family, the leaving city life, the living in the wilderness, the capacity for building, surviving? Nature, animals?

2. The presentation of the ugly city at the opening, smog, industry, traffic, doctors, illness? The contrast with the wilderness and its beauty? The colour photography and locations? The special effects for showing life in the wilderness, the animals, nature and the trees and plants, crops? The song and its lyrics as a chorus during the film?

3. Audience response to city ugliness and the need for some kind of change?

4. The making of the decision about leaving the city, their having to repeat the decision after the various crises in the wilderness? The facing of the new venture, the flying in, the warnings of the pilot about people leaving?

5. The finding of the old hut and the humour of the bear? Building the new hut and the venture for all the family? The supplies they brought in (and having many clothes and quite a large amount of supplies!), learning to hunt, shoot? Communication by radio, the breaking of the radio, the plane coming in, seeking help by canoe? The effect of such isolation?

6. The presentation of the animals, friendly and unfriendly, the racoon in the stove, the friendly bears, the cubs trained at home, the cougar cubs and the ferocious mother and the fight, the wolves and their pursuit of Jenny and the dog, the grizzly bear and its terrorising the household? What did they learn through their experience with the animals? The coping with fears, disabilities, threats?

7. The coping with the various dangers - the landslide, the cougar attack, the wolves, the flight from the bear, the storms and the snow, the rapids of the river?

8. The blending of pressures for survival with the joys e.g. the picnics, the sharing of nature with each member of the family?

9. The portrait of the parents - the father and his ability to cope, wisdom? The mother and her making the house orderly, her care for the children, support of her husband, clash with him after the dangers, her renewing her decision? The children and their lack of knowledge about the wilderness, the risks that they took, the dangers that they experienced? How well did they learn? The old visitor and his stories of the past, sharing hospitality, chasing his donkey? The doctor and his flying in?

10. The theme of survival, facing crises, standing by basic values? The presentation of the wilderness attractively and the criticism of the ugly cities?

THE WILD PARTY

US, 1974, 91 minutes, Colour.
James Coco, Raquel Welch, Perry King, Tiffany Bolling, Royal Dano.
Directed by James Ivory.

The Wild Party is not a nice film at all. And it is wild only at times. It is sinister in its opening, a focus of attention on Hollywood personages of the burning-out 20s, introducing them to what became a decadent and bizarre Hollywood party, a world of dissolute apathy. An outdated, vain, self-hating fat silent star, played by James Coco, wants to revive his career and life, but is unable to do it. All he can achieve is personal havoc. There are many interesting facets - re-creation of the 20s, the parody of silent comedy, a use of symbolic characters - but it adds up to an odd picture of pathetic people. James Ivory has written many articles about how producer cutting ruined the flow and treatment of his film.

1. Why do audiences enjoy films about Hollywood? Their impact.

2. How good a film was this? It was extensively re-edited after its filming. was this evident? The particular qualities of the film?

3. The entertainment value of the film in terms of Hollywood presentation, the stars, the aspects of the wild party? The value of the film as presenting an aspect of history of the 20s? The history of Hollywood and its ugliness? The ugliness behind the facade of glamour? The film's comment on this world of Hollywood?

4. The impact of the film's structure: beginning in the middle of the party, going back to the beginning, the build-up to the part and the repetition of introducing the guests? The background of the poem? The ironic elegy on Hollywood and Cherry Grimm? Entering this world via the poem? The effect of this flashback structure?

5. The impact of the title and its reference to the party itself? The title song? The focus of the film on the party and its wildness? The themes and the incidents?

6. The contribution of the re-creation of the sets, especially Grimm's house, the background of Hollywood in the 20s, colour, costumes and hairstyles and makeup, the types at Hollywood parties? The inclusion of the silent film?

7. The film's focus on Grimm? The background of his Hollywood career, his success and failure? His new film and its outmoded comedy? The impact of seeing Grimm in reality at the party, his way of life, his behaviour in the comedy? His owning the house and its belonging to him? The impact of the crisis? The background of his relationship with Queenie? As host of the party and the type of party? Wanting to impress the producers? His attitudes towards the critics and those who spoke against him? The impact of the encounter with Nadine? What came over him to execute such violence at the end? Was this an accurate picture of a Hollywood star, the insight into the character in this environment?

8. The film's comment on the Hollywood way of life, during the day, the people at the party. Their artificiality, hypocrisy, surface life? The sexual bizarreness and the film's emphasis on this? The fact that people were going on to other parties? The hypocrisy of the deals, the exchange of money, the producers and their use of sexuality etc.?

9. The role of Queenie? As a heroine for the film? As contributing to this kind of Hollywood, victim of it? Her relationship with Grimm? Her gaiety at the party? Her song? The infatuation with Sword and succumbing to him? Her inability to help Grimm? The fate of her death?

10. The presentation of the Hollywood hero in Sword? His self-confidence, attitude at the part, style with the guests, attitude to Grimm? The infatuation with Queenie? Leading her on? The irony and pathos of his death?

THE WILD ONE

US, 1953, 79 minutes, Black and White.
Marlon Brando, Mary Murphy, Robert Keith, Lee Marvin, Jay C. Flippen.
Directed by Laslo Benedek.

The Wild One was one of the most striking films of 1954. It had an enormous influence in cinema for some time to come. Directed by Laslo Benedek, who had made Death of a Salesman with Fredrick March but who was not to have a very striking career, the film showed something of the anger in American youth as early as the early 50s. Marlon Brando, a great success on the stage in A Streetcar Names Desire and he repeated this role effectively on the screen, had made such films as The Men, Viva Zapata, Julius Caesar. At this time he made On The Waterfront for which he won his first Oscar. The second was for The Godfather in 1972. At this stage Brando's intense presence and his mumbling style were perfectly suited to the bikie folklore of the early 50s. He made a striking impression in this film. The film was considered so violent that many countries banned it for some time, including England. Lee Marvin, at a time when he was specialising in such roles e.g. The Big Heat, also appears as a bikie. The film is brief, in crisp black and white, with a striking musical score and highlights the social unrest that was latent in America and was to burst out so soon. A similar kind of film at the same time was Richard Brookes' The Blackboard Jungle.

1. This film had great impact at its time. In many countries it was refused release. Can you understand why authorities had such apprehensions about it?

2. There have been many bikie films since. How do they compare with The Wild One? Why is The Wild One superior? How can the more recent bikie films be traced back to The Wild One's influence?

3. Why did bikie films make such an impact in the second half of the twentieth century? The mystique of the bike, the machine, power and speed, isolation, yet within a group? Is there something more about the 'bikie' on his bike and his stance in the face of society? Was this merely a 'bikie' film or how much more was there in it?

4. The film as a presentation of American society in the early 50s? A society which threw up bikie gangs? A society which was afraid of them and turned violent against them? An uneasy society? What judgements on American society and its complacency and fear did the film make? Which sequences illustrated this?

5. Comment on the visual power of the film. The black and white photography, the photographing of the road, the town, the bike formations, the riding. The use of music. The short duration of the film and its impact.

6. Could the film be seen as an essay on American violence? The pros and cons of violence? Its reality, and violence begetting violence? Who was responsible for the violence in this film? Johnny's gang, the rival gang, the fearful townspeople, the hesitating sheriff? The violence of the bikies begetting the violence of the hostile and defensive townspeople? What insight into individual and social violence did the film give?

7. How well observed was the gang, the details of their exhibitionism, obstructing the town, their rowdiness and people's reactions, their fights, the clashes with the rival gang, the consequences as regards hospital etc.? How did the film observe the bikie mystique? How did the film observe the life of the town and the degeneration of the atmosphere to destruction?

8. The central character of Johnny and his importance? Marlon Brando's performance and style, his influence, clothes, bikes, speech etc.? Johnny as a smouldering leader with a loyalty? His style of talk to his gang, to the people, to Kathy? What response did he gain from Kathy, his rescuing her and taking her away? The irony of the audience knowing the truth and the people not? The impact of his being bashed? His being sent away with a warning? The significance of his leaving the statue? Was his character well explored? was he a credible character? How much did he change during the film? Johnny as a misfit in contemporary society?

9. Was the character of Kathy well explored? Or was she merely a good influence with an effect on Johnny?

10. The exploration of the other characters - Chino and his gang, their motivation, brutality? The people in the town, at the tracks, bar, the vigilante bashing? The reality of fear? The picture of the police and the hesitation of the sheriff, especially as the father of Kathy?

11. What was the final impact of the film with all its themes?

12. How valuable a film is it, how well did it explore its themes? Its impact now?