THE WILD GEESE

UK, 1977, 134 minutes, Colour.
Richard Burton, Roger Moore, Richard Harris, Hardy Kruger, Stewart Granger.
Directed by Andrew V. Mc Laglen

Director Andrew Mc Laglen has specialised in action films, especially with John Wayne. Here he has large budget, stellar cast - Richard Burton in good form, Richard Harris and Roger Moore exerting their particular charm and even Stewart Granger as the arch villain - and an African mercenary story. It's rousing action material for the men and the boys, a most persuasive rouser for military, tough heroics as in the good old days. War is also hell and mercenaries a human/inhuman lot, built for adventure, no matter where - complicated moral questions for an age of intrigue and war-weariness; however, while it's on the screen, the action, plot and pace are the thing.

1. Enjoyable action adventure and its perennial appeal? A successful action entertainment?

2. The serious undertones of the film and its action surface - mercenaries, money. politics? The moral issues of mercenaries - private morals and serving causes, public causes and political situations? The blend of action and serious themes?

3. The English and African background? England and the mercenaries from that country? Their motives for going to Africa? African development, domestic politics? The landscapes of Africa, the people? A mission to Africa?

4. The technical flair of the film - colour photography, the strategies, the modelling on the raid on Entebbe? Flying sequences, the free fall and the parachutes? Attacks, explosions, pursuit through the forests, desperate plane take-offs, fighting? Audience involvement in this action?

5. Audience involvement with the people and the causes? The basic African situation -politically, economically? The film's presentation of mercenaries as good, heroism, men of action?

6. The justice of this particular African cause and the heroism of the mercenaries? The initial selection of the men (and the parallel with the Four Just Men)? The establishing of their background, interests, style? Faulkener and his recruiting? His assembling them? The various stances that they took?

- Allen Faulkener: impassive, the leader, his response to Matherson, funny, handling men, personal loyalties?
- Rafer Janders: his retirement from active service, his home, his love for his son, his promises, Faulkener's involving him? The sentiment given (and music) with the scenes of Janders and his son?
- Shawn Fynn: the man of action, the playboy, the Mafia situation, drugs, women, shooting, the need for rescue, the light-hearted approach? A potential mercenary?
- Pieter Coetzee: the South African, his ambitions for the farm, money, homeland, friendship with Fynn?
The men being persuaded to join the cause? The choice of the international stars to play these roles, embody them, bring their own personal style and mystique?

7. The initial focus on Faulkener - his arrival, being summoned by Matherson and his aide? The manoeuvres of the discussion? The open issues, the evading of issues? The blend of greed, economics, politics, idealism? The contrast with Janders' home? Janders and gentleness - and the irony of his being killed? The rescue of Fynn as an example of military action, the skill of the mercenaries?

8. The picture of Julius Limbani - a man with a cause and for a cause? The political issues around him, his imprisonment, the potential for war and civil war? The motives for the group rescuing him? The intermingling of the copper mine motives? The decision to save him especially after the betrayal? Pleter and his carrying Limbani? The discussion about race relationships - and the moralising tone? The picture of the tribes and their loyalty to Limbani? Father Geoghagen and his observation of the situation, his esteem for Limbani? The irony of the final rescue and his death?

9. The collage of the recruiting of the mercenary team - the meeting with Sandy Young and his wife? His role as Sergeant Major and loving it? The various supporting groups - Jock and his background, the doctor and the homosexuality? Their work in the past, their responses in the interviews? The participation in the training?

10. The picture of the training and its detail, tough, humorous and rigorous? The Sergeant Major and his control? Faulkener and the others participating to the full? The cumulative effect and the preparedness of the group to go to Africa?

11. The explanation of plans, strategies? The advancing of the time and the raising of tension? The sense of mission?

12. The visual beauty of the air drop? The contrast with the hard work of the trek? The airport, the strategies and the modelling on Entebbe? The invasion of the tower, the club, the massacre? Snipers? The capturing of Limbani?

13. The change of pace with the isolation of the group, Matherson and his changing his mind, betrayal and repercussions? Moving through the forest, the dangers in pursuit, uncertainties? Bombs, planes? The bridge and the siege? Action material?

14. The significance of carrying the President to safety, Pieter and the vision from South Africa, black and white relationships? His death?

15. Matherson, his assistant, his ruthlessness in changing his mind? The object of vindictive hatred, vengeance? Faulkener and his final execution of Matherson?

16. The picture of the African village, Father Geoghagan and the plane? The buildup in tension and pace with the pursuit, the getting to the plane, the number of those who died? Janders and his almost getting to the plane, his death? The repercussions on Faulkener? Fynn and his role as pilot? A satisfactory climax for the adventure film? The change of pace with Faulkener's final visit to Matherson?

17. How well did the film work on the level of action and plot? The ambiguities of its theme of war, violence, mercenaries, heroism, motives?

A WILD FIELD

Vietnam, 1981, 95 minutes, Black and white.
Toi Lam, An Thuy.
Directed by Hong Sen Nguyen.

A Wild Field was the first film to be made in Vietnam after the end of the war. It is a straightforward story about a couple and a baby living in a zone declared a no-man's land by the Americans, a navel, which if attacked, would be the way of destroying the whole body. This view is put forward by Vietnamese actors as Americans - and the Americans are presented, frequently caricatured, as were for instance the Nazis and the Japanese in the propaganda films from the United States in the '40s. This means that the couple and their baby are made to seem heroic, the communist cell of Viet Cong resisting the horrible invaders is made to seem even more heroic. Clearly, this is a view of the war from the North Vietnamese perspective -and has a validity as an intensely-felt point of view hostile to the Americans. It is in complete contrast to such treatments as John Wayne's The Green Berets. In the meantime there have been the many films about the war and its disastrous consequences for American society as well as the reappraisal in The Deerhunter and Apocalypse Now. A Wild Field seems to be a simple basic film compared with the American films.

Much of the black and white photography is crisp and vivid, even beautiful with its use of natural symbols of water and flora and fauna. However, there are the emotionally contrived sequences focusing on the couple and their child, and the ugliness of the Americans as they strafe innocent villages. The film has strong propagandistic dialogue with photos of Ho Chi Minh prominent etc. (as to be expected). The poor baby does a lot of crying - and at times seems to be a very unwilling co-operator with the action of the film. Small budget, meagre facilities are apparent in a film which is well-made - though would be dismissed as sheer and mere propaganda had it come from a more sophisticated film industry.

1. Impact of the film? Interest, entertainment? A point of view on the Vietnam war? Simplistic and propaganda? Comparisons with American treatments of the war? Previous American propaganda films?

2. Quality of black and white photography? Clarity, editing? The westernised romantic score? The use of the score for emotional response? Close-ups and action for emotional response?

3. The picture of the Vietnamese war? Facts, the North Vietnamese point of view? Socialism, the leadership of Ho Chi Minh, the Viet Cong cells and their validity? The intrusion of the Americans into the peaceful Vietnam way of life? Helicopters, guns, bombs? Casualties? The Americans seen as the aggressors? The implications about the unification of North and South Vietnam - and the omission of a South Vietnamese point of view?

4. The basic plot: the couple and their work, home on the rice fields? The romanticism of their relationship? The baby? The details of the house and its simplicity? Work in the fields? Love for the baby - and the danger when it fell into the river, the husband striking the wife? The comment on male-female relationships in Vietnam? Traditional roles of husband and wife? The breaking through tradition with the involvement in the war?

5. Work by day and working with the Viet Cong by night? The meting of the cell? The propaganda? The sabotaging of the American invasion? The techniques of hiding and camouflage? The crossing roads by means of carpet to obliterate footprints etc.? The skill of the Vietnamese against the Americans - heightened for propaganda effect?

6. The boat and its destruction, hiding in the water (even hiding baby in a bag)? The menace of the helicopters, the danger, the strafing?

7. The Vietnamese soldiers, the camps - and too much smoke? The wounds and their being tended by the couple? Clashes and friendships?

8. The final attack? The panic? The death of the husband and the wife's grief - heightened for an emotional response to the effect of the war?

9. The portrait of the Americans? Helicopters, strafing? Photos? The theory of attacking the navel in the no-man's land? Vietnamese playing Americans - with Vietnamese mannerisms and lack of American mannerisms? The office, the discussions, the social (with its seeming decadence, especially for the westernised Vietnamese women)? The photo of the wife and child and the birthday celebration? The irony of the photo with the crashed helicopter?

10. The simplistic presentation of issues? The antagonism towards Americans?

11. An example of small budget film-making from a communist country -impact on Vietnamese audiences, universal audiences?

THE WILD DUCK

Germany, 1976, 105 minutes, Colour.
Jean Seberg, Bruno Ganz, Peter Kern, Anne Bennent, Heinz Bennent.
Directed by Hans W. Geissendorfer.

The Wild Duck is a German adaptation of Henryk Ibsen's 19th century classic play. The film stays very closely to the play and its atmosphere. The casting is interesting, especially with Jean Seberg as Gina. Bruno Ganz, who was to emerge in the late '70s and '80s as a top German actor, is persuasive as the tormented Gregory.

The location of the play is adapted to Germany and fits well. The period setting is retained. The film also retains much of the dialogue as well as the locations of the play.

The play is an arresting experience - which seems rather intensified, even hot-house, for screen presentation. There is the picture of society with its affluence, class distinctions, background of fraud. There is the eccentric household with Harold and his living in a world of his own, trying his inventions. He is susceptible to the false idealism of the tormented Gregory who hates his father and appeals to truth and honesty - with repercussions for ruining people's lives. Gina, with her background of service, her mother's ambitions, exploitation by Wardle, nevertheless is the stable character. The focus is on Henrietta, the attractive daughter, who becomes victim of the curious set of circumstances as well as the passion for the truth. The wild lame duck that she tends becomes a symbol of herself - and as she sacrifices herself for love she kills, symbolically, the duck.

This version is an interesting and absorbing adaptation of the play. it can be compared with the Australian adaptation of the play (locations, change of period to 1913, change of names for an English-speaking audience) which was directed by Henri Saffron with Liv Ullmann and Jeremy Irons as Gina and Harold leading an Australian cast including Arthur Dignam as Gregory, John Meillon as the Major and Michael Pate as the father.

THE WILD CHILD (L'ENFANT SAUVAGE)

France, 1970, 85 minutes, Black and white.
Francois Truffaut, Jean- Pierre Cargol.
Directed by Francois Truffaut.

The Wild Child is a different kind of film from Truffaut's main interests, although he showed a strong interest in what it is to be a child and to grow and to communicate in his introducing Antoine Doinel to the world in The 400 Blows.

The Wild Child tells a simple story of a twelve year old boy who has grown up like an animal in the forest. A Parisian doctor (the year is 1798) undertakes to educate him and keeps a record of his teaching. This we share.

The Miracle Worker and The Mind of Mr. Soames also tackled the question of the education of the handicapped or retarded child. Truffaut (playing the doctor) tells his story in straightforward fashion but uses a style to make it look as if the film could have been made in 1798 - silent film fade-outs, scenes of the doctor writing his record with the doctor's commentary and sets and behaviour as if photographed for a newsreel of the time. This atmosphere makes The Wild Child special and helps it convey its delicate appreciation of what it is to be a human being and to communicate and understand.

1. How did the film communicate an old-world flavour of 1798? Comment on the use of black and white photography, the fadeouts, the selection of incidents, the manners of the characters, the spoken diary technique.

2. The effect of the scenes of the child hunting for food, scampering like an animal, climbing trees and fighting with the hunting dogs?

3. Was the child treated well on his capture, in the village, in the coach? What should have been done for him?

4. Was the child treated properly in the institute for deaf mutes?

5. Why did Dr. Ittard offer to educate the child?

6. How successful were Dr. Ittard's methods? How much was the training of an animal, how much the education of a human being?

7. Was Mme. Guerin a good influence in the education of Victor?

8. Why was Dr. Ittard dissatisfied when Victor would say the word for milk only after receiving the milk? Why did Dr. Ittard place so much more importance on his asking for it beforehand? Why was this important for learning to communicate as a human being?

9. Which sequences in Victor's education did you like best? Which sequences, if any, did you find hard to take? why?

10. Was Dr. Ittard driving Victor too hard? Did he allow enough scope for recreation and pleasure?

11. Was Dr. Ittard's use of punishment effective? How did he gain a sense of what was just and unjust?

12. Why did Victor run away? Why did he return?

13. What future would Victor have had?

14. what sense of achievement did Dr. Ittard feel? Why?

15. What is the value of making and screening a film like this?

16. Rousseau, in eighteenth century France, proposed the theory of 'the noble savage', man as innately good. Did this film share Rousseau's ideas?

17. What did this film show about the reality of being a human being?

THE WILD AND THE WILLING

UK, 1962, 112 minutes, Black and white.
Virginia Maskell, Paul Rogers, Ian Mc Shane, Samantha Eggar, John Hurt, Catherine Woodville, John Standing, Jeremy Brett.
Directed by Ralph Thomas.

The Wild and the Willing is a rather unusual drama from the production team of Betty Box and Ralph Thomas. They specialised in comedies and melodramas like Doctor in the House and A Tale of Two Cities in the '50s. They went more serious in the '60s and this is one of their attempts to join the more realistic, 'kitchen sink' melodramas of the period. It was the time of Tony Richardson, Karel Reisz, Lindsay Anderson and their dramas like Look Back in Anger, This Sporting Life.

This is a film about a rebellious generation, the post-war generation given so many opportunities, especially for study, and seeming to fritter away the opportunities irresponsibly. The film also shows the frustrations of the older generation, especially in the character of Paul Rogers as the university tutor. He has a philandering wife in the form of Virginia Maskell - echoes of Vivien Leigh's strange role in A Yank at Oxford. The film is principally interesting for its young cast, many of whom were introduced here, especially Ian Mc Shane, Samantha Eggar and particularly, John Hurt. The film is still quite striking - and reminds us that a lot of the issues which came to a head in the '70s had their origins in the '60s.

1. Interesting and satisfying drama? A British realistic look at the early '60s, the generation gap, the education gap, irresponsibility and the exasperation of the parent generation. The film as echoing the early '60s? How realistic does it seem? Dated? The continuity of later movements with this kind of reaction?

2. Black and white photography? The use of the city of Lincoln and its university for authentic locations? university halls, rooms, pubs, the streets? The styles and manners of the '60s? The realism and frankness - especially in language, sexuality? The musical score? The cast (especially in the light of their later careers)?

3. The title, its tone? Youth and the times? Indication of themes?

4. The atmosphere of the '60s and the generation gap, education gap? The stability of the '50s loosening? The reaction against staid manners? The struggle for post-war rehabilitation? The style of changes in the '60s? For better, worse? Later demonstrations and reaction? The relevance of this film? The pessimism of its ending and final lyrics: 'Bloody hell'?

5. The picture of youth, education opportunities, the post-war babies and their education? Their not having experienced the suffering of their parents? Affluence and boredom? Reaction and the critique of the older generation?

6. The English traditions of university and study? The lectures, tutorials, papers? Relevant and irrelevant topics? Students being bored? Brilliant students not working at their best? The staff and the administration and their old style? Hopes for their students? Impositions of rules and expectations? Lack of ambition, especially in the academic world? The seeming irrelevance of the educational establishment?

7. The character of the professor and his bitterness? His tutorials and their seeming irrelevance? The parties and the pretentious talk? His hopes to guide a brilliant student to success? The brilliant student as surrogate for his own ambitions? His wife and her boredom? His permissiveness and wanting to do the decent-appearing thing? His awareness of his wife and her infatuations, affairs, drinking, her flaunting herself for him to correct her and stand up for her? His inability to be violent? The crisis in the marriage, with Harry as the exemplary student? His standing up for his status as a student while loathing him? A dramatisation of inability and ambition?

8. The sketch of the students - their capacity for study, the boys and the sowing of wild oats, the drinking, relationship with the girls? Rivalries? Adolescent behaviour? Fun and games? Ragging? The stunt and its tragedy? Experience and growth? The behaviour of this generation when it became adult and parent?

9. The focus on Harry? In himself, his poor background, relationship with Sarah and her criticisms of him as well as explaining his background? The chip on his shoulder? Drinking? Friendships? The friendship with Reggie? Rivalries? The clashes with Gilbey? The friendship with Phil and support of him? The innuendo about their relationship? His drinking? Study? His brilliance and slapping up papers quickly? The boredom at formal parties, reaction against pretension? His preferring dancers? The liaison with Josie? Calling her a good sport? Sexual relationship? His insensitivity to her response? The flirting with Virginia at the party, the dance? His response to Virginia's approaches? The beginning of the affair, the going to her home, bedroom scenes? His wanting to leave and break off? The build-up to the stunt? The motives for his climbing the tower? With Phil? The failure and Phil's asking his forgiveness in dying? The experience of the inquest and the judgment on him? The peer group reaction? The administration condemning him and his being sent down? The professor's standing up for him? His saying goodbye to Virginia and the professor? The sobering experience of being sent down? How well delineated his character? How credible? A symbol of the times? Strengths, weaknesses? His mouthing speeches about issues? The past and the future? His future?

10. The range of students: John and his ambitions, Dai and his being good fellow? Reggie and the background of British Empire, emerging nations, Africans being educated in England and returning home? The experience of England and being one of the boys? Arthur and his ordinariness and cowardice? The sporting sequences, the locker-room talk, the drinking, the rags, the songs? The opening song and the finale with Reggie singing? 'Bloody hell - Damn your eyes'? The picture of English students?

11. Josie as heroine? A nice girl? Her wanting to change? The liaison with Harry? His hurting her? Her trying to leave him? The contrast with Sarah and her ambitions? The role of the girls as supporting the boys? Pre-feminist days?

12. Phil as different? His infatuation with Sarah and her snubbing him? Sharing Harry's experience? Being spurned? His devotion to Harry and his decision to climb? Participation in the stunt? The apology at his death? The inquest and the reaction of the students? His parents taking Harry to tea and their gratitude towards him for helping Phil?

13. The climbing of the tower as realism, symbol? Suspense?

14. The background of English authority and administration and the application of the rules?

15. Insight into human values, human nature? Education and its privilege? Responsibility and irresponsibility? The film as a sign of Britain in trouble?

THE WILBY CONSPIRACY

UK, 1974, 105 minutes, Colour.
Sidney Poitier, Michael Caine, Nicol Williamson.
Directed by Ralph Nelson.

The Wilby Conspiracy is by director Ralph Nelson who has had a strong interest in racial tensions in his films (from Lilies of the Field to Soldier Blue). This time it is South Africa and its police state ideologies and tactics. The result is an exciting thriller on the pot-boiling side involving Sidney Poitier as a political black figure on the run, Michael Caine as an English tourist forced on the run and Nicol Williamson, most effective as the icily relentless police chief. While a message thriller, the film relies on the emotional response to the complications of incidents and characters. By the end these are quite strong.

1. What was the aim of the film? An adventure, a racial message film? What was the overall impact? How persuasive?

2. What were the stances of the film on black Africa on South African whites? Elaborate the point of view. Was it justified? How well communicated? Propaganda?

3. The establishing of the South African setting, atmosphere? So much of the film on the road from Cape town to Johannesburg? The portrayal of black Africa? The contrast of wealthy white Africa? The details of the town,, the countryside, the people?

4. The impact of the opening in court the change in celebration, the impossibility of passing the guard the sudden fight. suddenly people on the run? Involvement in this?

5. How credible a character was Shack? Sidney Poitier.. his personality and style? His background in prison? His links with revolution and groups? The values that he stood for? His single-mindedness in his task? How interesting.. how admirable?

6. The contrast with Keogh? Michael Caine's style? The contrast of the tourist Englishman with the dedicated black African?

7. Consider the development and interaction of the two? From mere acquaintance to flip comic remarks. comedy? The contrast in character? The bystander becoming involved? The audience meant to be involved via the bystander? The demands made on Keogh?

8. How real did the film make the dangers? The sympathiser and his help with the chains? His death? (The irony of the fact that the audience knew the Africans were pursuing Keogh and Shack did not?) The irony of the dangers?

9. How credible was the character of Horne? The ugliness of his assistant? Horne's relentlessness,, his manifestation of his principles, his belief in the fascist police state? As a spokesman for the white African minority? How credible was his point of view?

10. The contrast with the village life, the villagers hiding the car, their humiliation verbally? How telling as an illustration of the attitude of white towards black? The submission of black towards white?

11. The character of Rina? Her place in South Africa.. the law? Her attitude towards her husband? Her role in the flight? Her apartment? Her persuading her husband to fly them out? Her relationship with Keogh? A conventional kind of character for this adventure?

12. The dentist Mukerjee? His place in Johannesburg, his timidity,, and yet his involvement with Wilby? His involvement in the cause, his fearfulness? His helping of Keogh and Shack? His assistant and her relationship with Shack? Her greed and her death?

13. The detailed getting of the diamonds? The visualizing of this. by night. suspense and danger? The complication- with Mukerjee's assistance?

14. The irony of Horne's deal with Keogh? Keogh's confrontation with Shack? The implications of compromise and relentlessness?

15. The flight out of Africa? The suspense of the flight?

16. The revelation of the truth and the irony of the conspiracy? The supremacy of Horne? The disillusionment of Wilby?

17. The impact of the sudden violence at the end? Desperation? The fact that Keogh kills Horne? His willingness to go on trial?

18. The values of the film and its message about human nature, society, violence, the police state? Convincing moralising entertainment?

THE WICKER MAN

UK, 1973, 86 minutes, Colour.
Edward Woodward, Britt Ekland, Christopher Lee, Diane Cilento, Ingrid Pitt.
Directed by Robin Hardy.

The Wicker Man is not for the squeamish: this film is recommendable to enthusiasts of unusual dramas. Ingeniously written by Anthony Shaffer (Frenzy, Sleuth), beware of judging incidents and styles before the horrifying conclusion.

An imaginary look at pagan beliefs and rituals in 1973 on a Scottish Isle, the film offers confrontation between heathen humanistic superstition and rigid Christianity. Tightly directed, with generally effective musical score, the film is well acted by Edward Woodward as an upright policeman and Christopher Lee as the head of the island, supported by Diane Cilento and Britt Eklund. The film utilizes well the modern "freedom" of the screen and makes relentlessly compulsive viewing for serious horror addicts. Cut scenes were restored in the 1990s and the film has a strong reputation as a horror classic

1. How ingenious was this film? In its screenplay in its contriving of situations and character? In its leading its audience on and tricking them? How successful was the screenplay?

2. How serious was the film meant to be? In its incidents? In its themes? Was it a message film? Or just a thriller? Why?

3. what were your impressions of Summer Isle? Its isolation, its yokels, their reaction to the policeman their secrecy etc.? The picture of life - modern bars etc., old fashioned shops etc.? What were your impressions of the heathen life of the island? Rose's lessons.. the fertility dance on the lawn. the maypole, the beliefs about God and evil?

4. How strong and significant was the confrontation between heathenism, its superstitions and Christianity? What values for heathenism were put forward? Its origins in the 19th century, in British Druid tradition, contrasting with and rebelling against Christian belief? How strong was the Christianity attacked? Was it Christ-like? How rigid was it? The flashbacks to Howle's beliefs and communion?

5. How did the film makes its contrast between the old ways of England and 1973? How did the film show the times and the people were similar?

6. How was Howle a contrast to this way of life? His arrival by plane, his character, his suspicions, his sense of duty? His type of investigation? His Christian beliefs etc.? How sympathetic a character was he? was this important for the film?

7. How important was it for Howle to be led each step towards his death? The importance of his curiosity? Sense of duty? Response to the lustful advances? His struggle with himself? His ingenuity in detection? The fact that the islanders were able to read his character and lead him so strongly? How important was this by the end of the film?

8. How sinister was the inn, the behaviour of Mc Gregor? The behaviour of the men in the inn? The depravity outside? McGregor's daughter and her dance? The importance of this? Its style? Her leading Howie on?

9. The importance of the sequence with the Morrison's and the disappearance of the daughter? The behaviour of the school girls? Miss Rose? The role of miss Rose on the island and the handing on of pagan tradition? The people on the island all in complicity? The sequence where Howie investigates heathenism in the library etc.?

10. The importance of Lord Summerisle? His character? His suave behaviour? His civilised putting forward of heathen belief? Your reaction to this? Did it coincide with Howie's?

11. Impressions of the celebrations? The way they were filmed? The role of Lord Summerisle? Howie's disguise? The growing suspense?

12. The importance of the rescue sequence? Where were audience sympathies here? The role of suspense and danger? What were your reactions when you discovered how Howie had been tricked?

13. Comment on the cinema value and the emotional response to the final sequences. The nature of the Wicker Man itself, the people and their singing, the hopes for the harvest, the martyrdom of Howie and the pain and torture of his death? The fact that they would have to repeat this the next year?

14. What values did Howie die for? The nature of his death and its meaning? What values did the film put forward? Where did it take its stance on good and evil?

WHY SHOOT THE TEACHER?

Canada, 1976, 99 minutes, Colour.
Bud Cort, Samantha Eggar, Chris Wiggins, Gary Reineke.
Directed by Silvio Narizzano

Why Shoot The Teacher? Though featuring Bud Cort, the wide-eyed boyish lead of Harold and Maude, and Samantha Eggar in a good, though somewhat melodramatic role, and directed by Canadian international film-maker Silvio Narizzano (Georgy Girl), this is a Canadian production, cast and crew and a strong flavour of the frozen isolated central plains in winter. While the plot is another version of the inexperienced teacher facing difficult children and circumstances with mutual winning over, the tone is strong sentiment and a feel for hardship, the needs of country children and parents and, of course, of aspiring teachers. It is also set in the Depression, 1935. While nothing new, it is offered with vigour.

1. An entertaining drama? A glimpse of Canadian history? Focus on education? The blending of these themes?

2. The Canadian production qualities? The stars? The technical credits? The atmosphere of Canada and its flavour?

3. The importance of the Depression 1935 setting? The opening, Max's experience and story? The atmosphere of lack of work in Canada? The need for jobs? Poverty? The importance of the train ride and the audience _Journeying to Saskatchewan with Max? The countryside, the train trip? The landscapes? The importance of winter, snow, the flat plains? The blizzards? The coldness of spring? The isolation of the Canadian plains? The audience feeling the cold of this Depression winter?

4. The focus on the country school - its place in the education system, the various grades all being in the same classroom, the range of syllabus and the one teacher having to cope? The poor facilities? The willingness of the students to learn and the parents to support them? The need for teachers to live in remote places? Teachers and experience and drawing on training? The importance of discipline, creativity? Insight into the work of a teacher, the needs for communication with the children, the processes of learning, discipline? Teachers and their sense of inadequacy?

5. Bud Cort's portrait of Max - young looking, wide-eyed, naive? His telling his story? The train trip and his hopes? Borrowing money from his brother? The initial meal and his trying to feel at home, telling jokes and straining? The coldness of the first night, the hospitality of the family? The long distances and the freezing on the back of the wagon? The toilet and his need to go? The finding of the school? His reaction to the school. his room? His ability to meet the students, the roll-call? His discoveries about each of the children and their families? About himself? The support and lack of support of the community - money, the food, the house, the help? Costs and his needing to build up his salary? The hard line taken by the authorities?

6. Max and his success with the children? In the house on the first night? In meeting them at roll-call? The range of children presented by the screenplay? Age range, class range? Their ordinariness, poverty, hard work? Some being imaginative and responding to his teaching? His disciplining the older boy and humiliating him? His not binging the water? Giving his lunch to the poor children and their father's reaction? The co-operation? The hardships of winter education?

7. Alice as a symbol of a person dissatisfied and out of place? Her telling her story about coming from England and World War One? Her many children? Her love for her husband, yet his brutality, hard work? Her support of Max? The dance and Max's injuries? Her attitude towards her daughter being in the class? Her being oppressed by the winter, the snow? Her running away? Max's welcoming her? The point of their recitation of Noel Coward? Her staying the night but everything being proper? Her husband and his attitude towards taking her back? His judgment of Max? Her disappearing from the film after her husband taking her back? The quality of the portrait of Alice in itself?

8. The portrayal of the various families - the Bishops and the pressures on Max especially as regards his salary? Harris Montgomery and the interest in socialism at the time? His rousing people up? Max and his not wanting to speak? His decision to speak and his failure? The attitudes of the adults, of the children?

9. The women of the town - supplying the food, their presence at the dance, the rallies? The bank turning out the family and its having to move?

10. The detail of the way of life during the winter from school, to social events - and Max in the brawl, to social reform?

11. The visit of the inspector - the children involved in the gopher hunt, the test and their funny answers? The inspector's exasperation? Maxs support of the children? His tirade against the system? The testing of values in the comparisons between Max and the inspector? The influence on Max’s returning again?

12. The audience being invited into a particular community and its way of life, seeing its humanity, its needs? The importance of the historical perspective of the Depression? The credibility of Max's return to teach ?

WHY DIDN'T THEY ASK EVANS?

UK, 1980, 180 minutes, Colour.
Francesca Annis, James Warwick, Eric Porter, Leigh Lawson, John Gielgud.
Directed by Tony Wharmby, John Davies.

Why Didn't They Ask Evans? is a TV dramatisation of Agatha Christie's novel. It is part of the popularity of Agatha Christie stories in the '70s and '80s. Margaret Rutherford had some success in brief low-budget Miss Marple stories. Witness For The Prosecution was a success in the '50s. Tony Randall did a satiric turn as Poirot in The A.B.C. Murders. Albert Finney was Poirot in Murder On The Orient Express and Peter Ustinov was Poirot in Death On The Nile and Evil Under The Sun. Angela Lansbury was Miss Marple in The Mirror Crack’d. There was also the fictional story about Agatha Christie's disappearance with Vanessa Redgrave taking the part of Agatha Christie.

This telemovie is three hours in length and captures the atmosphere of the Christie novel. It is very strong in its reproduction of the style of life in the English countryside in the '30s. The setting is Wales with movement to a wealthy household. This gives the opportunity for portraying the countryside, the lavish mansions, the elite way of life with the class distinctions of the times. The film takes these for granted and invites audience nostalgia about these good old days. Costumes, decor, cars are all part of the atmosphere.

The cast is excellent with Francesca Annis and James Warwick as Bobby and Frankie, the amateur sleuths. An excellent British stage, cinema and television cast take up the central roles. Particularly good are John Gielgud as Bobby's vicar father and Eric Porter as the seemingly sinister Dr. Nicholson. Leigh Lawson has a good role as the suave villain. The long running time enables all the angles to be presented on screen, gives the audience time to study the characters and then to listen to the explanations and to find out how they have been tricked - for indeed in this film the audience is often tricked.

1. The popularity of Agatha Christie's novels over so many decades? Her presentation of the English way of life, the direct presentation of her characters, the basic mysteries, clues? Her style in diverting attention from the villains? How evident was this here?

2. An adaptation of Agatha Christie for television? Length, multiple characters, the picture of England in the '30s? The leisure for presenting the crimes, characters, motivations and explanations? How ultimately satisfying?

3. Audience interest in the Agatha Christie world of the '30s: Wales, leisure and affluence, the difference between classes, the background of religion, medicine, drugs, fraud and international crime? The overtones of period comedy of manners?

4. The importance of the cast and their contribution to atmosphere? The guest stars?

5. The initial focus on the killing, the presentation of clues and Roger's presence? The various hypotheses with time to frame them? Agatha Christie and her ability to mislead her audience? The satisfaction of understanding the truth? The irony of the identity of Evans - and the audience seeing her almost run over by Roger at the beginning of the film?

6. Bobby as hero - the ineffective English young man of the times yet becoming a hero? His poor gold playing, discussions with Dr. Thomas? The discovery of the body and his reaction? Playing the organ, meals with his father, discussions with his father and the vicar's expectations for him and disgust with him? His performance at the inquest? Writing the letter about the victim's last words? His being poisoned and recovering? His friendship with Frankie and love for her? Joining her in the research and investigation? His friendship with Badger and their fixing up the cars - with the comic touch? His working as Frankie’s chauffeur and his presence at various important points? His being kidnapped outside Dr Nicholson's? The escape? The decision about Moira at the end? (And his infatuation for her parallelling Frankie's for Roger?) The discovery of the truth about John Savage, the interview with the servants, the discovery of Evans?

7. Frankie and her aristocratic background, style, lady of leisure, her curiosity? Friendship with Bobby? Arrival at the inquest and her curiosity being roused? Her decision to be involved, contriving the accident with her doctor friend? Her stay in the household? Observing the decline of Henry? Becoming friends with Roger and being charmed by him? Friendship with Sylvia and her son? The encounters with Dr. Nicholson and her suspicions? Belief in Moira? Her searching out clues, phone calls to Bobby, rides with him as her chauffeur? The dangers especially with the drama of Henry's death? Her being captures? The unmasking of Roger? The tracking down of Moira and her quick thinking about the poison? The interview with the servants and the discovery of Evans? Her accepting Roger's invitation and being trapped by him after hearing the truth? His gallantry in letting her go? An attractive (if unreal) heroine? The character sketch of this kind of woman?

8. The initial killing and Roger's presence? Dr. Nicholson and Moira and the range of suspicions? Henry's death and audience judgments? The attempts on Bobby's life? The green car and Bobby's finding it? Audience presumptions and their response to evidence?

9. How satisfying were the intricacies of the plot: Savage and his money to Mrs. Templeton, the drugs background, the initial victim and his discovery of the truth, his visits to Henry and Sylvia, curiosity about Dr. Nicholson, the photo of Moira? Henry and Sylvia and the relationship with Dr. Nicholson? Dr. Nicholson's presence? The kidnapping? The unmasking of Roger as villain? Audience suspicions of Moira? The explanations - especially concerning the title of the story?

10. The character of Dr. Nicholson - his appearance, association with drugs and the hospital, classes, sinister manner? Moira and her innocence and vulnerability? Audience misjudging? Sylvia and her relationship with Henry, Roger, Dr. Nicholson?

11. Moira and her sweetness and the sudden unmasking? The credibility of her being such an arch criminal?

12. Roger as suave villain? At the beginning with the body, at home and his charming the audience as well as Frankie? His disguises and Badger's memory of him? The unmasking, the truth? Frankie confronting him with his madness? His wanting to take her away with him? His gallantry in setting her free?

13. The character sketch of Henry and his decline? Sylvia and her concern for her husband?

14. The background characters and their contribution: the lawyer and his explanation of John Savage's will after Bobby impersonated him? The society lady who had taken the victim down to the country? The policeman at the old house?

15. John Gielgud as vicar - a sign of the times, the comedy clashes with his son? Dr. Thomas and his contribution at the inquest?

16. The Templetons' servants and the discussion about Evans? The truth about Evans - and her near accident at the beginning, her presence at the vicarage?

17. The pleasure of investigating a murder mystery? Involvement in Agatha Christie's world? Crime, morals, puzzle, judgment?

WHO'S GOT THE ACTION?

US, 1962, 93 minutes, Colour.
Dean Martin, Lana Turner, Eddie Albert, Walter Matthau, Nita Talbot, Margo, Paul Ford, John Mc Giver.
Directed by Daniel Mann.

Who's Got The Action is a slight and light comedy about gambling - set in the '60s but with Damon Runyon overtones. Dean Martin is pleasantly suave as the hero and Lana Turner tries her hand at comedy. Eddie Albert is much more at home in this kind of film, as is Walter Matthau as the gangster. There are humorous performances by Paul Ford and John Mc Giver as judges. The material is fairly obvious but pleasant enough to pass the time - American style comedy.

1. Popular American style entertainment? The appeal of the stars? The gloss of the film? Comedy and gambling?

2. The conventions of the romantic comedy? Mistaken identities - as applied to gambling and reform? The situation humour? Traditions of the Damon Runyon gangster type film with comic gangsters? Poking fun at the law? Marriage and romance complications? This film within these traditions?

3. Colour photography, Panavision? The American cities and locations? The score? The nightclub songs? Dean Martin's final song?

4. The plausibility of the plot - sufficient for the romantic comedy? Melanie and her anxiety about Steve? Marital jealousy? Steve and his law practice, Clint and his help - as well as waiting for Melanie? The gambling? The complications of the set-up with Melanie as agent and the complications as regards raising the money? Steve gaining money, Melanie selling the furniture? The complications with the neighbour, Saturday? The gangster? The growing complications and the final confrontation?

5. Steve as hero - the Dean Martin type, gambling, success, neglecting his wife, the deals with Clint? The confrontation with the judges, with the gangsters? The resolution?

6. Melanie as heroine - Lana Turner's glamorous style, the plausibility of her becoming a betting agent? The clash with the gangsters? The friendship with Clint? The friendship with Saturday and the selling of the furniture? The humorous joke with the policeman?

7. The contribution of Clint as the best friend - the would-be romance, the gambling, getting the money and the various devices e.g. at the restaurant under the table? The gangster types - Walter Matthau and his computer, his wanting class and style, not wanting to marry Saturday? His threats of the various underlings? The gangsters and their confrontations? Money-lenders? The world of racing and gambling?

8. The humour of the two judges and their gambling? Their particular styles and devices for gambling - the courtroom sequences?

9. The theme of marital bliss and ambiguity? The humour about marriage?

10. The parody of gangster themes? The computers? The gangster's moll and her having the heart of gold and wanting class?

11. The humour at the expense of the law? The gamblers and their reactions to the judges? The races?

12. The build-up to the final confrontation its farcical style?

13. The tradition of popular American comedy how particularly American? Its basic themes?