WHOLLY MOSES

US, 1980, 103 minutes, Colour.
Dudley Moore, Laraine Newman, James Coco, Paul Sand, Jack Gilford, Dom de Luise, John Houseman, Madeline Kahn, Richard Pryor, John Ritter, Tom Baker.
Directed by Gary Weis.

Wholly Moses: While Life of Brian scored with its Goon/Python British exaggerated satire, this particularly broad American humour style parody is not a resounding laughing matter. Dudley Moore, who can be so funny (in Bedazzled he could keep pace with the Pythons) is made to look strained and straining for laughs. He portrays the little man confronting authority and even arguing with God. The idea is quite good - discovery of an old scroll about a slave whose life and career resembles that of his brother-in-law Moses and makes him think he receives the Ten Commandments. But the treatment is pretty heavy-handed, verbal humour slight and several guest stars are incidental, strident or both.

1. The influence of The Life of Brian? Spoofs of Bible characters? The humorous attempts at "blasphemy"? The possibilities of scriptural satire? The traditional biblical films and their being sent up? The serious undertones in the point of the satire? The quality of the humour?

2. The American tone of the comedy? Broad American farce (in comparison with sharper English verbal satire and visual wit)? The film's success as parody?

3. Colour photography, the American locations for Israel? Panavision? The flavour of the present, the flavour of the past - and the parallelling of biblical spectaculars?

4. The enjoyment of the satire on the tourists in Israel, Harvey and his story about his relationships and people's embarrassment? Zoey and her friendship, her embarrassment in listening to him? Her losing her scarf? The background of the finding of Dead Sea Scrolls and other documents? The plausibility of finding the scroll ~ and its humorous and satiric contents? The parallelling of the life of Moses and audience knowledge of the story for humour? The irony of a man and a mission? God and his role in guiding his Chosen People? The Ten Commandments and their influence?

5. The prologue of the present - the establishing of Harvey and Zoey as characters, their reappearance in the story on the scroll? The sudden return to the present? The happy ending in the present despite the scroll crumbling?

6. The humour of the parallel to the saving of Moses Hyssop as the slave casting his son adrift, Pharaoh's daughter and her discovery of Moses? Herschel and his going further upstream? His growing up and its parallel to that of Moses? His father as idolmaker? The satire on the supermarket for idols? The plight of the Hebrews? Herschel and his ambitions? His abandoning his trade, his work as astronomer to the Pharaoh, his cowardice and immobility during the battle? His flight through the desert like Moses? The encounter with Jethro and the marriage to Zerelda? The humour of his overhearing God speaking to Moses from the burning bush? His attempt to lead the slaves out of Egypt? The chaos in his trying to perform miracles? His imprisonment in the salt mine? The satiric encounters with the Angel of the Lord (the satire and taste of the drunken angel!), the parody in the visit to Sodom, persuading the archangel to let them escape, the satire on Zerelda being like Lot's wife? The pleading at the Court of Pharaoh? The irony that Moses had already released the Israelites? Imprisonment and escape? The carving of the Ten Commandments - and the sentimental reassurance by God? The parallel with the events of the Book of Exodus?

7. The farcical humour, the exaggerated characterisations and caricatures? The guest stars and their brief appearances - Dom DeLuise? wandering in the desert, Madeline Kahn and her strident advice, Paul Sand as the drunken angel, John Houseman as the archangel, Richard Pryor as the modern black-style Pharaoh?

8. The humour of the spectacle sequences e.g. the battle.. the burning bush, Herschel's wife and the pillar of salt?

9. Did the film build up into any kind of climax and point - especially in terms of the Ten Commandments?

10. The lack of success in broad humour compared with the more telling incisive English parody with The Life of Brian? Modest and moderate humour?

WHO'LL STOP THE RAIN?

US, 1978, 126 minutes, Colour.
Nick Nolte, Tuesday Weld, Michael Moriarty, Anthony Zerbe.
Directed by Karel Reisz.

Who'll Stop The Rain is a drugs and gangster story - the difference is that it portrays involvement in peddling as one of the ugly side-effects of U.S. presence in Vietnam - that violence disillusions the idealist into corrupt cynic, that exploiters are ever-present, especially under cover of government and law enforcement and that the innocent and the naive suffer most - and that in this kind of world, victims asserting themselves or taking some stand is, at least, a shot at self-identification. Unfortunately, this overlong and not always gripping film is not as cogent as its message, blending sequences of realism with allegory of the grim state of the American nation over the last decade.

1. The significance of the title? The song at the end? The original was called The Dog Soldiers. The meaning of this title? More appropriate?

2. The purpose of making this film? Entertainment, strong plot, an allegory about America in the '60s and 1970s? A portrait of human nature? most of these elements?

3. The importance of the Vietnam background? Audience interest in and response to the war in Vietnam, America's involvement, the waging of the war, the bad side and after-effects, the effect on Vietnam, on American society? The visual presentation of the war at the beginning? The them of war and its repercussions on men? The violence of Vietnam? The use of drugs in Vietnam, peddling and drug circuits as the side-effect? The people involved in the war and their attitudes? Their attitudes towards the Vietnamese. towards their own superiority? Survival? How well did the film visually present these themes, verbally? Within the plot of a chase thriller?

4. The focus on John at the beginning, his writing his letter, visual presentation of his participation in violence, blood? The revelation of his attitudes before the war? The idealist, the reader of books e.g. Nietzsche, friendship with Ray, his marriage to Marge, his daughter? Yet the criticisms of his father-in-law about his character? How did he change through his experience from idealist to cynic?

5. The presentation of the drug ring - Charmian and her wealth, position in Saigon, contacts, large amounts of money? His contact with her and his being used? The irony of thinking that he was taking an important step and that his life was leading in this direction, his explanation of his involvement to Ray? The irony of Charmian's link with Anthell? The background of government, Washington connections, law enforcement people all using these cover-ups and officialdom for their own ends, greed, exploitation and violence? John entering a world in which he thought he was master but was actually victim?

6. The significance of John's absence from his home the night it was raided? His arrival by plane, going home, not understanding, not being able to give answers to his torturers, coming from war in Vietnam to torture in his Berkeley suburban home? Antheil and his pressure on John? His father-in law's advising him to run? The crudity of the men torturing him, then guarding him e.g. playing chess? Their prison background and his reading the book, watching them? The background of his play and Antheil's criticism of his pacifist attitude? Nicknaming him and referring to him by that name throughout the rest of the film? His being hostage. his presence in New Mexico, kneeling to be shot, his place in the confrontation? His escaping, his reunion with Marge. being saved by Ray? The impact of Ray's death. burying him as a soldier, throwing away the drugs? John as the focus of the film - the naive victim who wanted to assert himself but who was defeated? His insight, change of heart, future? His hopes for Marge? The baby? What would happen to John and Marge in the late '70s?

7. Ray as a contrast? With John in the Marines? His toughness, his martial arts exercise, his work on the ship? The reason for his agreeing to take the drugs? His background of marihuana peddling? one critic saw him as an American hero protecting his friends against evil. The soldier as mercenary, dog soldier? The tough American type, his arrival, his skill in getting the drugs from the Oakland port, the scene in the bar and his talking about Mexico. his comments on how things had changed from the beginning of the war?

8. His contact with Marge? His pressure to get her to act and have the money? His realisation that he was being followed e.g. at the port and eluding pursuit, pursuers' presence in Berkeley? His luring them inside. his skill in violence. torturing and humiliating them? His dominance on the situation, getting Marge and the baby. escaping to Los Angeles? Going to his hideout and calming down? His comments on his individual way of life, the relationship with Marge - the lack of sexuality? The importance of trying to get rid of the drugs, the contact in Los Angeles. going to the party with Gerald and his wife? His being betrayed by the pusher? The reason for his violence with the injections?

9. What was happening to him through this experience? His soliloquies about not being pushed, asserting himself? Selling the drugs as some means of self-identification - irrespective of moral issues and exploitation? His decision to go on the road, the elaborate set-up in New Mexico - natural beauty, electronic machinery? His friend, taking over the house? The way that he used the machinery and the lighting during the siege? His reaction to being besieged? John as hostage, Marge's wanting to go - even without saying goodbye?

10. What motivated his decision to change the drugs? Did he still hope to sell them? His military strategy in rescuing John and Marge, in shooting the two thugs? His being wounded, his being treated by his friend, the self-assertion in walking along the railway line. the sound of song and marching to his death? The tableau-like pose when John and Marge found him? His burial as a soldier? The meaning of his life, self-assertion. achievement?

11. The background of Berkeley as the centre of protest in the late '60s? The streets, the book shops? Marge’s father-in-law as the conventional American? Marge and the background of her marriage, home, love for her baby, the house? At work? Yet her addiction and need - and her not being able to explain why? John and his drug-dealing as a mystery to her? Marge as an amateur? Going along with Ray, her feelings about her child? Her ability to accept being on the run, the Los Angeles hideout, the violence, her wondering at his violence to Gerald and the others?

12. Her experience of the trip, Mexico, the siege? Her despising John. wanting to go down? The rescue. her weeping at Ray's death? Her need to throw off the drugs? The future of her marriage with John?

13. Audience response to the background of drug peddling, exploitation, drugs in Vietnam, officialdom, police using their official status as a cover for drug-running? The types in the drug world, the elegant people, the ex-convicts, the pushers, Los Angeles society, the change of money?

14. Antheil and his crookedness, his contacts. using the law? His handling of the siege? His seeing the drugs on the ground and the irony of his being shot by his companion?

15. America and violent deaths - and the parallel to Vietnam?

16. How well did the film work as a chase thriller, siege, set in western territory? Gripping, tense, or not?

17. Themes of people who are victims, naiveté? The need for self-assertion?

18. How well did the film work as an allegory of America in the '60s and '70s?

WHO WILL LOVE MY CHILDREN?

US, 1983, 100 minutes, Colour.
Ann Margret, Frederic Forrest, Donald Moffat, Cathryn Damon.
Directed by John Erman.

Who Will Love My Children is a sad and moving human drama. The screenplay is based on a true story, of a woman dying of cancer who wants to place her ten children in foster homes before she dies. Ann- Margret, minus make-up, is quite believable in this central role. (One might compare her performances in The Return of the Soldier, I Ought To Be In Pictures, Magic.) She is well-supported by Frederic Forrest as the father incapable of looking after his children. The children themselves are also well-portrayed.

The film is continually sad - but has something to say about the resilience of human nature.

1. The impact of the film? A humane film? Sadness for the situation and the characters? Admiration for Lucille?

2. The film based on a true story: real, realistic, credible? Audience identification with the characters and situation? With the emotions? The feel for the characters? For Lucille and her decisions? Her death? A blend of emotion and insight?

3. The period re-creation of the '50s: location, the open territory, the isolated house. the situation. the town? The poor family? The background of work in the foundry, in the abattoirs? Scenes at home? Authentic? Musical score and emotional response?

4. The title and the theme. the focus on Lucille, on the children, on the sense of family and bonds, the emphasis on love and providing? The repercussions of family, death?

5. The strong performance of Ann-Margret? Her presence, appearance, strength? Her portraying a mother and the detail of her care for all of her children? Her impatience with Ivan and yet her tolerance of him, love for him, reliance on his support? Her bearing a hard life? Her forgiving nature? Her positive outlook on life? The discovery of the lumps, the visit to the doctor, apprehension about illness? The impact of her illness and her growing worse, preparing for death? Her not wanting to take medication? Her treating each of the children personally - telling them about her impending death, using religious language and going to Heaven to explain it to them? Her telling Ivan and his unwillingness to listen? Hazel and her offer of help. Lucille's accepting it? The importance of the first interview - the values of the family, the children able to visit one another, financial background, religious background, the possibilities of education? Her list of questions? The possibilities of success and failure in placing the children? Re-examining situations? Ivan and his continued drinking, loss of his job? The final pain of Frank's not being able to find a home. taking him to the institution? Her nightmare and dream, seeing the children, visiting them for the last time?

6. The detail of Lucille's life: the opening and the two men coming back drunk, needing the car to go to the hospital for the birth. Lucille's anger and love, her feeding Stephen. the discovery of the lump, the biopsy and the reality of her cancer. the prescriptions? The birthday party and the gifts. the cakes? Scenes of washing, coping with Frank's spells? Trying to make Ivan believe? Joanna and her anger with her father, wanting Joanna to forgive her father? The love for each child? The dream. the vision of the children, Ivan taking her to the bus, the final visit to Joanna and the completion of her work?

7. The reality of cancer, talking about cancer, facing the reality of death, planning, illness and strength, dying?
8. Ivan and his irresponsibility? Drinking with Clay, the driving, his being used to the birth of his children? His jobs and his arthritis, drinking? Noise? The kids laughing at him? Joanna and her anger? Seeing him at work, dropping the metal, getting the sack, pleading, going to the abattoirs? His anger? The visit of Mr. Thomas and the discussion about taking the children? His inability to face the reality of Lucille's death? A loving man,' tenderness, sweet-talking his wife, yet unable to cope, alcoholic? Finally alone and at the funeral? His children joining him?

9. Joanna and her poise, having to cope with the children, seconding her mother? Her politeness - as noticed by the Thomases? Her treatment of the girls, the boys, especially Warren and Frank? Looking after the baby? The various visits? Her visit to the Thomases, the effect, the sadness of saying goodbye? Her reaction against her father? The various children and their talking together, playing together, studying? The boys and the bond between Warren and Frank? Lucille taking them wading in the water?

10. Hazel and her concern, her help, her relations? The final adoption of Frank?

11. The portrayal of the various families? The family that came to get Stephen? The farms, the milking of the cows? The Thomases and their wealth? Warren and Frank going out with the couple? Moving to California?

12. Frank and his spells, no family able to take him, the doctor trying to get another doctor interested, the visit to the institution?

13. Lucille's doctor and his bluntness, directness? Trying to find a family for Frank?

14. A film of detail of family? Audiences responding to this? Emotionally? With insight? An American story? Universal and true?

WHO SLEW AUNTIE ROO?

UK, 1972, 91 minutes Colour.
Shelley Winters, Ralph Richardson, Mark Lester, Chloe Franks, Lionel Jeffries, Hugh Griffith, Rosalie Crutchley, Pat Heywood.
Directed by Curtis Harrington.

Who Slew Auntie Roo? is a macabre thriller, co-written by veteran Hammer horror-writer Jimmy Sangster (who then moved to the United States for a number of telemovie thrillers) and directed by Curtis Harrington, noted for such thrillers as Games, What's The Matter With Helen?. This film has an outstanding cast with Shelley Winters and Ralph Richardson in the lead. The film offers Mark Lester an opportunity for a macabre thriller after his role in Oliver. His sister is played by Chloe Franks who was to be the young Frederica in the film version of A Little Night Music. There is an interesting supporting cast of English character actors.

The film is based on the fairy tale of Hansel and Gretel. This becomes quite explicit as young Christopher becomes more and more suspicious of Auntie Roo and interprets what she is doing in the light of the witch of Hansel and Gretel. He in turn destroys her. Offbeat and macabre.

1. An entertaining horror thriller? Murder and madness? The style of the title?

2. British production? Period atmosphere? A blend of realism and the overtones of macabre fairytale? Auntie Roo and her affluence? Reality and unreality? orphans, the Poorhouse, a fairy godmother turned witch? Murderous orphans?

3. Audience familiarity with the tale of Hansel and Gretel? The film as a sombre variation? A cautionary tale? Christopher telling more of the story and making explicit the references? Eventually the fairy tale being taken step by step? The shift to seeing Auntie Roo as a witch? The justification of this point of view and therefore the morality of the children's behaviour?

4. Mrs. Rosie Forrest, Auntie Roo,- Shelley Winters' presence, boisterous style? An ordinary and kindly woman? Her stage career? The death of her daughter, the seance, her credulity, open to blackmail? The coffin and the odd details of her vigil at her daughter's coffin? Her memories of her death? Madness? The kindly aspects of her personality - Christmas, entertaining the orphans, singing, the gifts, Katie and the bear? Her delight with Katie, Katie becoming her dead daughter, her wanting to adopt her and keep her in the house? Christopher and his jealousy, anger? The problems of whether they should stay or not? The meal, the mutual entrapment, the prison, the pork? Her seeming to be a witch? In reality a poor misguided and distraught mother? Her being robbed by the servants? The build-up to the fire, her death? Auntie Roo as a witch or not?

5. The orphanage, the stock characters managing the orphanage, the touch of cruelty? The children and their silence, their running away, the choices for the party? Katie and Christopher excluded? The emphasis on behaviour and manners? The two children going to the party? Auntie Roo's welcome? Katie's attachment to the bear and Mrs. Forrest's reaction? Christopher and his attitudes, jealousy? The discovery of the truth - and acting out detail by detail the destruction for Hansel and Gretel?

6. Mr. Benton as a charlatan, the seance and the effects, his drinking? The two servants and their complicity in the seances, the blackmail and the robbery?

7. The opening with the Dickensian atmosphere of the orphanage - and the transition to popular Gothic horror?

8. Themes of madness, normality? Violence and amorality? The innocence and evil of children? Adults as their victims? An appropriate modern variation of Hansel and Gretel?

WHO? (THE PRISONER OF THE SKULL)

UK, 1974, 93 minutes, Colour.
Elliot Gould, Trevor Howard.
Directed by Jack Gold.

Who? (The Prisoner of the Skull) is a modest old-style spy thriller with a preposterous sci-fi horror title. This film covers the familiar material of Russian/German spying and F.B.I. Intelligence countering manoeuvres. A U.S. scientist, reconstructed (including metal face and head) after a car accident, has to be tested to see if he is the authentic person claimed. The screenplay progresses by cross-cutting the U.S. progress (centred on Elliot Gould's F.B.I. supervision) with the Communist reconstruction (centred on odd-accented Trevor Howard). In stead of a twist at the end, there is a twist before the end. All in all, quite unexceptional, but on the other hand, short and quite reasonably enjoyable.

1. An entertaining thriller? Espionage, European background of the Cold War, the place of the United States? Science-fiction overtones? Human themes?

2. The quality of British production, low-key treatment, action e.g. car chases? Interrogation and brutality sequences? Pacing? Elliot Gould and his American style contrasting with Trevor Howard?

3. The point of view of the film especially about war, scientists and their careers, secret projects, the place of espionage, violence? Human rights? The quality of human life?

4. The significance of the title, Who? The alternate title of The Prisoner of the Skull and its overtones?

5. The immediate impact of Dr. Martino - his appearance, the artificiality, the inhumanity of the skull? The overtones of the monstrous? Science fiction? The humanity despite the appearances? His reputation, scientific career and skill, the accident? The irony of his being rebuilt by the Russians? Their drawing on his experience? His character, his resistance? The consequences for the Americans, for the Russians? The testing of his identity? The importance of the people in his life, the encounter with Edith and her doubt? The crisis in his life as regards his future? The impact of the American interrogations? His opting out of the world of espionage and defence? His opting for his farm? A symbol of the 20th. century expert?

6. Rogers and his skills, his harshness of personality, his acceptance of the assignment, motivation? His interaction with Dr. Martino? His aggressivity, brutality? His doubts, the skill of the tests for identity? His dilemmas? The encounter with Edith? His final decision as regards Dr. Martino? The change of policy? The impact of the final encounter? How much of a hero was he for this film? In comparison with Dr. Martino?

7. The comparison with Azarin? Russian skill, intelligence, ruthlessness, exploiting the situation? The treatment of Dr. Martino? The plans? The alternate Dr. Martino?

8. The importance of the Neptune Project, for the Americans, for the Russians? The defector? The importance of strategy over people?

9. The contribution of the minor characters - the Russians and intelligence, espionage, military skill? The comparisons with the Americans and their counterparts? The ordinary characters caught up in the world of espionage?

10. The adventure ingredients and audience entertainment especially the car chases, the F.B.I. agent and work?

11. A portrait of a human being and the dilemmas in the modern technological world? The importance of learning, skills? The dominance of technology? The opting away from this? The indications of "a better life"?

12. The Detective Story style of the film and audience interest, curiosity? The aspects of the puzzle? Identity questions? An entertaining humane thriller?

WHITE WITCH DOCTOR

US, 1953, 96 minutes, Colour.
Susan Hayward, Robert Mitchum, Walter Slezak, Timothy Carey.
Directed by Henry Hathaway.

White Witch Doctor is a pleasant and undemanding piece of adventure hokum. Africa has always been popular for melodrama and on safari - from Trader Horn to King Solomon's Mines to Mogambo. The classic was The African Queen. This modest adventure has the dynamic pairing of Robert Mitchum and Susan Hayward, who had appeared just before in Nicholas Ray's The Lusty Men. Walter Slezak is his usual villainous self. Direction is by Henry Hathaway, a director noted for many adventures over decades - including another African adventure, The Last Safari in 1968 with Stewart Granger. The film has the distinction of a musical score by Bernard Herrmann, who scored so many of Hitchcock's films.

1. Entertaining action adventure?

2. The conventions of the African adventure: the portrayal of the outpost, isolation, the jungle, animals, exploitation of the Africans by Europeans, the strong American hero, the undaunted American heroine? The particular dangers from animals, the natives? Conventional material - how well done?

3. The colour photography and atmosphere of Africa? Use of locations? Special effects? Bernard Herrmann's score?

4. The basic strands of the plot - the adventurer in Africa and his collecting animals? His being used by criminals to discover jewels and gain access to forbidden territory? His seeing through his manipulation and falling for the heroine with whom he clashed? The widow trying to make up for her dead husband's desire to go to Africa and facing difficulties? The stars as putting vitality into these roles?

5. Lonnie: Robert Mitchum's style and presence? His work, fighting the gorillas, encounters with Huysman, initial clashes with Ellen and warnings for her to keep away, sailing up-river, the capture by the natives, the possibility of death? The final fight-out and happy ending? Falling in love and talking over the meaning of their lives? The Hollywood hero?

6. Susan Hayward's vigorous style as heroine? Her arrival at the outpost, the fear of the animals, her growing strength, her giving up her clothes, the voyage up-river? Her religious background and principles? Doctor Mary's death and having to step into her place? The natives' wariness of her? Proving herself with the medicine? The importance of treating the Chief's son, the vigil and the risks in his not recovering, her skill? Her talking over her life with Lonnie and her motives for being in Africa? Her being saved - and the happy ending? The Hollywood heroine?

7. Huysman as villain - smooth-talking, using people, unscrupulous, violent? The fight-out and death? His associates and their straightforward villainy!

8. The presentation of the African Chief,, his concern about his son? The contrast with the witch doctor and his sinister threats, attempts to kill Ellen and Ellen's saving the son through medicine? The points being made about old tribal ways and modern medicine? Preserving the values of the past,, introducing the values of science? The relative merits of this?

9. The special effects with the African landscapes, the river? Animals and dangers from gorillas to lions and spiders?

10. The special effects with tribal rituals - of the welcoming as well as the dangerous kind?

11. How satisfying is this kind of Hollywood adventure? Its reliance on the audience's basic responses to the clash between good and evil? The role of heroes and heroines? Villains and exploitation?

THE WHITE SISTER

US, 1933, 110 minutes, Black and white.
Helen Hayes, Clark Gable, Lewis Stone, May Robson, Edward Arnold.
Directed by Victor Fleming.

The White Sister was a silent film with Lilian Gish and Ronald Coleman. it was remade in the early '30s as a Clark Gable vehicle and he was cast opposite recent Oscar-winner and stage actress Helen Hayes. The film is reminiscent of Hemingway's A Farewell to Arms - it had been filmed by Frank Borzage with Gary Cooper and Helen Hayes at this time. The film focuses on worldly love and religious vocation and puts a strong clash between the two, even though the human love is passionately felt by Helen Hayes as the nun. A comparison of this time might be The Garden of Allah with Marlene Dietrich and Charles Boyer as a runaway monk. Religion is highly idealised ~ far too much out of this world. The film had a big budget, was directed by Victor Fleming (Red Dust, Captains Courageous, The Wizard of Oz, Gone With The Wind). It seems rather dated now - although it has the perennial ingredients of the romantic melodrama and even of the soap opera.

1. An entertaining romance? War story? Picture of Italian high society? Military? The focus on religion and love - and self-sacrifice? The perennial ingredients of popular melodrama and soap opera?

2. Production values: M.G.M. gloss, black and white photography, prestige cast and director? Sets, decor, score? The atmosphere of World War One in Italy?

3. The adaptation of a romantic novel? Remake of a popular silent film? The Clark Gable-style hero and romance? The restrained and modest heroine and the talents of Helen Hayes? The conventional setting up of the romance. the war, misunderstandings? The conventions of Hollywood for the presentation of religion - upturned eyes, halo-lighting. heavenly choirs etc.? How credible?

4. The World War One atmosphere? The opening day, carnival, the traditions of the nobility, the soldiers? Each of the main characters breaking out of the environment? The chance meetings? The falling in love? The cross-purposes. the separation of war, grief, injury, news of death? Religious dedication? The temptation to leave the convent, the temptation of marriage? The final heroics on the part of the main characters? The plausibility of the plot - in melodramatic and soap opera terms?

5. Angela as heroine? Helen Hayes' presence and style? Pampered daughter, nobility? Her relationship with Mina? The carnival, the accident the meeting of Giovanni? The happiness together? A basis for romance? Her breaking out of her world? The separation and the war? Her relationship with her father? His sternness? War, disruption, injury? Her decision to enter the convent? The severity of the training? Her skill and compassion at her work? The new encounter with Giovanni? The torment, the decision, her heroism in accepting Christ and rejecting Giovanni? How correct was the decision she made?

6. Giovanni and the Clark Gable hero? Cavalier and dapper, the chance encounters, his friends and comrades, the atmosphere of the soldier, the carnival? His entertaining Angela and his falling in love with her? The impossibility of the marriage? His military service, heroism, injury, the long convalescence? His going to the hospital, discovering Angela? His pleading, his response to her rejection? How accepting? The pain of separation?

7. The Chiaramonti family - the father and his aristocratic ways, Angela and her restrictions and her need to break out of these? Pre-World? War One traditions? Italian style? The attention to detail, to manner? The expectation for her to enter the convent? The influence of her aristocratic ways on her decision to stay in the convent?

8. The presentation of the religious life: strict, other-worldly? Her cell, the habit, the ceremonies, prayer? Angela's reliance on prayer? Her ministry in the hospital? Her skill at her work, her compassion? The credibility of her decision to stay?

9. The sketching in of the supporting characters? mina and her support? Giovanni's friends and comrades in the war? Nuns, nurses?

10. An entertaining film of the '30s - illustrating Hollywood film-making of the times?

WHITE LINE FEVER

US, 1975, 89 minutes, Colour.
Jan- Michael Vincent, Kay Lenz, Slim Pickens, L.Q. Jones.
Directed by Jonathon Kaplan.

White Line Fever is a surprisingly effective little drama, very emotionally involving. Idealistic and hopeful Vietnam veteran tries to build up a trucking career but is relentlessly hounded and persecuted (physically and psychologically) by co-workers on the take, corrupt bosses and business interests. More suffering than Job, he takes on his opponents with questionable but emotionally understandable vigilante violence to become a hero of integrity for the silent workers. Jan- Michael Vincent is credible in the central role of a film which is depressing in its picture of the hopelessness of individuals who want to act according to principle and who become the butt of all the ugliest instincts of selfish human beings.

1. What were the main interest points of this film? What audience was it made for? The nature of the appeal? Enjoyment and values?

2. The truck focus and interest? The title and the indication of the fever and its explanation in the film? The importance of the location photography, the roads. the trucks and machines? The emphasis on work,, the trucks and air pollution, smuggling and transport? The atmosphere of this trucking business world?

3. The interview framework for a sense of realism at the beginning and end? Emotional response to this and to the story unfolded in this framework? A feeling for the social situation and oppression?

4. The film as an aspect of American society? The world of labour, bosses, unions, corruption? The oppression of justice? Carroll Joe Hummer and the amount of sufferings in the cause of this justice? His reaction to his suffering? Audience response to this suffering? The final message of triumph?

5. Carroll Joe as an ordinary American everyman? The family background in the stills and photos during the credits the Vietnamese background, the buying of the truck and investing his money, youth and ambition, wife, house and children? His pride in his work? His reliance on his friends?

6. Comment on the film's changing its atmosphere from friendliness to foes? The people involved in smuggling and corruption? The changed way of life from the previous generation? What had happened and why?

7. Carroll Joe Hummer and his conscience? His stands on principle, his confrontation of authorities his being made to suffer, being physically bashed, the amount of provocation? Was his own response understandable? The vigilante kind of violence? His breaking in and confronting people? Forcing them to give him work? The ambiguities of audience reaction to his response?

8. The character of Duane as the transition from old style to modern corruption? His subservience to Buck? His relationship with Lucy? His love of wealth, fear? His death and his being used as a frame for Carroll Joe?

9. The film's comment on Buck and his way of life? His wealth, arrogance, subservience to the big businessmen, his thugs? His pursuit by Carroll Joe and audience sympathy and antipathy towards Buck?

10. The portrayal of Cutler and the big bosses? The corrupt lawyer, the bribing of witnesses, the manoeuvring of court cases? Audience disgust at this?

11. The picture of Pops and the workers? The racial element and fraternal relationships? Individual reactions and the following of Carroll Joe?

12. The relationship between Carroll Joe and his wife? Her suffering? Pregnancy? Her appearance in the court case and reaction afterwards? The burning the miscarriage,, her final appearance at the window? Was it necessary for her to suffer so much?

13. The theme of the individual versus the organization?

14. The finale and the smashing through into the rich man's house? Carroll Joe unable to be bought off? His final suffering, yet a tribute and a symbol for the silent admiration of the workers?

15. How adequate a film study of human nature, society, heroism?

WHITE LIGHTNING

US, 1973, 101 minutes, Colour.
Burt Reynolds, Jennifer Billingsley, Ned Beatty, Bo Hopkins, Matt Clark.
Directed by Joseph Sargent.

Burt Reynolds is relying on his personality for the success of some of his films. He shows himself as tough, genially humorous, with a sense of righteousness. He also looks rather pleased with himself. This film is no more than average entertainment. Its story is commonplace - about moonshine bootlegging and big boss sheriffs with Reynolds trying to expose the law and avenge a murder. Filmed in Arkansas, the main difference is the locations and the picture of modern bootlegging. There are a number of loose ends and moments which build up and come to nothing. Ned Beatty gives the best performance as the old-fashioned dictator-sheriff.

1. The significance of the name of the film? The car called 'White Lightning'? Little being made of this theme? Its reference to McClusky? Lightning and its striking?

2. Was this an enjoyable film? Why? How good a film was it? How ordinary?

3. Did it give an interesting picture of the united States? Of life in Arkansas? Of types?

4. The picture of moonshine and illegal industry? How interesting was this in itself The details of the moonshine and its transportation? The type of people involved? The risks? The money? The implicit violence?

5. How good a hero was Gator McClusky? The presentation of him in prison and his escape? Burt Reynolds-type as hero? The impact of his brother's death on him? (The effectiveness of this as an opening for the film - mystery, revulsion and violence and murder. motivation for vengeance?) How righteous was McClusky's vengeance? The importance of his escape. his visiting home. his getting involved with the moonshine people? The fact that he was working for the law? what right had the law to employ men like McClusky?

6. Was this justified when one understood Boss Connors and his world? His running of the law and his values? Audience reaction to Connors? To his initial murder? To the way he ran his county? His relationships with his secretary.etc.? His yes men? The way he kept in power?

7. How well did the film present the minor characters like Dude, Roy Boone, Lou, etc.? Were they well-delineated? Did one understand them in their life and work? Their motivation for being in the moonshine business? The risk and the violence?

8. Comment on the use of violence in this film?

9. The importance of the final shoot-out and McClusky's use of his wits? How ingeniously were they presented? The importance of the visit to the unmarried mothers' home?

10. How much did the film rely on Burt Reynolds and his style? His toughness, geniality, smile, resourcefulness, laconic irony? His relationship with Lou? How well-delineated was she? What motivated her? The irony of her dialogue? Her staying with McClusky?

11. What was your reaction to Connors' death? How ugly was it? The poetic justice of his drowning? The mock irony of his funeral?

12. Should a film like this be looked at for values? or is it merely a commercial enterprise to exploit trends and themes? Why?

WHITE FEATHER

US, 1955, 102 minutes, Colour.
Robert Wagner, John Lund, Debra Paget, Jeffrey Hunter, Eduard Franz, Hugh O'Brien.
Directed by Robert Webb.

White Feather is an enjoyable western, one of the earliest Cinemascope westerns released in 1954. It is in the tradition of Broken Arrow and reflects the new consciousness of the dignity of the Indians in the films of the 50s. The film is also a typically Robert Wagner adventure and was directed by Robert D. Webb who directed a number of the early Cinemascope adventures like Beneath The Twelve Mile Reef. Easy entertainment, a good introduction to western themes especially those concerning Indians.

1. The significance of the title and its use in the film? Themes of red versus white? The challenge of the feather?

2. Colour, locations, Cinemascope, the young stars of the 50s, their impact.

3. The trend of films about the Indians in the 50s? Sympathetic portrayal? The clash of the Indians and whites? White treatment of Indians? How interesting? How sympathetic? The impact then and now?

4. The portrayal of the Indian wars, the treaties? The reasons for the wars, the pressures? The waiting and tension for the signing of treaties? The dangers for breaking atmosphere?

5. The portrayal of white impatience, the arrogance for instance of the storekeeper, hostility and prejudice? Attitudes of fairness? Attitudes of friendship? Particular sequences which highlighted this theme?

6. The portrayal of the Indians: their humiliation, the treaties imposed on them, their patience? The playing of war games by the younger Indians? Their challenging of the treaties? Their pride, pride unto death? Questions of assimilation and migration? How was the atmosphere of the Indian humiliation communicated visually for instance in the long lines of migrating Indians?

7. Tanner as the hero for identification of white audiences? The technique of his narration, the opening and his courage, the Indian games and his shrewdness? The background of his life, family, work? His friendship? His love? His role in the negotiations? The emotional sides causing rifts? The death of American Horse? The death of Little Deer? The happy ending? The thematic happy ending with Tanner and his Indian wife?

8. The portrayal of Little Deer and American Horse? Their initial games, their life and style as braves, the exchange of gifts with Tanner and the bonds of friendship, the imprisonment and the escape? The significance of the 'white feather' challenge? The two, riding against the army to death? The reverence given in their deaths, by the Colonel and by Tanner?

9. The Indian girl and the white girl? Comparisons? Their backgrounds and families? Their reputation? Their relationships with Tanner? Their help of one another? The future of the Indian princess with Tanner in the west? How possible is assimilation?

1O. The sympathetic portrayal of the Colonel? The tensions and pressures in his work? His relationship with Tanner? His using him for negotiations? His strategy at the final confrontation?

11. The picture of the Indians moving in their migration, the pathos?

12. What western conventions were used for his message western? How well? How successfully was the human message communicated? How convincingly?