WHITE DOG

US, 1981, 85 minutes, Colour.
Kristy Mc Nicoll, Paul Winfield, Burl Ives, Jameson Parker, Marshall Thompson.
Directed by Samuel Fuller.

White Dog is a Samuel Fuller film. It is based on a story and articles by novelist Romain Gary (Roots of Heaven, Promise at Dawn). The film was controversial on its first release in the United States. It is a film about racism. The white dog is a modern racist symbol - a dog trained to attack blacks..

The film has been considered a liberal parable. The attractive young heroine, Kristy Mc Nicoll, injures the dog and wants to care for it. It protects her against robbers. However, unbeknown to her, it attacks and kills negroes. Eventually she discovers the truth and is horrified. She wants it trained as a normal dog - Carruthers (played by Burl Ives) and his assistant Keyes, a black trainer (Paul Winfield) try to change the attitudes of the dog. However, it is subject to confusion and does not know whom to attack or whom not to attack. Many commentators saw the film almost as an allegory applying the experience of the dog to its effect on the American white liberal conscience.

Some audiences found the film too direct and missed the allegorical significance, condemning the film as a mediocre piece. Others, praising Fuller for his direct way of telling a story and for his intentions, have seen the film as something of a masterpiece of its kind.

1. The impact of the film? interesting, enjoyable? The reaction of the critics both for and against? The lack of response by the public? Style, themes?

2. The work of Samuel Fuller - an individual director, a strong and tough point of view, a journalistic background, an eye for a strong story, an eye for liberal message? A director always strong on action and a sense of the physical? The physical as symbolic of the spiritual? The film as parable or allegory - the facts of the plot: the Californian setting, the background of affluence, the status of whites, the status of African Americans? The history of white-black relationships in the United States? The slaves and the guard dogs hounding them? Racism in the '70s and '80s? The violent atmosphere of American society? Questions of conscience and the prodding of conscience?

4. The focus on the dog: the credits in black and white, the darkness of the accident, coming into light? (Enlightening the white liberal conscience?), audience response to the events and to the characters? To the animal? The beginnings of a pleasant animal film? Julie and her care for the dog, her concern at the accident, taking him to be cared for? Attractive Middle America? Taking the dog home and her wanting to keep it? Not being able to find the owner after advertising? The atmosphere in the evening - the irony of the dog in front of the television and the violent war film? The prowler and the vicious attack by the white dog? The dog and its confronting Roland? Growling? Suspicion? its running free - and Julie's delight, the chasing of the rabbit? The return and the irony of the audience knowing that it had violently killed the black man? The impact of the revelation of the role of the white dog? The chase of the dog, the significance of its going into the church, the portrayal of windows with St. Francis and the Christian themes of love of animals - and the relationship to the American conscience? The film production, the Venetian scene, the white dog attacking the black actress? The dog being identified as a white dog and therefore becoming symbol? The consequences, Julie and her grief, taking the dog to Carruthers, pleading with them for retraining him, the relationship with Keyes? The visuals of the training - like the gladiator arena, the dog to be brainwashed? The effect, its escape and disturbing the other animals? The continuing of the St. Francis theme? Keyes taming, feeding the animal? The visual techniques of slow motion and running for the dog and its change, snarling? The tests and the dog's confusion, success? The importance for Keyes to be able to shoot the dog? Its attack on Carruthers? Death? Instincts, change? The allegorical principles as regards prejudice?

5. Racism and the American background, the slaves, the attacks of the guard dogs? The two little girls and the real owner and Julie's emotional response, the audience sharing it? Ordinary people with a vicious racist symbol of their own feelings?

6. Julie and her liberal ideals - her beautiful house, freedom? hitting the dog and reacting? her career and her losses? The Venice scene? Ads? The bond with Roland? At home, the dog attacking the prowler, chasing the rabbit? her searching for the dog and going to the pound? The impact of the pound and the deaths of the dogs? The studio and the dog's
response? The visit to her girlfriend in hospital? Talking with Carruthers, Keyes? Her feeding the dog and spoiling its training? Her hopes, watching the training, the tests? The escape? The dramatic finale? The white dog and liberal hopes? Confused attitudes - leading to death? (By a black man firing a gun)?

7. Carruthers and the true grit style, genial, his talk, experience with animals, show business? Stunt work and the reference to films? The disturbance amongst the animals and his coping? The end and his resembling the owner of the dog? A man of experience?

8. Keyes and his training the dog, negro, in himself, his theories - theoretical, training, brainwashing, keeping on and not destroying, the tests, the eyes and the confrontation? The psychological confrontation? Slow motion? The dog's escape, death? The gun and the finale?

9. The animals and the colosseum, disturbed - the upset in nature and Fuller's skill at suggesting unrest.

10. The background of Hollywood, films, film-making, references, careers, homage to other films (Fuller appearing himself, Paul Bartel, Marshall Thompson as the director)? Roland and his attitudes? Reality and unreality - realism, the studio and the backdrops?

11. Fuller's skill at B-budget and style films - used for effectiveness in this film?

12. The film as a piece of Americana? An allegory of and for the '80s?

THE WHITE CLIFFS OF DOVER

US, 1944, 126 minutes, Black and white.
Irene Dunne, Alan Marshall. Frank Morgan, May Whitty. Roddy Mc Dowall. C. Aubrey Smith. Gladys Cooper. Peter Lawford, Van Johnson.
Directed by Clarence Brown.

The White Cliffs of Dover was based on a popular poem of the '40s by Alice Duer Miller. The film was directed by Clarence Brown (many Greta Garbo vehicles, many elegant M.G.M. romances, National Velvet). It was intended as a big-budget, star cast propaganda morale booster in the vein of Mrs. Miniver. It was to highlight the bonds between England and the United States. Hollywood created its typical English atmosphere and showed the generations between World War One and World War Two. The film is sincere and often moving - although it is very much a film of its time.

Irene Dunne is always a dignified heroine. Australian Alan Marshall has a brief role as her husband. Van Johnson appears in an early role as the suitor. The regular M.G.M. supporting cast is represented by Frank Morgan. Gladys Cooper, Sir C. Aubrey Smith. The young Roddy Mc Dowall and Elizabeth Taylor are glimpsed, as is a young Peter Lawford. An interesting example of war propaganda made with class and flair.

1. An interesting and entertaining film? A film of World War Two? The popularity of the poem on which the film was based? Its impact in later decades?

2. M.G.M. production values? Black and white photography, recreation of period, atmosphere of England, decor and costumes? Smooth and elegant production? The range of music: God Save the King, Land of Hope and Glory, Auld Lang Syne.. World War One songs as Pack Up Your Troubles in Your Old Kit Bag, The Minstrel Boy?

3. The format of the family saga and its perennial popularity? The presentation of the generations? The importance of American and British relationships at the time of both wars? The emphasis of the '40s,, the waging of World War Two - nostalgia and memories?

4. Irene Dunne as Susan Dunn? Her American background, the visit to England, her relationship with her father. his amusing crustiness, suspicions of things English? The mishaps of the visit, the rain? The chance encounter with John Ashwood? His request for her to stay, the discussions, the comedy of the hurried departure? Susan staying, going to the country, meeting the Ashwoods, their acceptance of her, marriage, the birth of the child?

5. Susan as the American settled in England? The contrast with Sam Bennett and his eager courtship of Susan, Van Johnson's enthusiastic and brash style - an indication of what Susan's life might have been back in America? Her love for John, his going to the war, the comfort of the family, the impact of his death?

6. The Ashwood family accepting Susan, their support? The various relations, the impact of World War One deaths? The child growing up in England?

7. John Jr and his growing up between the wars? The charm of the scene between Roddy McDowall? and Elizabeth Taylor? John's growing up, the outbreak of World War Two, England's involvement, Susan and her awareness of two generations going to war? The farewell. John's injury. his return to the hospital, care by Susan?

8. The structure and the flashbacks inserted into the World War Two situation? Susan and her kindness, skill in her work, her nursing? Relationship with the staffs? Her tiredness, her memories? Her son coming in and caring for him? Hope for the future?

9. The film as elegant soap opera? Real, fantasy? Convincing? Delineation of characters? Emotional response to situations? The '40s and later decades?

THE WHISTLE AT EATON FALLS

US, 1951, 96 minutes, Black and white.
Lloyd Bridges, Dorothy Gish, Carleton Carpenter, Murray Hamilton, James Westerfield, Lenore Lonergan.
Directed by Robert Siodmak.

The Whistle At Eaton Falls is a low-key film about unions and industry. Made at the beginning of the '50s, it echoes the tones of realism in American cinema at the time . These semi-documentaries still stand quite well today - they had moderate box office success. The cast is an interesting one - Lloyd Bridges was to star in films like this but to make his popular mark in television and remain a success for decades. He portrays the hero well. Arthur O'Connell and Ernest Borgnine can be seen in early roles. There is a guest performance by veteran actress Lilian Gish.

The film was directed by Robert Siodmak, better remembered for his eerie thrillers like A Spiral Staircase and The Dark, Mirror. The film is interesting in its portrayal of a small New England town, the atmosphere of industrial trouble and strikes, the sympathetic and harsh portrayal of both management and union members. The film is optimistic in its tone. Producer was Louis de Rochemont, who had made a number of documentaries after the war including such excellent films as The House On 92nd. Street, Call Northside 777. The film can be compared profitably with such other films about the unions as Britain's The Angry Silence and the American Norma Rae. The questions raised in the early '50s have not disappeared.

1. An interesting film about work, management, unions, the workers? A piece of Americana? Reflecting the social issues of 1950? The perennial value of these issues? How contemporary does the film seem? Entertaining, interesting?

2. Black and white photography, location photography in New England? The atmosphere of Eaton Falls itself - homes, hotels, entertainment? A local community and spirit? The atmosphere of the factory and national business? Competitiveness? Musical score? Songs? The atmosphere of the semi-documentary tone?

3. The conventions of a film about work: the establishing of the basic situation, the voice-over narrative at beginning and end? The identification of the town and the audience identifying with the people? The sketching in of the issues, dilemmas and crises, the main characters? The inevitable characters? Did the screenplay take sides? The optimistic ending - fitting in with the conventions of the work film?

4. Mrs Doubleday and her situation? Audience sympathy, the widow, the building up of the factory, changes? Her decision to appoint Brad Adams? Relationship with him, trust and hopes? Dealings with him? The reactions of the unions? The town? Difficulties and ultimate success?

5. Brad Adams as hero? His place in the union, his leadership? Home life, the support of his wife? Family? Mrs Doubleday and her trust in him? Aims, meetings, contacts? The clash with AI Webster? The support of Abbie? The change of machinery, his having to be ruthless, decision making? Strikes and closures? Negotiations? His supporters breaking the pickets? Success?

6. The clash with Al Webster? Webster in himself? Attitudes towards the change in machinery, Adams' administration? Anger and resentment? Rousing followers? Meetings, strikes? Picket lines?

7. The supporting cast - the humanity of the situation? Eddie, Abbie? The older people in the town? The human sub-plots to counterbalance the social themes?

8. Themes of change: machinery, the unions, resistance, employment questions, cost-cutting, ruthless administration?

9. Themes of management, the unions, stirring, manipulation, the power of the strike, the breaking of picket lines?

10. A film of the '50s reflecting social conditions, clashes? Need for change? As seen in the retrospect of later decades?

WHIRLYGIG (WAHADELKO) (SHILLY-SHALLY)

Poland, 1981, 57 minutes, Colour.
Directed by Filip Bajon.

Whirlygig (Wahadelko) (Shilly-Shally) is a award-winning short feature by Polish director Filip Bajon, director of Children on Strike (1980). This film is an allegory about contemporary Poland - the central character is an ailing man with Christmas memories in a sanatorium when he was being treated for asthma, his mother oppressing him (she is a famous worker from Stalinist times), he is looked after by his sister. The young man represents Poland and the various facets of his family represent the pressures of the state and tradition in the Poland of the '80s. The film can be seen in the light of the experience of Solidarity and martial law 1980-82. The film can also be compared with the insights of Wajda’s Man of Marble and Man of Iron.

1. The impact of the film? For Polish audiences, non-Polish audiences? Its awards?

2. The basic narrative of the plot and its allegorical understanding? Poland in the '80s and its heritage from Stalinist times? An interpretation of the '80s?

3. The structure of the drama: the-introduction to Michael as a boy by his memories and dreams? Seeing his breakdown, confinement? The drama confined to the house and the rooms? The characters from the present? The past? The use of close-ups, reaction shots, editing? Slow tracks throughout the house? The importance of mood for the drama?

4. The significance of his past: children, the sanatorium, asthma and illness, possibilities of recovery, the presence and visits of parents -Michael's busily absent mother? The Christmas tree, the decorations? Santa Claus and the exposure of Santa Claus as a fraud? Stalin's portrait on the wall? Joy and disillusionment? The visit of the Korean children? The importance of the insertion of the flashbacks - and Michael's reverting to the past?

5. Michael and his being called out by the authority figures in his childhood, his experiencing his illness, his being looked after? Michael in the present contrasted with the past? The audience puzzling about his situation? Information given about him, sympathy? Interest? How well drawn as a character? As a symbol of contemporary Poland?

6. His background story: work, his being fired, his illness? His stripping in public, official condemnation, depression? His room, confinement in his room, illness, sweating? Moods and erratic behaviour? His reaction - especially to his sister and her care of him? His compulsions? Overhearing his mother and sister, ransacking his mother's mementos? The visit by the lady? His being cut off from life, reality? Pills - death?

7. His reaction to Aniela, the scissors and her taking them, his scoffing at her and ridiculing her? His intimidating her - her intimidating him? Her work? Her being locked out? The confrontation? The behaviour in front of the visitor? In front of his mother? The devoted and disappointed sister?

8. The character of Aniela: her appearance, manner, sisterly relationship, devotion and concern, antagonism? His worry about her talking about him at the office? Her return home, change and dressing gown, mockery and humour, interaction? Her disappointment? Her giving him the pills? What did she symbolise?

9. Issues: illness, depression, the oppression of the past, anxieties of the present, the need to rebel - and Michael urging Aniela to rebel? Meaning and meaninglessness of life? Death?

10. The visitor: sympathy, observation, being provoked, reaction, pity? Official positions and having to cope with the crisis?

11. Michael's mother and her mementos, the great worker in Stalinist times, medals? Her presence in the house? Her hard line towards Michael? Her lack of love - and her children's harsh response to her? Mother Poland?

12. The final radio broadcast - Poland and its politics, religion? Michael and the end of his life? The basic message of the film - realistic, pessimistic?

WHIPSAW

US, 1935, 88 minutes, Black and white.
Spencer Tracy, Myrna Loy, Harvey Stephens, Clay Clements, William Harrigan.
Directed by Sam Wood.

Whipsaw is a brief G-man action thriller of the mid-'30s and is of historical interest. Spencer Tracy was at the beginning of his most successful film career, soon to win Oscars for Captains Courageous and Boys' Town. Myrna Loy had been a star at M.G.M. but was coming into her own - at this time she began the Thin Man series with William Powell and a number of films co-starring With Clark Gable. The material is conventional - Spencer the G-man infiltrates a gang via the gangster's girlfriend played by Myrna Loy. He wanted to trick her into believing him. She sees through him but does not tell him. There is a gradual meeting of gangster, G-man and girl. A happy ending is inevitable. There is some tough dialogue, Spencer Tracy goes through the James Cagney style but it is all done with M.G.M.'s rather smooth and glossy production values. Direction is by Sam Wood, a competent and tasteful director whose work ranged from Marx Brothers' films A Night At The Opera and A Day At The Races, to King's Row and For Whom The Bell Tolls. The film could be compared with the much slicker and tougher action gangster films made by Warner Bros at the same time.

WHERE TIME BEGAN

UK, 1977, 87 minutes, Colour.
Kenneth More, Pep Munne.
Directed by J. Piquer Simon.

Where Time Began is a moderately entertaining Jules Verne story - from Journey to the Centre of the Earth. This was made in the late '50s on a spectacular scale with Pat Boone and James Mason. This film is more akin to the adventures made by the Kevin Connor- John Dark team e.g. At The Earth's Core. However, Kenneth More is a lively professor and there are some entertaining though slight special effects. The film seems more like a television special than a feature film. It is a continental production and is generally dubbed - and has a very quaint style of dialogue which is somewhat distracting. undemanding Jules Verne fantasy material.

1. The appeal of Jules Verne, science fantasy, 19th century anticipation of 20th century exploration? The tradition of the Jules Verne films from the beginning of the century?

2. The quality of the production, sets and special effects, monsters, storms, the presentation of the centre of the earth? The dubbed and stilted dialogue? Colour photography, the score?

3. The atmosphere of the 19th century and its imagination - the opening and the discussions about geology, descent into the earth from Iceland, imagination about the earth's core? Science and its hopes?

4. The credits and their atmosphere? The introduction of the mystery man and his book? The discussion amongst the scientists about geology? How well was this explored - for a children's audience?

5. The professor and the book, the stranger, the code and the deciphering of it? The professor and his niece and her fiance? The preparations for the adventure, the glimpse of the future city, the end and the reappearance of the stranger? The loose ends in the screenplay and their lack of resolution?

6. Kenneth More's style as the professor, dapper manner, relentless in his exploration? His relationship with the other members of the group, with Olssen? The capacity for survival, what he learnt from the expedition?

7. Axel and Glaube - romantic leads, participation in the adventure, dangers, the finale and the happy ending for them? Added human interest and romantic touch for the adventure?

8. Hans and the background of Iceland? His skills during the journey e.g. making the raft? His participation in the dangers?

9. 01ssen - the mysterious stranger, his saving Glauber from the pit, his machine and explosions, aloofness? His vision of the future? His helping them back to safety and sacrificing himself? His mysterious appearance at the end outside the bookshop?

10. The preparations for the journey, the train ride? Iceland? The seeming lack of preparation - as if they were all going on a picnic? Clothes, equipment?

11. The nature of the adventures and their range - darkness, monsters, the sea. the land, caves? The turtles? The giant mushrooms? Special effects? The final explosion? The travellers in their ordinary clothes and their being able to manage such a journey? How willing was the suspension of disbelief about these adventures?

12. What did the professor and his group learn from the journey to the centre of the earth? The usefulness of this kind of fantasy for children? Imagination., stories.. fables?

DON'T BOTHER TO KNOCK (US:WHY BOTHER TO KNOCK)

UK, 1961, 89 minutes, Colour.
Richard Todd, Judith Anderson, Elke Sommer, Nicole Maurey, Eleanor Summerfield, June Thorburn, John Le Mesurier.
Directed by Cyril Frankel.

Why Bother to Knock is a sex comedy of the early '60s - indicating what was to become the swinging '60s in Britain. The film is a sex comedy, rather quiet in comparison with later examples of its kind. It works by suggestion rather than explicit scenes.

The film shows a Scotsman and his relationship with women - Richard Todd, not looking entirely persuasive in the central role. There is a good-natured performance by Judith Anderson (of all people - with an American accent) as his wise tourist friend. The glamorous ladies include Nicole Maurey and a young Elke Sommer.

The film is ultimately moral in tone: about a man sowing his wild oats, acting like an adolescent, in love with the woman who is to be his wife. The dialogue is not as witty as might be hoped for - even though there is additional dialogue by Frederic Raphael (Darling, Nothing But The Best, Two For The Road). The film was made in Cinemascope, photography by Geoffrey Unsworth - in Scotland and with many European locations.

1. An entertaining sex comedy? Satirical portrait of human nature?

2. Wide screen photography, Scottish and European locations? The tourist background and the tourist touch? The musical score?

3. The title and its suggestiveness, comic touches? in relationship to Bill's flat and the various occupants?

4. The focus on Bill Ferguson, his work in the tourist agency, his love for Stella, his being waylaid by women? Maggie and her friendship, advice, help? The clashes with Stella, being locked out of his flat? Going to Europe? Working with Fred? Encountering Lucille and the comedy of the night in the hotel? Ingrid and his pretending to be stranded in the mountains? Harry and her mother in Venice? Giving them the key? The phone call in Spain, returning to Stella, finding Lucille in the flat, the complications and their farcical tone? Juggling his visitors ' the clashes with Stella, the opening of the art show, Maggie’s reception, the beach? The ultimatum to Stella? The happy marriages for Lucille and Ingrid? The happy ending? A tongue-in-cheek fable about sowing wild oats and settling down?

5. Maggie and Judith Anderson's style, her tourists, her advice, her helping to a happy ending?

6. Lucille and her American oil man, the affair with Bill, coming to Scotland, her not making a scene, in love with Bill, the decision to marry? Ingrid and her leading the tourists, urged to rescue Bill, the night in the hut, coming to London, Julio and his music, in the flat, the complications with Stella, the marriage proposal? The woman in Venice and her absentminded husband, their daughter and son arriving in the flat, their youthfulness, Harry infatuated with Bill and wanting to be engaged? The -irony of the girl arriving at the end?

7. Julio and his music, the Edinburgh Festival, with Stella, with Ingrid, marriage?

8. The background of Scotland, the attractions of the city, the festival? Austria and Italy? Fred as the British agent in Europe and his coping with Bill?

9. Comic touches, romantic touches? Credible and plausible? As an amusing fable?

WALKING ON WATER

Australia, 2002, 90 minutes, Colour.
Vince Colosimo, Maria Theodorakis, Nathanial Dean, Frank Bishop, Judi Farr.
Directed by Tony Ayres.

Walking on Water is a story about death and survival. The film spends a great deal of time showing the death of Gavin (dying of AIDS-related illness). The family gathers, his dominant mother, his brother who has never left Whyalla and is unconsciously envious of his older brother, his wife and baby daughter. Gavin was an architect who shared a house with his business partner Anna and with Charlie. Charlie is living with Frank in the house. They are all present at Gavin's death, given extra morphine by a doctor. However, there are involuntary physical reactions and Charlie feels the need to put a bag over Gavin's head in order to stop his suffering.

The film show the aftermath of the death, the funeral and the family and the friends gathering. It also shows the tension between Charlie and Anna, who have been asked by Gavin to look after each other as they inherit his house. Simon goes out on the town but his relationship with Anna and his drug-taking and club-going bring about a physical collapse and he returns home. The group scatters the ashes on the water - perhaps they are now walking on water rather than just simply treading water.

1. The Impact of the film, illness, death? The aftermath of death on those who loved the person who died?

2. The Sydney settings, the house, the clubs, the beach and the coastline, the cliffs? The musical score?

3. The title - treading water, walking on water and surviving?

4. The opening with Gavin trying to come downstairs, collapsing, his illness and appearance, in bed and dying? His apologies? His family arriving, his love for his mother? His brother? His relationship with Anna and their work together, his relationship with Charlie? The doctor giving the injection, everybody waiting patiently for his dying, the holding of breath, his being pronounced dead, the involuntary reaction and Charlie's decision to put the bag over his head? His being loved by family and friends? His mother wanting to know whether he had been happy?

5. Anna, her friendship with Charlie and Gavin, working with Gavin, sharing the house? Her being a controller? Making the decisions about the funeral, knowing Gavin's wishes, ordering the flowers and her angrily taking out the Baby's Breath? The clashes with Margaret, Margaret wanting to make decisions? The clashes with Charlie? Her drinking too much? The preparation, the funeral, the aftermath and everybody arriving? The sexual relationship with Simon and her encouraging it? Charlie's reaction? Taking him to the club, the drugs, his collapsing and her apology? The collecting of the ashes, the ceremony at the cliff? Seeing Simon off? Her wanting a tidy house, the will (and the clash with Margaret about it), the fight with Charlie, the nurse arriving? Their parting - and the injunction to look after each other?

6. Charlie, relationship with Gavin, putting the bag over his head and his subsequent nightmares about it? His relationship with Frank? Not coping, the issue of flowers for the funeral? The gathering, his anger with the woman sobbing and ordering her out? His arguments with Frank, Frank leaving and his being upset, accusing Anna of knowing? Going to the club, the sex with his friends? The final fight with Anna? The farewell to Gavin on the cliff, his going back to the cliff, Anna urging him back? His new job, new life?

7. Margaret, her love for her son, arrival, dominant? Irritated by Anna? Wanting to make some decisions, the funeral, the arrangements, going to the motel - and there only being a shower? The return home? Kate and her relationship with Simon, her daughter? The dancing at the wake? The phone calls to Simon?

8. Simon, relationship with his brother, envy, Anna seeing him in the bathroom, the sexual encounter, his clubbing, collapse, weeping, the ashes? His going back, declarations of love for his wife?

9. Frank, relationship with Charlie, at the club, new friends, sex? His leaving in the early morning?

10. The doctor and his giving the injections, the nurse and her looking after Gavin, coming to the funeral, getting the gear back to the centre? The weeping nurse?

11. The insights into illness and death, people attending a dying person and the effect on them? The aftermath?

12. The Sydney gay scene, the photos and the beginning of the film with the group of friends, the clubs, relationships, permanent and transient? The film's observation of these scene and the characters within this context?

THE WAR OF THE WORLDS

US, 1953, 85 minutes, Colour.
Gene Barry, Ann Robinson. Narrated by Cedric Hardwicke.
Directed by Byron Haskin.

The War of the Worlds is science-fiction of the early 50's. This means that it blazed trails in techniques and themes for the later, more sophisticated films of the genre in the 60's and 70's. Allowing for less polish in the effects, the film is worth seeing. (It might be remembered that it was with this H. G. Wells story that Orson Welles scared America in his famous hoax broadcast of 1938).

Director Byron Haskin made the superior science-fiction parable, Robinson Crusoe on Mars.

1. Was this a good film? Was it B grade acting but A grade science-fiction?

2. Comment on the film as science film - its styles, its realism, colour, special effects. Did this make the film worthwhile science-fiction?

3. What allowances must be made for the fact that the film was released in 1953, and science-fiction styles have become much more sophisticated? Does the film stand up after these allowances have been made? Why?

4. What was H. G. Wells' message in writing The war of the Worlds? Does this message come through in the film? What impact does this message have today? Have we become too sophisticated for such a message to make any impact?

5. If the film is considered a fable, does this make more impact? A fable of invasion of the world from outside, and human reaction to this? Would anyone today think such an invasion possible?

6. What did the film show of human reactions to the invasion? The immediate reactions of curiosity, deaths, fear? Publicity, reporters, sensationalism, warnings? The invasions throughout the world?

7. Did authorities and scientists rise to the occasion well in making plans for containing the invasion?

8. What impact did the sequences of people's selfishness make on you? The scenes of taking trucks and preventing the scientists getting through? How pessimistic a vision of people's reaction is this, or would you consider it real?

9. Comment on the balance of the people in the churches praying and caring for one another. Would people react in this way too? Is this a genuine reaction. or just fear of disaster rather than trust in God?

10. The film ended happily enough. Was this an over-optimistic ending, or was it a necessary reassurance for audiences?

11. What is the impact of a film like this?