WHERE IT'S AT

US, 1969, 106 minutes, Colour.
David Janssen, Rosemary Forsyth, Robert Drivas, Brenda Vaccaro.
Directed by Garson Kanin.

Where It's At was written and directed by noted playwright (Born Yesterday) Garson Kanin. A popular writer and director of the '30s, he concentrated on stage work and screenplays with his wife, Ruth Gordon (Adam's Rib, The Marrying Kind, Pat and Mike) during the '40s and '50s. His attempt to recreate his career as director in the late '60s failed with this film and the Dick Van Dyke vehicle, Some Kind of a Nut. This is a film about Las Vegas, gambling, double-dealing. It is glib, fashionable. However, it is too contrived and did not make great impact. David Janssen is the star and performs in his usually intensely brusque way. The film has an amusingly scatty part for Brenda Vaccaro. Very much a take it or leave it comedy about gambling and father-son rivalry.

1. The significance of the title, popular jargon? An entertaining comedy, satire?

2. The presentation of Las Vegas, gamblers, well-educated sons, secretaries, gold diggers? Las Vegas chorus girls? The supervisors of the casinos? The artificial world of Las Vegas, money? Gambling and its codes? How entertainingly presented?

3. Colour photography, the presentation of the casinos? The editing devices, the voice-over techniques, the interspersing of alternate visuals? The impact of this playing with techniques? The musical score?

4. The plausibility of the plot - For comedy and moralising purposes? The moral point of the story - the hard father, the educated son, the gamble, the son imitating the father and outdoing him, the change of heart and letting his father win? The society gold-digger and her opportunism ? The daffy secretary and true love?

5. Andy as a precocious young man - his Princeton education, his return to Las Vegas and the audience entering it with him? The clashes with his father? His cultured background and his father's fear of homosexuality? The friendship with Molly? Diana and her opportunism? The gamble? Andy and the seduction by Phyllis? The change of heart, the decision to use the money to outwit his father? His smugness and taking of control? Change of character? The final confrontation, allowing his father to win, the rejection of Diana, the happy ending with Molly? A credible young man? The point that he was making to his father? Example?

6. A.C. and David Janssen's rugged style, control of the casino, his contact with his men, visuals? The marriage to Diana? Investigation of his son, trusting him, being outwitted and ousted? His falling into despair, his being reinstated?

7. Diana and her society background, love for A.C., attempt at seduction of Andy, knowing the truth at the end? The contrast with Molly and her humorous conversations, self-dramatisation, throwing herself at Andy, good humour?

8. Phyllis and the Las Vegas chorus girls, the seduction and its purpose? Its effect?

9. The presentation of gambling, Caesar's Palace and its reputation, the people who go to the casinos? The huge turnover of money? Devices used to trick investors? Ownership and schemes, Swiss money, Florida deals? The film's presentation of this double-dealing and critique of it?

10.Father-son relationship, rivalry, the proving of self? The moralising effect of the film - the combination of comedy, satire, moralising?

WHERE EAGLES DARE

UK, 1968, 155 minutes, Colour.
Richard Burton, Clint Eastwood, Mary Ure, Patrick Wymark, Michael Hordern, Robert Beatty, Anton Diffring, Donald Houston.
Directed by Brian G. Hutton.

So you thought Errol Flynn, or is it John Wayne, won the war. Two and a half hours of incredible escapades prove that it was Richard Burton. During the first half of the film I thought I had never seen anything like it; but I hadn't yet seen the second half! Alistair Maclean wrote 'The Guns of Navarone', so if you liked it, then this is your film. An impossible mission (which you don't really understand till you've seen the whole film - which adds to the suspense), fights on top of Alpine cable-cars in transit, the blowing up of an Austrian Castle, it's all there with corpses piling higher and higher.

The photography of the Austrian Alps is magnificent: the action moves quickly and tides the audience over coincidences and improbabilities. The action taking place over a day and a half helps the swift pace and the early discovery that there is a traitor in the party sets the tone for suspense which comes to an unbelievable climax half-way through and, then, on we go again. Richard Burton looks a little too flabby and elderly for such a death-defying, athletic role, but he acts so well that he makes you believe him. Clint Eastwood is colder. In fact, the cold, feelingless way in which he kills so many of the enemy (who again are made to look absolute idiots who can't aim a machine gun straight) makes you wonder at times at the ruthlessness of men's characters in war.

1. The overall impact of this film? The adventure impact, entertainment? what were the main ingredients of entertainment?

2. The technical values of the film: Panavision, colour, locations, the castle, the aerial photography, the stunt work, the exploits, the explosions etc.?

3. Audience enjoyment of war films? How serious was this film? How much comic strip adventure? Did it raise any of the war issues?

4. Themes of death, murder, the expenditure of life? Individual spies, German soldiers and officers? Death as a background for the entertainment?

5. Did the film show what type of people are spies? Why they enter the job, the sense of adventure and achievement, danger and risk? Heroism?


6. Was the film fair in its presentation of Germans and British? The British superiority, the number of Germans massacred? Schaffer representing America?

7. The picture of the British: their competence, their plans, the achievement?

8. The picture of the spies: interest in the mystery about the spies, the initial deaths, experts in infiltration the fights. the spies as expendable?

9. How central was the character of Smith? Did Richard Burton carry the part well? His skills as an agent, reference to his age, his capacity for thinking and acting, the sequence in the German room? His relationship with Mary? Smith presented as a typical war-hero?

10. The contrast with Schaffer? Clint Eastwood's style, American expert, supporting? Schaffer as mystified as to what was going on? His capacity for joining in, killing?

11. The addition of Mary? The mystery of her accompanying the flight, relationship with Smith, contribution to the plan, her role in the escape? Feminine heroism?

12. The contribution of Cartwright-Jones?, his acting in the German conference, his role in the escape? The contribution of Heidi? were these credible characters? How interesting?

13. Did the film establish the Germans as real characters: the Commander, the Commander of the castle, the S.S. man? Their interrogations, methods? Shrewdness? The inevitability of their death?

14. How were the adventure sequences the high point of the film: the parachute landings, scaling the castle walls, the cable car sequences, Smith's acting to get the names of the spies. the details of the escape the final bus chase?

15. Was the solution of the spy problem expected? The solution of the death of Turner?

16. What is achieved in this kind of adventure film? Enjoyable spectacular entertainment?

WHERE ANGELS GO, TROUBLE FOLLOWS

US, 1968, 95 minutes, Colour.
Rosalind Russell, Stella Stevens, Binnie Barnes, Mary Wickes, Milton Berle, Arthur Godfrey, Robert Taylor, Van Johnson, Susan St. James.
Directed by James Neilson.

Where Angels Go, Trouble Follows is a pleasant sequel to The Trouble With Angels which was directed by Ida Lupino. The earlier film was a star vehicle for Hayley Mills and Rosalind Russell. Rosalind Russell returns in the sequel but the focus of attention on the modern nun played by Stella Stevens and the twin girls, including a young Susan St. James. Mary Wickes and Binnie Barnes reappear as two of the sisters. There are some pleasant guest appearances from Van Johnson, Robert Taylor, Milton Berle, Arthur Godfrey, William Lundigan. There is also a pleasant Lalo Schifrin song (reminiscent of the Beatles) and a psychedelic touch which makes it obviously a film of the late '60s. Direction is by James Neilson who directed a number of Disney features in the early '60s.

Of interest is the presentation of the Catholic church only a few years after the ending of the Second Vatican Council and the atmosphere of change and renewal that was prevalent. The film dramatises the changes in the convent (cloister as a reality and as a state of mind) and the changing in religious habits. (It is a pity that film-makers in later years did not have the same kind of awareness of the changes in women's religious life in the '60s and '70s.)

1. An entertaining comedy? Religion? Americana? An enjoyable sequel? Its merits on its own right?

2. 1968: Americana, the American roads and journey across the states? Music? Psychedelic touches?

3. The title, the comparison with the original? Religion and humour? The title song and its use throughout the film?

4. The atmosphere of the Catholic schools, the girls' school, boarders,, strictness, disobeying the rules, setting up the disco? Students and the growing freedom of the '60s? The sisters and their handling the situations of the time? Changes?

5. The portrait of religious sisters, the Hollywood tradition of nuns, the Mother Superior and her coping, the mannerisms and eccentric styles of the various sisters?

6. Rosalind Russell as the superior, her presence and style? Her reaction to Sister George and the demonstrations? The encounter with the bishop about the trip and her being outwitted? The plans? The running of the school, the go-go dancing and her discipline? The buying of the bus? Her wariness about the trip?

7. Sister George and Stella Stevens as a nun? Participation in the demonstrations, the causes? Her severity while being sincere? The making of the bombs, relationship with the girls, the planning of the trip, demonstrations?

8. The girls: ordinary schoolgirls, their going on a trip, their friendships, clashes, the go-go dancing? Rosabelle and her not being liked, her friendship? Their being in trouble? The gift of the bus? Rosabelle stowing away on the roof? The trip, the clashes between the two friends? At St. Francis' school with the boys? on the ranch and the romances, Jealousies? Horse-riding? Reconciliation? Friendship?

9. The trip: the buying of the new bus, the arrival at St. Francis' and the dance, Mother staying up all night supervising, the bikies, the stops in the desert, going to the ranch and the hospitality, the show for them, the film set and Mother Superior placating the vanity of the director?

10. Sister George and her clashes, being hurtful, the girls not wanting to confide in her, questioning her vocation, sulking? Her ability to communicate - the sequence with the bikies? The reconciliation with Mother Superior?

11. The Superior's handling of the trip, handling of Sister George, being a mother to the girls, communicating with the film director? Renewal in the convent?

12. The portrait of the sisters: the mousey sister and her worries, the bus driver and her skills over twenty years, the sister with her out-of-date music program? The capacity for change?

13. The guest stars and their characters: the father and his giving of the bus to the school (and his lady friend)? Van Johnson as the sympathetic priest, the discussion about boarding schools and methods of education, co-education? Robert Taylor and his sons at the ranch? Milton Berle and his humour with his vanity in directing the film, the bus caught up in the western, the advice given about the authenticity of the screenplay, his being persuaded by Mother Superior, his hospitality in fixing the bus? Arthur Godfrey as the Bishop outwitting Mother Superior?

14. An image of America in the '60s, change, a picture of the Catholic church - and change at the time?

WHEN YOU COMIN' BACK, RED RYDER? (GETTIN' EVEN)

US, 1979, 91 minutes, Colour.
Candy Clark, Marjoe Gortner, Stephanie Faricy, Dixie Ross, Lee Grant, Hal Linden, Peter Firth, Anne Ramsay.
Directed by Milton Katselas.

When You Comin' Back, Red Ryder? is based on a play, a kind of Petrified Forest of the '70s, set in New Mexico, 1968 with its atmosphere (rights, rebellion, Vietnam, Bonnie and Clyde, drugs); it is a contrived, interesting plunge into U.S. hatred, vengeance and myth. Very well acted by a cast led by Marjoe Gortner and including Lee Grant, Peter Firth, Pat Hingle, Candy Clark and Stephanie Faricy. Ex- Vietnam veteran, easy rider Gortner subjects a group at a diner to Virginia Woolf-type truth games that articulate (vigorously and viciously) a critique of America and yet a vindication of basic human rights and dignities. Violent, provocative and stimulating, sometimes pretentious, but always interesting.

1. The overall impact of the film? How could it be described? Conventions, genre? The kind of response it was asking from its audience? How successfully?

2. The significance of the title, its cowboy and U.S. mythic overtones? Its use within the film? The alternate title, Gettin' Even - who gets even, with whom?

3. The contribution of the New Mexico locations, the use of scenic exteriors, the reliance on interiors? The vivid presentation of landscapes, of places? How well were they used for the dramatics? The contribution of the score, its echo of the '60s, of the 170s? The use of the songs and the quotations for dramatic situations, revelation of character, themes? The electronic background? The use of such music as 'The Good, The Bad and The Ugly', 'Kiss Goodbye'?

4. Was it evident the film was based on a play? The presentation of situations, the use of stage locations, the amount of dialogue used, the interaction of the dialogue? Characters drawn for the stage presented on the screen? The climaxes? The division into acts? The use of symbols?

5. How well did the film use realism? The use of conventions to counterpoint the realism? The background of drugs, robbery, violence, the middle-aged couple travelling, the small American town and its cross-section of people, the building up of the tensions, the interrelation of the characters? The movement towards violent climax?

6. How obtrusive were the conventions and the contrived screenplay techniques: the various patterns of the characters and their interactions, the pattern of the days, the mods, getting the group together in the diner, the symbolic actions and the humiliations inflicted, the echoes of the various film genres - especially the petrified forest with the ordinary people and the gangsters and siege, the use of cowboy myths as seen in the light of the '60s and '70s? The music as symbol?

7. The film as a piece of Americana - a pessimistic interpretation of the '605? The hindsight of the '70s? The significance of the 1968 setting? American society at the time? Young people and their rebellion? Rights? The background of drug-trafficking - the echoes of Easy Rider? Middle Americans and their wealth, class, culture, art? The background of the war and American involvement and confusion? The change to a more permissive America? The violence of the '60s moving into the '70s? The ugly Americans? An America that asked to be destroyed? Did it have to be destroyed so violently and with such humiliation? How much of the screenplay echoes the hindsight of the '70s?

8. The western setting and the overtone of cowboy films, the westerns, cowboy myths? The basic situations? The myth of the American cowboy hero, the particular roles of men and women in the west, the ironic comments made on the western man, the mock imitations, the reference, the exploding of myths? The theme of revenge of the 19th. century West transferred into the 20th. century? The acclamation of revenge and feeling good?

9. The central character portrayed by Marjoe Gortner? His appearance, initial impact, his relationship with Cheryl, the washing sequence at the beginning, the encounter with the hippies, the dropout way of life, echoes of youth, permissiveness, attitudes towards the war, having guns? Working on the border, Mexicans and drugs? The violent clash? The indications of reasons for revenge because of the drugs? Pushing into the town, taking it over. the use of the diner with the echoes of The Petrified Forest? The silver bullet and its symbolism? The build-up of expectations of this character - hero or villain, avenging angel?

10. The film's focus on the diner: the various characters and their arrival.. their interaction in the ordinary eating and talk at the diner, the relationships, build-up of cruelty,, tests, hostilities? The overtones of sexuality and violence,, deception? The importance of the decisions each of the characters had to make? The final humiliation with their being tied up? The quality of the screenplay -especially the dialogue, its literacy, tendency to verbosity, overtones of pretension? Symbolic dialogue for the themes?

11. The picture of Cheryl - her relationship with the hero villain, her helping him, her fears, her place at the cafe. her behaviour, embarrassment? Why did she help him? The overtones of the owner of the diner, talking with him when the motor was being changed, her helping with the tying up of the guests, her decision to stay. the hopes for a job? Her participation in the way of life of the hero villain, her change of heart, revulsion?

12. The title's focus on Red Ryder? As potential hero? The counterbalance to the hero villain? An ordinary American young man of the West, his work, his hair., talk.. lounging about. his bowling ability? Angel and her devotion to him? His attitudes towards his mother and living with her? The car and his dreams? Surly., Ignorant? Self-assertive and then challenged by someone who knew more? His being humiliated - imitating the cowboy, as regards sexuality, being tied up? The effect of the humiliation on him, his rising to the myths of the cowboy and the West, the importance of the chase of the hero villain, the slow motion attack, the gun and the killing, his becoming a hero? His going off with Angel into the future? How stylistic a presentation of the character, how realistic? The blend of realism and symbolism? Audience interest in the character, identification with him - especially at the end?

13. How convincing was the portrait of Angel? Her work, a nice girl, a fat girl? Her comments on the speciality of the house? Her love for Red? Her mother and her treatment of her., grandmother? Her being kind to people and her being humiliated? Her relationship with the owner of the diner and her resisting him? Her being humiliated as regards her personality. her size. sexuality? The violent reaction that it elicited? Audience sympathy with her? Her future going off with Red at the end?

14. Audience identification with the married couple? The way the film introduced them, their bonds, their clashes, their travelling, their artistic and business back ground? Wealth? The attitude towards children? The staying at the motel, their relationship, sexuality, exercise? The ordinariness of their eating before they left and the intrusion of the hero villain? The breakfast changing to menace? The importance of the violin and its potential destruction? A symbol of Clarisse? Her husband and his support of her, his being humiliated - especially with the car keys and the clash? His suave manner and yet his weakness? Changing to anger, the possibility of killing the hero villain? The clash with Clarisse, her spurning of him? His being hurt? What future would they have together after this testing experience?

15. The portrait of Clarisse, her anxiety, artistic background, the violin? Her being hurt? Her courage compared with that of her husband? Her compassion for Angel? The ultimate violent challenge to the hero villain and her losing her fear? The desperation of middle America when taunted by such hero villains? Where did right lie?

16. The owner of the motel and his loneliness, pleasant personality. being a cripple, wanting to help? His attraction towards the women - proposal to Angel, proposal to Cheryl? His not being able to cope with the situation? His work on the engine? His bewilderment and hurt?

17. How well did the film sketch in minor characters as background to the main characters and the themes - the cafe, the boss and his flirting with Red's mother, the mother and her lovers, the night with the boss, her wanting to move on, the atmosphere of the cafe? An authentic background to the town, setting its tone and style?

18. The melodramatics of the shooting and the change to the revival meeting, Angel's mother and her presence there, the themes of religion, the people present, the healing ceremony? The impact of this sequence in itself? Its relevance to the rest of the film?

19. The film's moving to the outside as the hero villain left, the road, the picnic people, the desperate chase, the sand hills, the killing? Did the hero villain have a death wish and intend to be killed? Was it inevitable? Where did Red get the strength and courage for violence?

20. The importance of the ending as indication of America into the '70s? Red and Angel making a future?

21. How satisfying an exploration of contemporary values? The range of characters explored, the contrived interaction for testing and truth? Moving below the surfaces of ordinary behaviour and complacency? Representations of particular aspects of American society in the '60s and '70s? How universal was the application of this exploration of values?

WHEN TIME RAN OUT

US, 1980, 108 minutes, Colour.
Paul Newman, Jacqueline Bissett, William Holden, Edward Albert, Red Buttons, Barbara Carrera, Valentina Cortesa, Veronica Hamel, Alex Karras, Burgess Meredith, James Franciscus.
Directed by James Goldstone.

When Time Ran Out is from lavish disaster producer Irwin Allen, who wisely does not direct (after his banal Swarm and Beyond the Poseidon Adventure) but leaves this to James Goldstone, his stellar line-up headed by Paul Newman and William Holden, the usual assortment of guests including James Franciscus as an effective egocentric baddie, Ernest Borgnine with the sentimental role, Burgess Meredith as a 70-year-old high wire veteran saving children, and the special effects - volcano, collapsing bridges etc. It starts like Towering Volcano and for those who have seen this and Allen's Poseidon Adventure (all co-written by Stirling Silliphant), the small group leaving the large and moving to higher ground for survival will have no surprises but offers enjoyable tension.

1. The significance of the title, its tone, atmosphere? The disaster trend and expectations? Fulfilment? The alternate title and the novel: The Day The World Ended?

2. Irwin Allen and his tradition of disaster films during the '70s? The merits of this in comparison with the others? Similarity of treatment, plot, style? Stars? The importance of the leads., the stars who act as guests? Panavision and colour photography, Hawaiian locations? The quality of the special effects?

3. Hawaii and its beauty. the visual impact of the islands,, volcanoes and their menace, their history? The discovery of oil and the imbalance in nature? Tourism, hotels, the exotic? Hawaiian traditions and customs? The build-up to disaster? The musical score and the dramatics?

4. The appeal of disaster films during the '70s? Audience interest, identification, fear, death? Choices for survival? The vicarious experience of dangers? Seeing the alternative and destruction?

5. The quality of the screenplay: the basic establishing of situations, place, goodies and baddies, the hints for coming disaster, the contemporary issues of big business, exploitation, resources, preservation of resources? The build-up to confrontation, decisions, the final trek to escape?

6. Audiences identifying with the characters, the situations? Real, fantasy, exotic? The participation in fear, dangers, deaths? Heroics?

7. The opening with Bob walking through the volcano, the build-up of the volcano and its explosion? The vehicle going down into the core of the volcano and the hazards and threats? Webster and his opinions, his experiencing the danger in the vehicle? The oil and its gusher? Hank and Bob and their confrontation about the volcano? Bob and his lies? Shelby Gilmour and his trust in Bob?

8. The background of tourism, hotels, wealthy clientele? Shelby and his arrival with his assistant? The plane trip, their arrival? The meeting of the guests? Bob and Shelby as partners and his trusting his word?

9. The character of Bob Spangler, his relationship with Nikki? The marrying her for her money? His stubbornness, his antagonism towards his dead father and his final outburst against his portrait, his capacity for lies, trying to blame Hank in front of the crowd? His decision to stay at the hotel? The betrayal of Nikki and his liaison with Iolani? The hurt to Nikki? His clash with Brian? The portrait of a villain for this kind of melodrama?

10. Hank as a Paul Newman hero? His work at the oil gusher, his apprehensions about the vibrations, his caution with the men, his going down the bucket into the volcano, his snubbing of Kay, his encounters with her especially in the corridor at the lift, her presence in his office, his relenting, the picnic and the transition to disaster, the helicopter ride, his relying on her during the trek? Kay as conventional heroine - as a career woman, her decision to be with Shelby, her rejection of his proposal, her being hurt by Hank, her explaining her case, her heroism during the trek?

11. The establishing of the basic situation and the disaster, the potential for the guests to participate in the trek, the presenting of decisions, the journey to safety? Satisfying suspense adventure material?

12. The sub-plot about Mona and Charlie, the workers and the cockfight, the decisions to move away, the dramatics and special effects of the tidal wave? The rescue of the children? The helicopter ride and the fall?

13. The workers and their decision to stay on the job despite the warnings, their death and its meaning?

14. The use of the Hawaiian landscapes and mountains for the adventures, the helicopter rescue of Nikki from the horse stud, the children and their being on the trek, Rene and his wife and their background of tightrope walking, Rose's death, Rene's decision to save the children, his tightrope walking and helping of Hank?

15. The establishment of Fendly as a criminal, his playing tennis, his walking, his being pursued by Tom Conti? Conti and his threats? His being burnt and blinded? Fendly's help, guiding him around the cliffs, the final resolution of their antagonism - Fendly with twenty minutes' head start?

16. The special effects with the lava, the fireball, the helicopter ride, the burns, the long bridge sequence and its impact? Brian and his knowledge of the terrain and his leadership? The struggles for the individuals to get across the bridge, the deaths, Mona and her fear, Conti and Fendly and the possible disaster, Rene and his balance. Hank and saving the little girl?

17. The happy ending - portrait of human nature, adventure story, the plausibility of this kind of disaster, the possibilities in human behaviour - especially as presented by people jeering Hank and the group in their escape?

WHEN THE CIRCUS CAME TO TOWN

US, 1981, 100 minutes, Colour.
Elizabeth Montgomery, Christopher Plummer, David Aykroyd, Ed O'Neill, Dwight Schultz.
Directed by Jeff Bleckner.

When The Circus Came To Town is an interesting and offbeat human drama. It is a star vehicle for Elizabeth Montgomery who excelled on the small screen both in series such as Bewitched and in numerous telemovies. Her co-star is Christopher Plummer, equally at home on screen, television set and stage. There is a good supporting cast including Eileen Brennan and stage star Gretchen Wyler.

The film focuses on Mary, a southern genteel woman who has been looking after her parents. She takes the opportunity to run away and joins the circus and experiences something of the variety and complexity of life. Christopher Plummer is the owner of the circus which is losing popularity and in need of financial support. The film has an interesting atmosphere of circus, behind the scenes tension and a look at America's southern states.

1. An interesting and entertaining film? A humane story? A story of hope?

2. The telemovie style - for the home audience, emotional response?

3. The symbol of the circus - the Big Top, the caravans, the acts, the personnel, animals, audience? Fantasy and reality? Clowns? Audience delight? Real/escape? The image of people wanting to run away and join the circus? The circus as a microcosm?

4. The contrast between Duke and Mary? The credits sequences highlighting this difference? Audiences anticipating their coming together and the effect?

5. Mary and the funeral, dowdy, grief, not weeping? The wake and her having to entertain, the friends' and relatives' questions about her life? Her strong reaction? Leaving? Aunt Helen and her intruding? The encounter with the circus on the way home from the funeral? Mary driving away, the diner, seeing the circus people? The interview with Duke and persuading him to join? The circus people not welcoming
her at the table? Louie welcoming her? Yet her being uncomfortable with him? Her growing friendship with him, tenderness, play, his love for her? Duke and the continued clashes? The initial friendship with Jessie but Jessie's suspicion? Her falling in love with Duke? Going out with him after refusing, the sexual liaison? Duke making her work, her work in the cages, as the clown, the clash with the acrobats, her having to become an acrobat herself, her fears, the training, her success and its effect? Her changing her appearance? Her clash with Duke, leaving? The return to Savannah and its effect? Her beginning to live her life? The portrait of a spinster, her devotion, sacrifice, care of the dying, life passing her by? The importance of the circus experience for her life in Savannah - or her move away from it?

6. Christopher Plummer's style as Duke, rough, a poor circus, the parade and his playing up to the girls, his relationship with Jessie (and the background of their story, marriage, his drunkenness)? His relation ship with the rest of the troupe? The encounter with Mary and his employing her? His being tantalised by her? Clashes, his bluntness and her reaction? Making her become an acrobat? Going out with her, the sexual relationship? Jessie's clash and dislike? The discussions with Louie, his realising that Louie loved Mary? The financial crises, money, the sale, the breaking up of the circus? His inability to settle down, going on? The effect of Duke on Mary's life?

7. Jessie as tough, wandering with the circus, blowsy style, clash with Mary, hurt by Duke's behaviour, watching the two, the final reconciliation?

8. Louie, personality, friendship with Mary, the dwarf, comforting her, her being uncomfortable with him, his work, the clown sequences and Mary working with him, his illness, the clash with Duke, his loving Mary, his going to stay with his sister, the final joke?

9. The atmosphere of the circus, people quarrelling and bickering, the acrobatic troupe and their constant argument, dislike of Mary, Mary slapping the acrobat and the return of the slap, the basis of friend ship? The shooting?

10. The world of the circus, the portrayal of the various acts and items, audience delight in these? The background, the hard work, the dirt? The bonding of the circus people, inner circles etc.? The wandering lifestyle?

11. Life in Savannah, the elegant old house, old world manners, Aunt Helen?

12. The film as a Cinderella story - an ugly duckling story? The spinster coming to life? An entertaining exploration of values?

WHEN LADIES MEET

US, 1941, 108 minutes, Black and white.
Joan Crawford, Robert Taylor, Greer Garson, Spring Byington, Herbert Marshall.
Directed by Robert Z. Leonard.

When Ladies Meet was a popular entertainment from M.G.M. of the early '40s. It was a remake of a 1933 film with Ann Harding, Robert Montgomery, Myrna Loy and Alice Brady. The film is based on a play by Rachel Crothers; other credits include co-writing by Anita Loos, direction by Robert Z. Leonard (who directed Greer Garson in Pride and Prejudice at this time) and music by Bronislau Kaper. The film is an entertaining romantic comedy-drama - with a lot of earnest talking. The film is primarily of interest for its casting and the opportunity to see Joan Crawford and Greer Garson together - an unlikely combination. Robert Taylor is happily bland in the central role. Herbert Marshall is sinisterly two-faced. There is an enjoyable performance by Spring Byington. The film is dated but an enjoyable example of M.G.M. glossy film-making of the '40s.

1. Production values: M.G.M. gloss, black and white photography? Musical score? The stars? The film of historical interest because of the careers of its stars? A film of its time? Impact now?

2. How evident that the film was based on a play? Transferred to the screen? The scenes, the characterisations, the speeches? The confined sets? The American equivalent of drawing-room comedy drama?

3. The title and its tone? References to the stars? The role of women? The battle of the sexes? Love, betrayal, reconciliation?

4. The film and its artifices? The stereotype characters and situations? The appropriate solutions? The amusing background of novel-writing and theory about real life - and real life as portrayed in an artificial film? The talking out of theories of art and reality? The contrivances for illustrating the ironies of fiction and real life? The ironies in the final message?

5. Themes of love and reality? The focus on women and their response to heroes? Male charm and excitement - and male cowardice? The wife and her being used to being betrayed? Becoming victim? Never meeting the other woman? The other woman and the excitement, never enquiring about the wife? The romanticising by the other woman? The impact when such ladies meet? The fictional background and the reality with the Garson Crawford confrontation?

6. The focus on Mary and Joan Crawford's refined style? Her work, career, fame? Jimmy and his devotion, romantic interlude? Her putting him off? Her falling in love with Rogers - his talk, style? Talking herself into love with him? Meetings, dinners? The irony of Jimmy's interventions? Weekends? Declarations of love? Her being convinced that she was in love? The meeting with Claire and the repercussions? Jimmy and the set-up and having to cope with it? Joan Crawford's style - smart, singing with Greer Garson, talking? Discovery of the truth? Honour? Her eyes being opened?

7. The contrast with Greer Garson's Claire - happiness, the yacht interlude with Jimmy, her being neglected. her being open about it, enjoying the trick, charming Mary? Her listening to Mary? Her wisdom and the audience knowing she was right? The discovery of the truth? Her handling of the situation - facing Rogers? The taxi? Her stopping loving Rogers? The future? The complementarity to Mary and the experience of seeing the other woman?

8. Robert Taylor's Jimmy with debonair charm? At work? Scheming? In love with Mary? Meeting Claire - and the humour of the yacht sequence? His contriving of the situation, getting Claire in on the act? The joke backfiring on him? His behaviour and the revelation of the truth?

9. The contrast with Herbert Marshall's style as Rogers? His infatuations with charming women? Seeing him in action - the audience not persuaded even though Mary was? Hearing about his style and career? Hearing about his wife and then meeting her? His willingness to abandon Claire? The final confrontation and the truth being told?

10. The comedy interludes with Bridget - her scattiness, putting her foot in it, setting up situations? Her designer friend and the ambiguity? Her trying to be friends with everybody and save situations?

11. How much did the rely on the conventions of the screwball comedy? Farcical situations - with serious talk? M.G.M's serious treatment of the '30s screwball comedy conventions?

12. The themes and moral standards of the times? Marriage, fidelity, affairs, divorce? The frank tone of the discussions? An interesting film in view of the stars? As a reflection of enjoyment patterns and moral insights of the time?

WHEN HELL BROKE LOOSE

US, 1958, 78 minutes, Colour.
Charles Bronson, Richard Jaeckel.
Directed by Kenneth Crane.

When Hell Broke Loose is a war film of the late 50s. While the British had made many war remembrance and re-enactment films during the 50s, the Americans had not made so many. This has the usual ingredients although it adds a plot to kill General Eisenhower. It served as a star vehicle for Charles Bronson who had been appearing in supporting roles, but was soon to become one of the Magnificent Seven and launch a surprise career that would last a quarter of a century.

1. Impact of the film? Americana? War film? A film of the '50s?

2. Small budget production values: black and white photography, American locations, European locations, the re-creation of World War Two? musical score?

3. The film as a Charles Bronson vehicle - his being officially introduced? His screen persona? American, the man of the war period, an image for the '50s? Criminal record, the police? Friends? Deals? Cynicism? Involvement in the war, avoiding issues, friendship? The plan, his involvement, a type of heroism? The sketch of Steve Boland as a character?

4. The authentic background of the war, the use of prisoners in the army, the atmosphere of recruiting, training, overseas action, special missions? The significance of this mission within the framework of the war? The Normandy invasion? The atmosphere of war, occupation, Americans and Germans, local people and their experience of the war?

5. The sketch of Ilsa? The experience of the war, her family? Her brother? His Nazi loyalty? The dilemmas for Ilsa? Response to Steve? War heroism?

6. The sketch of Carl, the young Germans, Nazi allegiance, loyalty and bravery, betrayal?

7. The film as a film of the '50s - memories of the war, impact and heroism? The perennial theme of the small-time American, the cynical tough man and his opportunity for becoming something better?

THE VIEW FROM POMPEY’S HEAD

US, 1955, 97 minutes. Colour.
Richard Egan, Dana Wynter, Cameron Mitchell, Sidney Blackmer, Marjorie Rambeau, Dorothy Patrick, Jerry Paris.
Directed by Philip Dunne.

The View From Pompey’s Head was based on a popular novel by Hamilton Basso. It focuses on a New Yorker who goes back to his origins in the Deep South to investigate why royalties had not been paid to a famous author, played by Sidney Blackmer. While in the South, he meets the early love of his life, played by Dana Wynter, who is married to an exploiter, played by Cameron Mitchell.

The film is both romantic as well as being an investigation. The film was written and directed by Philip Dunne, prolific writer and director of popular films in the mid-50s, including Prince of Players.

1. An alternative title was ‘Secret Interlude’. Significance? In terms of scenery, vision of life? Indication of themes? The actual title of the film and its meaning? The View from Pompey’s Head?

2. The importance of colour, wide screen, musical background?

3. The structure of the film, its emphasis on memory, of the value of memory, the tricks of memory? The film’s plot as a secret interlude in Pompey’s Head?

4. The film as a soap opera and melodrama? Audience response to this kind of film? The best-seller atmosphere and style? The appeal of the popular ingredients?

5. How interesting the personal story of Page? His southern origins, his talents, boy for relationships, Dinah and romance, the importance of his leaving home, the wider world, his success in this world, the significance and meaning of his return? The personable hero? Audience interest and sympathy?

6. The nature of his crisis: the Wales story, meeting Dinah again, the offer of the job by Mickey, the possibility of divorce, the telephone calls to his wife, picturing of his family? His priorities, the wisdom in his choice?

7. The impact of Dinah as a personality? as a girl, as a sport southern woman, her marrying Mickey, her wanting to leave the house, her being driven by owning the house? The house versus Page? The reality of the decision?

8. The picture of Mickey as an upstart? His history, being likened to the pattern of American history, of poor men on the make, succeeding? The offer of a job to Page? The comparisons with Page in the past? His love for Dinah, owning her? His fight for her?

9. How interesting was the Wales story? As background to the romantic story? Atmosphere of mystery, personalities of the couple, the love-hate relationship? Revelation of the truth?

10. The dramatic significance of the truth? Garvan Wales telling his life story? Importance of the racist theme? Lucy’s overhearing the truth but unwilling to hear it? Comment on American attitudes?

11. The picture of American a literary view? The insight of writers into these basic themes of wealth, race, society, class struggles?

12. The insight into the race questions in the United States, the south? Human dignity? The film as a valid popular comment on the United States, people, major themes?

STRAIGHT TIME

US, 1977, 114 Minutes, Colour.
Dustin Hoffman, Theresa Russell, Gary Busey, Harry Dean Stanton.
Directed by Ulu Grosbard.

Dustin Hoffman's versatility gives substance to this well-written and very well-acted glimpse of a criminal. The tone is pessimistic - society punishes yet humiliates men (embodied by a self-justifying, authoritarian parole officer) and then is surprised at increasing crime. At first we sympathise with Hoffman, hoping for a future for him and quite involved in much human detail. As his robberies progress, well-staged and intensely real, a sense of hopelessness pervades our response as Hoffman moves further away from our sympathy. Harry Dean Stanton gives an excellent performance as a habitual thief, throwing light on Hoffman's portrayal of the enigmatic and alienated personality.

1. The significance of the title? The original novel was entitled No Beast SO Fierce. Significance of the alternate title for themes?

2. Colour, music? The documentary style tone of the film? The atmosphere of realism in contemporary America?

3. Where was audience sympathy for Max? At the beginning, as he moved through his rehabilitation period, his choice to be involved in crime, at the end? Max and his alienation from society, including audience sympathy? The significance of the final credits with their various photos and information about Max's boyhood and his being in institutions? A portrait of a contemporary criminal?

4. The social observation and criticism of the film as regards authority, the exercise of power? The repercussions of power and victimization and consequent anger? Audience sympathy for the authorities, especially the parole officer? Was Max’s reaction comprehensible?

5. Dustin Hoffman's style as Max? Sympathy for Hoffman in his portrayal? Entering the film with him and his experience of leaving prison, the bus ride, the walk around the city, the sense of freedom, the possibility of dreaming? How well communicated was the theme of freedom from imprisonment and the repercussions for a human being?

6. The parole officer and his stances? His putting himself forward as a friend, the harsher aspects of his behaviour and treatment, the games that he played with Max? The pressures that he put on him? The smile and the harsh face? The importance of his laying down the law? His seemingly being pleased with Max's arranging a job, apartment, etc.? His reaction to the discovery of the drug fix? His reaction to Max’s not informing him? The brutality of the arrest? Max's anger in the car and the dangerous driving on the highway? The repercussions for the parole officer and for Max of the angry moment as he left him on the highway with the handcuffs and humiliated him with his trousers down? Audience response to this situation and sharing Max’s reaction?

7. The portrait of Jenny? Her initial attitude towards Max, discovering that he had been working only a week? Her interest in him and sympathy? Their outings, especially the meal? Max's advances and her reaction? The payment of the meal? Her joy that he had the job? The possibility of a future? The significance of her visit to the gaol and the difficulties of talking and communicating? The telephone number? Why did she decide to live with Max? The repercussions for her, for him? Her being outside his criminal activities and not understanding but suspecting? The significance of the casing of the jewel shop and her reaction compared with Max's? Her decision to go and run with him? Her explanation earlier that she would not be able to go finally with him? The final drink in the cafe and his decision for her to go back? Was she a credible type of girl in contemporary America and in this situation?

8. Max and his rehabilitating himself and his being subservient to authority? The seeking out of the apartment and the landlady type? His revisiting Willy and Selma asking him to leave? The visit of Willy and running the risk of losing his parole? His work and the possibility for a future, with Jenny? His apologizing, taking humble attitudes and repressing his feelings and the eventual break-out?

9. The film spent a lot of time showing the details of arrest and the procedure after arrest. What impact did this have on the average audience? Sympathy for those imprisoned? The detail of life in the cell? His reaction to his release and the pressures put on him by the parole officer? The influence of these on his decision to run?

10. The portrait of Willy and Selma and their boy? Willy and his good nature? Selma and her wanting to build a marriage? Willy and his taking drugs in the apartment and the repercussions for Max?

11. The change of tone in the film when Max visited the bar and the various gangsters, made arrangements to get the gun, got the names for various accomplices?

12. Max's robberies and the way these were portrayed - realism, a touch of the comic? The store, the Chinese? The realization in the audience that Max was an habitual criminal?

13. The portrait of Gerry and his affluent way of life, his house and pool, wife? Yet his wanting to be involved in criminal activity? His warming to Max’s plans? The importance of the bank robbery and the way it was staged? The revelation that Max would take risks and Gerry would not? Their decision to rob the gamblers and the plot falling through and the tensions in each? The jewel shop and the pressures and Max's remaining? The reaction to Willy's having gone? Gerry's death? Max’s reaction to his death?

14. The involvement of Willy, his fear and his running away after professing that he would be loyal? His defence of himself to Max? The audience's reaction to Max's shooting him? What did this mean for Max after he gave the sign of friendship?

15. The finale of the film and the use of the conventions of the escape, hearing the information on the news, the final sequence with Jenny? Max and his deciding to go - an uncertain future, the inevitability of his being caught and gaoled? Was there any real future for Max?

16. The significance of the photos and their captions for the end of the film and what the audience was left with?

17. Max as a symbol of the criminal in contemporary society? The critique of society and its treatment of criminals? Of power, authority, cruelty? Of angers and the consequences of decisions on the spur of the moment?