STRAIGHT ON TILL MORNING

UK, 1972, 96 minutes, Colour.
Rita Tushingham, Shane Briant, Tom Bell, Annie Ross, James Bolam.
Directed by Peter Collinson.

Straight on Till Morning comes from a quotation of Peter Pan to the children. However, this is no fairy tale despite, the fact that the heroine, Brenda, wishes that life could be a fairy tale. In fact, this is a horror film from the Hammer Studios. It is different from the regular Hammer films which are derived from the classic genres. This is a contemporary horror story about a psychopathic killer - with echoes, for instance, if Michael Powell's Peeping Tom.

Rita Tushingham is the naive girl who comes from Liverpool to London wanting to meet Prince Charming. Shane Briant (later to appear in many Australian and New Zealand films) is the psychopathic Prince Charming. The film is shot and edited in the razzamatazz style of the late '60s - which,. in later years, gives an impression of ever-disruptive fragmentation.

While the plot is hard to take as realism, the film has a certain fascination of pitting the naive Brenda against the charming psychopathic Peter.

The film was directed by Peter Collinson, a director noted for his thrillers and their rather flamboyant style (The Penthouse, Open Season). He also directed a wide range of films including The Italian Job and, in Australia, The Earthling.

1. Interesting psychological horror story? Ironic romance? A film of the early 1970s?

2. The director's flair, flamboyance? The fragmented style of the screenplay and the photography? Editing and pace? The demands on audience attention? The style conveying the mood of the film? The atmosphere of Liverpool contrasting with London? The ugly city, swinging London? Flats, shops?

3. The title and its focus? The fairy tales? Brenda living in a Never-Never? Land? Peter as an ironic Prince Charming?

4. The focus on Brenda, her age, ugly, Liverpool. the ugliness of the city, her relationship with her mother, pretending to be pregnant, the clash with her mother. leaving home? Her arrival, finding accommodation. a job. friendship with Caroline, flatting with her? Jimmy and Caroline's attraction towards her? Brenda’s moods? Taking the dog, returning it and wanting to meet Peter? Her plan for the baby? Her moving in? Her not knowing anything about Peter? Her pregnancy? Peter pampering her? Her being left alone? The discovery of the tapes? Her terror? Peter reassuring her? What happened to her? A portrait of a naive girl?

5. Peter and his isolation? The blond Prince Charming, Our seeing him murder the women, his covering his tracks, the taping? His seeing Brenda. her returning the dog, his waiting for her? His .;invitation? Brenda's becoming pregnant? Caroline's visit, the seduction, his killing her? His avoiding his home? The police? His discovery of Brenda'sisearchi4ng, the playing of the tapes, terrorising her?. Sitting alone mad, listening to the tapes?

6. The young people in London of the '70s: Caroline and her work, friendship with Brenda, flat, Jimmy, the visit to Peter, seduction, death? Jimmy and friendship with Brenda? Caroline? Joey, Liza, Margot? The world of apartments, boutiques? Fashion?

7. The fragmented style of the film - corresponding to the characters' perceptions of reality? Sanity? Madness? Obsessions? Reality and fantasy? Violence?

THE STORY ON PAGE ONE

US, 1959, 123 minutes, Black and White.
Rita Hayworth, Anthony Franciosa, Gig Young, Hugh Griffith, Mildred Dunnock.
Directed by Clifford Odets.

The Story on Page One is mainly a court-room drama, directed by veteran playwright of the leftist '30s, Clifford Odets (Golden Boy, The Big Knife, The Country Girl). Odet's direction is rather old-fashioned at times and the structure of the film seems technically clumsy - a stab at headline sensation to start with, the present, flashbacks, prison, flashbacks, the court scene. But the overall effect is quite striking and the film retains interest especially in the well-acted court scenes. The story is an old one played for human interest and understanding.

Rita Hayworth is fine in this film as one of the defendants and shows considerable dignity and feeling. The other standout performance is by Mildred Dunnock (she has played many mothers as in Death of a Salesman, Butterfield 8). She portrays a snobbish, possessive mother who is finally taken apart publicly in the court. It is an unsympathetic role and she is excellent. The film raises questions of human interest and justice and most audiences should find it quite absorbing.

1. Did this court-room drama hold your attention? Why?

2. Was the structure of the film effective - in the employing of the lawyer, prison scenes, flashbacks, court-room - satisfactory? Did it give the necessary information in good order to build up sympathy and understanding as well as tension?

3. Why did Santini take on the case? He changed from indifference to sympathy for his client. Was this an effective dramatic device for gaining audience sympathy?

4. What were your first impressions when you saw the newspaper headline and saw Jo Morris in prison?

5. What did the flashbacks show about the Morris family? Was the husband a good man, a good father, a good policeman? Was he capable of provoking anger?

6. What kind of a woman was Jo Morris? was she shown as a good wife and mother? Should she have got in contact again with Larry Ellis?

7. What influence did Jo's mother have on her? Was she too dominant and interfering or did she just give advice?

8. What kind of a man was Larry Ellis? Did you have sympathy for the couple? What do you think they should have done?
9. What did you think of Larry's mother when she visited Jo Morris? How dominant and interfering was she? How arrogant?

10. Was the accident credible - the party, the husband drunk, suspicious, getting his gun, the struggle, the shot and then the fabricated story?

11. Did you believe at once that J6 Morris was telling the truth? How did Rita Hayworth's acting convey that Jo was sincere and truthful?

12. Why were the court scenes interesting?

13. What did the scene show you about the reliability of witnesses and their assessment of their own evidence - e.g. the hotel proprietor, the insurance salesman?

14. How different was Jo's mother from Larry Ellis' mother?

15. The defendants, in allowing themselves to be cross-examined, exposed themselves freely to the kind of attack that the prosecutor made on them. Did you think the prosecutor overdid his job by seeming to persecute them or is what he did necessary for the execution of American justice?

16. Why did you dislike Larry's mother? Did you think Santini's exposing of her arrogance, selfishness and domination of her son was a good thing? Was it necessary for the trial?

17. How different was Santini's attack on Mrs. Ellis from the prosecutor's attack on the defendants? If one was justified, wasn't the other? If one was repugnant, was not the other?

18. Were you glad of the happy ending? Why?

THE STORY OF JACOB AND JOSEPH

US, 1974, 120 minutes, Colour.
Keith Michel, Tony Lo Bianco, Colleen Dewhurst, Herschel Bernardi, Harry Andrews, Julian Glover.
Directed by Michael Cacoyannis.

The Story of Jacob and Joseph is an imaginative presentation of two of the key characters of the Book of Genesis. The film is done with attention to detail, a reverence but not an over-reverence for the biblical text. There were biblical advisers for the film.

The film was directed by Michael Caccoyannis (Zorba the Greek, The Trojan Woman, various versions of Sophocles' plays including Antigone and Iphigeneia). It treats the biblical text with the same care as he did for his Greek tragedies - in fact, the dialogue and the presentation make scripture seem like Greek tragedy.

The writing is by Ernest Kinoy, and remains faithful to the biblical text without amplifying it unduly. The cast is also strong, especially opening with Colleen Dewhurst as a very tough Rebecca. Keith Michell is good as Jacob, Tony Lo Bianco less good as Joseph. There is a supporting cast of English and Israeli actors. The Israeli locations are used to great effect. (Visually, the film is reminiscent of Cacoyannis's other films but also of Pier Paolo Pasolini's treatment of Greek tragedies and biblical texts.) The musical score is by Mikis Theodorakis, who scored films for Cacoyannis as well as Costa-Gavras?.

1. The tradition of biblical films? Hollywood? Non-Hollywood? biblical films? History, reverence for the text of scripture? A Jewish perspective? Christian perspective?

2. The work of Michael Cacoyannis, his Greek tragedies? His use of scriptural language? Israeli landscapes? Close-ups and tableaux? Atmosphere? The musical score?

3. The landscapes, the period, the sense of realism as well as myth? Religious feeling? Visualising the Old Testament?

4. The voice-over information and commentary?

5. The nature of the middle-eastern landscapes and terrain, the Bedouin tents, the flocks? Celebrations?

6. The prologue and Rebecca, her pregnancy, power, prayer and interior religious experience? Sense of destiny for her son?

7. The portrait of Isaac, his age, in the tradition, his joy at the birth of the twins? Love for Rebecca? Rebecca and her favouritism? Her sense of destiny in the Genesis sense?

8. Rebecca and her love for Jacob, the story of Esau and Jacob, their growing up, Jacob at home and leisurely, Esau the hunter? The episode when Esau was hungry, Jacob cooking the lentils, bargaining for Esau's birthright? The differences in character? Isaac wanting him to give his blessing, Rebecca helping Jacob, the meat, the hairy arms? Jacob going in, his tentativeness, the voice of Jacob but the skin of Esau? Receiving the blessing and the birthright? Esau hunting, bringing in the meal, his grief, begging a blessing? Jacob having to leave and go to his uncles?

9. Jacob and his leaving, meeting Laban, working for him, for seven years for Rachel, the celebration and the drinking, his discovering that his bride was Leah, his threatening to leave, Laban promising Rachel, work for another seven years, the increase in flocks, his wives and their children, Rachel barren, giving the maidservants? The birth of the twelve sons?

10. The decision to return, the meeting with Esau, Esau threatening, the re reconciliation?

11. Jacob growing older, his sons tending the flocks, his favouritism of Joseph, love for Benjamin as a child? Jacob and Joseph talking, Joseph reporting about the sheep and the sons? His knowing that he was disliked? Unwillingness to take the coat?

12. Joseph and his going to his brothers, their seeing him, their jealousies, violence, the plotting, Reuben putting him down the well, Judas selling him to the merchants? His going to Egypt?

13. Joseph in Potiphar’s house, an administrator, skill in counting, his master admiring him? Potiphar’s' wife, her wiles, attempts at seduction, arguments, Joseph's resisting her and fidelity to his master?

14. Joseph in prison, the attendants, his ability to interpret dreams, interpreting the dream of Pharaoh? Pharaoh appointing him Lord of Egypt? The seven good years and the collecting of grain, the seven lean years and Joseph's efficient administration of the grain? The crowds calling for food?

15. Famine in Israel, Jacob unable to provide food, the brothers deciding to go to Egypt? Their arrival, the attitude of the Egyptians, Joseph meeting them, his ambiguous feelings? Imprisoning them? Giving them food? Accusing them of being spies, sending them back, asking for the youngest son?

16. The brothers' return, explaining the situation to Jacob? His sending the money back? His reluctance to send Benjamin, the brothers' persuasion? Their return, the confrontation with Joseph, sending them away with the money and the goblet? The arrest, the brothers willing to give their lives for Benjamin? Joseph weeping? His revelation of himself to his brothers and the reconciliation?

17. Jacob and his sons going down into Egypt, the finishing of the story of the patriarchs? Seeing the plan of God, the one God, Yahweh, in all of this? Yahweh's destiny for his people? The God of Abraham, Isaac and Jacob? The patterns of Hebrew storytelling? The patriarchs? The strong women? The sons and the fulfilment of the destiny? The irony of the patterns especially Jacob usurping the older brother, Esau, and Laban tricking him into having the older wife, Leah, instead of Rachel? The dreams and the fulfilment of the dreams with Joseph as master in Egypt?

18. A satisfying visualising of the Genesis texts?

THE STORY OF ESTHER COSTELLO

UK, 1957, 103 minutes, Black and white.
Joan Crawford, Heather Sears, Rossano Brazzi, Ron Randell, Lee Patrick, Fay Compton, John Loder, Denis O'Dea, Sidney James.
Directed by David Miller.

The Story of Esther Costello is based on a well-known novel by Nicholas Monsarrat, author of The Cruel Sea. It was made in Britain in the mid-'50s, one of the later film vehicles for Joan Crawford (directed by David Miller who had worked with her in the early '50s thriller Sudden Fear).

The film has an Irish and American background. It highlights faith healing and the manipulation for money of a gullible public. It also highlights the possibility of fraud and financial deceit.

Joan Crawford is powerful in the role of the woman who adopts the deaf mute Esther and promotes her. Heather Sears (later in The Siege of Pinchgut, Sons and Lovers) has charm as Esther. Rossano Brazzi appears in a suave but quite unsympathetic role.

The film can be compared with the others about religious charlatanism. They range from The Miracle Woman, Elmer Gantry, The Day of the Locust, The Disappearance of Aimee, Angel Baby.

1. An interesting and entertaining film? Character study? Melodrama - with serious themes?

2. British production values,; black and white photography, Irish, British settings, American settings, Italy? The contrast between the domestic sequences and the staging of the mass rallies? Musical score?

3. The prologue, Ireland and its troubles, the children, the bombs, the mother, the explosion - and the trauma and guilt for Esther?

4. The focus on Margaret Landi? A Joan Crawford role? Her image, presence and style? Her visit to Ireland, the friendship with Father Dev1in, his arranging for her to be moved by Esther and to adopt her? Esther and the squalor of her life? The compassion for her afflictions? The bond between Esther and Margaret? Margaret taking her to the United States? The lack of contact, school, Esther's skill in learning and the results. the effect on Margaret? Margaret and the prize-giving with Esther? The impact of Esther on people? Margaret's taking up the cause, investing her money and energy? Tom and the management? Her remeeting her husband, the effect of Carlo and his return? His interest in her work? The growing bonds with Esther? The breakthroughs, Esther's dependence and love for her? The build-up of the programme, the rallies, the speeches, communicating Esther's ideas? The American bandwagon style? The travel? The agent and his interest,. money arrangements? Harry and the newspaper reporting? The infatuation with Esther? The build-up to the dangers and Margaret's not seeing them? The rape and Margaret's reaction? The discovery of the truth about Carlo? His trying to cover? Her decision to kill him? The crash? The pessimistic treatment of Margaret's character - a potential for fulfilment, her happiness, its being betrayed, the decision for death?

5. The portrait of Esther - as a little girl and the experience of the bombs, her being alone, living in squalor, her place in the Irish village, the people's care for her? Father Devlin and his wanting her to have opportunities? Her being taken to the United States? School, no contact? The collage of her learning and its effectiveness? The changes for her? The bond with Margaret and the happiness of the relationship? Harry and her liking his presence? The prize-giving, its effect on her life, the good cause, the consistent travel, the mass rallies and their effect? Harry and his investigations? Carlo and his arrival? The impact on the group? The financial fraud, the danger, the rape sequence, the trauma - and the effect on Esther? Her recovery? The effect on Margaret? Her going to Harry? The sense of mission to undo the fraud?

6. Carlo and his suave Italian style, his having left Margaret, the return, the gallery, the agent, the rallies, the sacking of the secretary, the money deals, his tantrums, his lust for Esther, the clash, the rape, the airport sequences and his deception? Margaret's decision to destroy him?

7. Wensall as the smooth-talking agent, his style, investment of the money, promotion? Lack of scruple?

8. Harry as a reporter, attracted towards Esther, getting the story, discovering the truth? Ryan as the newspaper editor, reaction, the stories, selling papers? Lack of scruple? His compliance with Harry's wishes at the end?

9. Father Dev1in and his Irish style, contact with Margaret, helping to get Esther away from Ireland? His happiness in seeing Esther's success?

10. Esther's impact on people, the prize-giving, the prize-winners, the beginnings of the rallies, the staging of the rallies, the religious overtones, Esther's presence, people's response?

11. The genuine and the fraud? The effect on people? Religious hucksters and their management? People and their response., their trust in religious people, self-deception? The expose?

12. The heightened atmosphere of religion, cures and healings, publicity, limelight and fraud? The impact on the people involved?

13. An interesting melodrama, strongly-drawn characters, melodramatic conflict and themes?

STORMY WEATHER

US, 1943, 77 minutes, Black and white.
Bill Robinson, Lena Horne, Fats Waller, Ada Brown, Cab Calloway, Katherine Dunham and her Dancers, Eddie Anderson, Flournay Miller, The Nicholas Brothers, Dooley Wilson.
Directed by Andrew Stone.

Stormy Weather was made in 1943, directed by Andrew Stone, director of some '50s thrillers, The Steel Trap, Julie, Cry Terror, The Decks Ran Red as well as the inflated musicals Song of Norway and The Great Waltz. However, the film is essentially a negro film. It has marvellous stars of the '30s and '40s and gives them the opportunity to perform.

The slight plot framework consists of a tribute to Bill Robinson as he looks at a magazine with a group of children and remembers the past. It is an excellent opportunity to see Bill Robinson with his engaging personality as well as with his dance skills. The other star of the film is Lena Horne who has an opportunity to sing several numbers, especially 'Stormy Weather'. There is a small romance theme between the two (she being the sister of Bill's World War One buddy who died, their meeting over many years in showbiz contexts, the parting of the ways when she does not want to settle down and he does). There is a somewhat implausible happy ending between the two.

There are also some valuable and enjoyable set pieces from the supporting cast, most especially from Fats Waller who sings, amongst other songs, 'Ain't Misbehavin. Cab Calloway and his orchestra also feature well. There is a dance sequence from Katherine Dunham and her Dancers to 'Stormy Weather'. The Nicholas Brothers do yet more of their exceptional and athletic dances. Eddie Anderson and Dooley Wilson are also in the cast.

The film is virtually an all-black revue - and is interesting as a film of the '40s.

It became something of a cult film in the '80s.

STORMY MONDAY

UK, 1988, 93 minutes, Colour.
Melanie Griffith, Tommy Lee Jones, Sting, Sean Bean, James Cosmo.
Directed by Mike Figgis.

Stormy Monday is a British thriller written and directed by Mike Figgis. It was well received critically and was a popular entertainment.

It is reminiscent of the films of the '40s - the business deals, the gangsters and the nightclubs, politics and finance. It is set in Newcastle-on-Tyne? and was filmed in the city. Tommy Lee Jones is a shady American businessman trying to muscle in in the city, but well received by the city authorities. Melanie Griffith is his mistress who wants to move away from him. Sting is the owner of the club. Sean Bean (about whom the film revolves) is a young Irishman looking for a job, who becomes involved in the political and violent tangle.

The film weaves together its various strands very intricately and well. Characters are well-drawn and there is an atmosphere of moody tension.

1. Effective thriller? Memories of the film noir and gangster genre? US and UK collaboration? A thriller of the '80s?

2. The use of Newcastle-on-Tyne?, overview, the streets, the hotels? Atmosphere? The musical score and the blend of American and British overtones?

3. The title, the mood, the lyrics of the final song?

4. The introduction with Kate waking up, Brendan beginning the day, Tony and Patrick, the gangsters, travelling to Newcastle, Newcastle in America Week?

5. Brendan as the centre of the film: age, background? Getting up, listening to the radio, the Polish ensemble? His job-searching, interview, knowledge about jazz, Finney employing him, sending him to the airport to pick up the Poles? His bumping into Katie and knocking her over? Her seeing him in the hotel? His cleaning the club? Meeting Katie at the meal, going out with her, the drink, telling the life story? His overhearing the violence towards Finney? Going to warn him, not allowed in the fashionable club? Warning him at midnight, going at 8.30, having breakfast? Finney thinking that he was part of the set-up? His work, Finney inviting him in to see the gangsters, selling their car to him for a pound, the brutality? Taking Katie to the Polish show? Their being bashed? Going back to the hotel, in love, decision to leave, returning, the irony of the explosion killing the Pole? The confrontation with Cosmo and the gun? His going off with Katie?

6. Katie and her work for Cosmo, under his orders, Bob's phoning, shopping for the outfit, bumping into Brendan? Meeting Cosmo, her disdain of him? Her second job, the manager criticising her? Brendan and the meal, the gangsters and their rough attitude? Going out, her story to Brendan? Staying the night with him? The reception, sitting next to Perry, her attack on him and leaving? Losing her job? Going with Brendan to the Polish reception and enjoying it? Memories of her family, her father? Their being bashed by Bob and his assistant? Washing Brendan, lovemaking? Their decision to leave, going back, the confrontation? Her leaving Cosmo?

7. Finney and his clubs, employing the Poles, talking to Brendan, employing him, the social and Brendan warning him, his being with the girl, his wife? 8.30, the interview? Giving Brendan an education by his interview with the gangsters? The car? His talking to Cosmo on the bridge, doing a deal? About the sign, the confrontation with Brendan? His tearing up the agreement?

8. Cosmo and his smooth style, dealing with people, with Bob, with Katie, deals, the English, wanting things arranged? Employing thugs? Finney telling him about his shady background? The reception, the decorations, his dislike of the band, the national anthem, watching Katie? His speech about England needing surgery and the Americans helping? His talking with Finney on the bridge, in the atmosphere of American Week? Bob and the bashings, the setting up of the exploding device in the car? The signing of the document with Finney? Brendan and the gun? His cool? The tearing tip of the agreement? His getting out of Newcastle?

9. The thugs, the train, their talk in the restaurant, their arrival, standover Finney, his beating them at their own game, the torture, their ringing Cosmo? Bob as henchman, as a thug as well as a businessman? The killing of the black guard? The arrangements for the disappearance of his body?

10. The British, the reception and its preparations? The hotel manager, the lack of band, the Poles and their jazz improvisation, Perry and his deals? Needing American money?

11. American and British relationships, Britain wanting money, the need for surgery and Britain's decline, the gentlemanly business dealings of the Americans, wanting to make money? The speeches? The celebration of America Week, the elaborate parade in the streets, flags, etc?

12. Finney bringing in the Poles, the contrast with America week? At the airport, the officials at Customs, their playing at the airport, the hotel, the Polish reception and their popularity, at the reception and their improvisation, playing at the club, the manager and his relationship, the irony of his death Instead of Brendan and Kate?

13. The style of the film, stylish thriller? Characters, action, the intricate web? Themes and mood?

STORM CENTRE

US, 1956, 86 Minutes, Black and white.
Bette Davis, Brian Keith, Kim Hunter, Paul Kelly.
Directed by Daniel Taradash.

Storm Centre is the only film directed by writer-director Daniel Taradash. He wrote many films including the Oscar-winning From Here to Eternity. He was later to become president of the American Motion Picture Academy. The 40s and 50s reflected the cold war in the films coming from Hollywood.

This project, originally designed for Mary Pickford's return from retirement, was shelved for several years, especially during the difficult years of McCarthyism?. It was probably quite daring to make this film in the mid-50s and for Bette Davis at this point of her career to make the film. It was not popular at the box office. Bette Davis was moving at this stage of her career from being a heroine to taking character roles. She gives an interesting performance - a mixture of brittleness and charm. She is supported by a young Brian Keith and the boy Kevin Coughlan who was to have parts in many films in his young adulthood. Storm Centre could be compared with such films of the 70s as The Front.

1. The political background of the 50s in the United States, the cold war, un-American activities and investigations, McCarthyism? The impact of the film in the middle 50s? Its being made, released, lack of popularity at the box office? Impact now?

2. The quality of the intentions of the film-makers, freedom and civil liberties, the attack on fascism? How well were the intentions matched by the execution of the film? How well presented as dram , melodrama, character study? The film as the directing work of a screen-writer?

3. The impact of the credits, the visual impact, the boy and his reading, the flames and their consuming of the book? How well was this a summary of the film, how well was it reprised visually at the end, especially with the long burning of the books in the library moving from section to section?

4. The film's initial focus on Alicia Hull? The quality and style of Bette Davis' performance, Robert's explanation of her background in a town as a young girl, widow, librarian of 25 years? Her charm and her place in the library, especially her influence on the children? Her living for the library and the children? The way she helped the children, especially Freddie? The relationship between Alicia and Freddie as a symbol of her work? The children's wing and her dedication to this? The atmosphere of the lunch at Morrisey's, her reaction to the grant for the library and the taking the book from the shelf? The reasons for her decision to go against this? The smear campaign? The meeting and the interview and her answers to the council? Her distinguishing of the issues about the individual book and its going further and the banning of freedoms? Her being sacked? Her reaction, the sadness of her leaving the library and Susie and Martha seeing her go? The meeting of protest and the few people who turned up, the minister and his support, the discussion of what the people in the town could do to support her? Her decision to retire and not interfere in people's lives? The bitterness and the passing of time? Her being shunned especially by Bert and the other children? Freddie and his turning away? The atmosphere of gossip in the town, the newspaper campaign? The presumption of all kinds of guilt? The smear of her being a communist, red affiliations? The townspeople reacting to this? Freddie and his imagination with stories about her being a communist? Her being tired, the decision to leave? How right was she to go to the opening? The climax of the confrontation with Freddie and his shouts and her slapping him? The burning of the library and her decision to stay and fight? The melodramatics of her final statement about opposition over her dead body? How rounded a character? How symbolic of a librarian fighting for freedom?

5. Alicia Hull as an ordinary citizen, the quality of her principles, American freedom and the Constitution, the radical nature of basic freedom, her suffering, being victimized, her decision not to fight, the changing of her decision?

6. The children of the town, an ordinary American town in the 50s, ordinary people, their basic reaction of what was safe, their fears, whispering, victimizing, e.g. staring at her in the restaurant, spreading stories about her? The magnifying of smear campaigns and prejudice? How accurate an indictment of ordinary people and their attitudes?

7. The alternate focus of the film in Freddie? As a precocious young boy, his reading and becoming involved imaginatively in his books, Alicia and her help and explanation, his reading at home? His mother's support and her background of culture and the piano? His father's wisecracks, not understanding his son, wanting him to be a sportsman? The tearing of the book and Freddie’s mending it and returning it to Mrs. Hull? The father and his discussion with Mrs. Hull and her advice - and the irony of his taking her advice later and turning Freddie against her? Freddie's imagination, his cleverness, competitions and winning the town's competition for the library? His disappointment in Alicia's being sacked. his visiting her and his disbelief? His shunning her and his love turning into hate for the books and for her? The talk at home, the influence of his father? The build-up with the boys and his making up stories and wanting to prove something against them? The scenes with his father at the workshop and his mental disintegration? The climax and his shouting at Alicia and her slapping him? Sitting on the stands and then the burning of the library - as a bad dream? Martha's comments on the lunatic's setting fire to buildings?

8. How accurate a portrait of the parents and their American attitudes -sensitive mother and support of her son, giving him permission to do things, the father's distance? The clash between the parents at the end? How true a portrait of such a clash?

9. The presentation of Robert and the council? Robert's taking of the book, his cowardice in not standing up for Alicia and voting against her? His trying to remedy this at the club in his speech about her. inviting her to the opening? The contrast with Paul Duncan and his ambitions. his research about her affiliations his accusations and continually using these as a platform? Martha and her work at the library her promotion, love for Paul, gradual realization of what he was doing and her leaving him?

10. The other members of the council - the "yes" men, the fearful men.. the hesitant men? The council meeting, their tactics, their fear of one book. the repercussions? The interview with Mrs. Hull? The strange consequences of the banning of one book and the limiting of freedom?

11. The library scenes and the ordinariness compared with what was to come?

12. The particular sequences in the life of the town. the protest meeting. the Slater home. the club and the discussion about Mrs. Hull's influence etc.?

13. The opening of the library, the atmosphere of American patriotism, the slogans of American patriotism and freedom?

14. The themes of the freedom of ideas civil liberties the attack on fascism? Robert's final speech against fascism?

15. American attitudes towards communism in the 40s and the allying with Russia during the war. the cold war and Un-American? activities the fear of communism and the attitudes for instance of Robert and Mrs. Hull? Her assertion that the communist repression of books was the same as American repression? There was nothing to fear from the exposition of ideas and systems?

16. What did America learn from the experience of the 50s and civil liberties?

THE STONE KILLER

US, 1973, 96 minutes, Colour.
Charles Bronson, Martin Balsam, Ralph Waite.
Directed by Michael Winner.

Michael Winner turns out two neat, slick entertainments a year that focus often on law and order in the West or the gangster world. With Charles Bronson, it is the police and Mafia World here. Winner's films are compellingly watchable, even if he drags in an objectionably impossible chase and much violence. He portrays well enough the ruthlessness of criminals who abide by few codes and the pressures on police who (rightly) can't be trigger-happy or as lawless as the men they are trying to protect ordinary citizenry from. As experience and such films remind us, solutions are not easy in theory - and practice happens in the heat and uncertainty of the moment.

1. A good action film? Too violent? How sympathetic can audiences be to characters like Lou Torrey? How revolting is the world in which policemen like Torrey move? Does this make the plots of such action films revolting? Why? Are films like this genuinely portraying their material? Or are they exploiting sensation for box-office success? Why?

2. What was the meaning of the title? The Stone Killer as an official killer? To whom did it refer? To the Mafia killers? To Lou Torrey himself?

3. What point of view did the film have on killing? On justice? On the rights to kill for the policeman? For criminals?

4. What did the film have to say about the law and its authority? The limitations of violence? The initial view of Torrey and his violence with newspaper reaction? Was it right for him to be transferred to Los Angeles? What motivated Torrey and his need for exercising violence? Was it merely exasperation at criminals and their getting away with murder? What philosophy of life did Torrey have about his vocation as detective and his role in society? How was this reflected in his work with Matthews? How did Matthews highlight Torrey's attitudes towards law and violence?

5. What authority should the Press have? In their campaign against Torrey? And transferring him? Did the film emphasize this?

6. How interesting was the plot in Torrey's discovery of the major conspiracy and his following it through? How real are conspiracies like this? Did the film make its story seem credible?

7. What was your impression of the portrayal of the underground world of criminals in this film? The Malibu comfort, the use of negroes, informers, perverts, etc.? Did the film give any insight into the personalities of the criminals e.g. Armitage, Langley the trombonist etc.?

8. Did Torrey's chase of Langley add to the excitement of the film? Was it too violent? The chase in the streets and the crashes into innocent people and their shops? How enjoyable should such chases be?

9. What insight into the Mafia and its modern workings did the film give? The personality of Vescari and his organization? Were you surprised at the vastness of his organization, his buying people, his army and the arrangements, his plans for the massacre? How much revulsion for audiences was there with Vescari?

10. Was the private army credible? The organization, the hidden plans and the training in the desert? The types of men who would belong to such an army? Why? The comment by the film of the criminal nature of the Vietnamese war and its effect on soldiers?

11. How revolting was the massacre? Could Torrey have prevented it? Were people glad that the criminals had wiped each other out? The fact that Vescari escaped? What moral comment here?

12. How human are films like this? Does this matter? What is the ultimate effect on audiences?

STOLEN HOURS

UK, 1973, 97 minutes, Colour.
Susan Hayward, Michael Craig, Diane Baker, Edward Judd, Paul Rogers.
Directed by Daniel Petrie.

Stolen Hours is a glossy remake of Edmund Goulding's 1939 classic Dark Victory. This was a star vehicle for Bette Davis. She was supported by George Brent as the doctor. by Geraldine Fitzgerald as her friend. Humphrey Bogart and Ronald Reagan had supporting roles. This attractive-looking rather glossy production was directed in England by Daniel Petrie, who made such soap operas as The Bramble Bush and such excellent films as A Raisin In The Sun.

Susan Hayward is a glamorous lead, a strong heroine. Diane Baker has some naive charm as her sister. Michael Craig has some solid support as the long suffering and supportive doctor. There is quite a good English cast. The material is full of sentiment - and indeed is the basic ingredient of soap opera. The film at times veers into sentimentality. There was a strong television re-make, going back to the title of Dark Victory in the '70s with Elizabeth Montgomery, Michelle Lee and Anthony Hopkins.

1. The popularity of the plot and theme? The classic status of Dark Victory? The television remake? The value of remakes in general?

2. The '60s glossy style for this production? A Susan Hayward vehicle? American and British co-production? Colour photography, musical score?

3. The atmosphere of the glossy affluent world? Wealthy American divorcees, wealthy doctors? The international racing set? Audience interest in this kind of lavish world? Suffering and death within this context? How real? Authentic?

4. Audience interest in and response to themes of illness, death? Love? How well were these themes treated here?

5. Susan Hayward's strength and presence as Laura? A credible American divorcee? Her smart set, the liaison with Mike Bannerman, her wealthy background? Fashion? International travel? Friends? Extravagance? Her love for Ellen? The manifestation of her illness as she was driving? Her withdrawing from the party? Mike Bannerman's concern? Setting up John Carmody to examine her? Her reaction? Her final acceptance of her illness - the persuasiveness of Carmody? Her undergoing the operation? The contribution of Dr. Eric McKenzie? and his reassurance? Her happiness as a result of the operation? Her discovery of the truth? Her reaction and going to Monza, resuming the old way of life in reaction? Carmody's facing her with the truth? Her realization of her need, love? The joy of the marriage? Carmody's work and her happy and quiet way of life? How was this symbolised in her walks and friendships with Peter? Ellen's presence? Her isolation at the end. her discussion with Peter and her facing death? A soap opera heroine? How much authentic interpretation in Susan Hayward's performance?

6. John Carmody - the doctor, the friend, his concern about Laura, his reaction to her extravagance? His persuading her to have the operation? His devotion to her, his journeying to Monza and persuading her about the truth? The marriage, his practice? The tenderness of his love for her before her death?

7. Ellen and her arrival, concern about Laura, supporting the operation, her knowing the truth, her grief? Her helping Laura through her last months?

8. Mike Bannerman - liaison with Laura, concern, his bowing out for Carmody? The international racing set? The background of Monza and Europe?

9. Eric McKenzie? and his performing the operation?

10. Peter and his symbolising Laura's new and quiet way of life? His presence and helping her with her death?

11. The background world of society contrasted with the Cornish countryside? The film's emphasis on quiet values on contrast with the fast jet set?

12. Themes of illness, facing illness, facing death with courage and dignity? Love and support? Was the film merely soap opera or something more?

THE LAST AMERICAN HERO (STOCK CAR HERO)

US, 1973, 95 minutes, Colour.
Jeff Bridges, Valerie Perrine, Geraldine Fitzgerald, Ned Beatty, Gary Busey.
Directed by Lamont Johnson.

This is a modest film, a look at young ambitious, idealistic men breaking free of the unimaginative poverty and grind of their upbringing to achieve a personal success. Part of the threat and inevitable disillusionment is learning that this is almost impossible. We are under other people's power. Our hero fights for his freedom and integrity and ultimately has a choice - to that extent he is a hero on his chosen field of stock-car racing. Is the world so competitive that he could be the last American hero? An interesting sports film with significance - Jeff Bridges stars.

1. The emphasis of this title? The theme and significance of the original title, 'The Last American Hero'? How did this widen the scope and the meaning of the film? The emphasis on a hero the irony, the truth, the accent on America?

2. The use of the Panavision colour screen, the presentation of the Carolina Hills. the moonshine background, the roads and the car chases, the atmosphere of stock-car racing. hotels etc.? How authentic an atmosphere did they create suitable for this film?

3. The film's emphasis on the car, its power and its motion, the human control, the drive. the urge to win. the car as the 20th Century image of power and self-assertion? The 20th Century masculine symbol of achievement? The popularity of the car and the audience's watching sports involving cars? The speed sports, the destructive sports?

4. What did the film say about the nature of heroes. their own idea of themselves. their drive. their sense of achievement,, their ruthlessness? The importance of independence and self-image,, the necessity of hustling? How was Junior a hero in this film?

5. The presentation of Junior and his driving: the initial sequences of the practises in the hills, his defying the police and the federal agents. the sense of racing and speed power, the subjective feelings of Junior as he drove? His energy and determination in the battering and the demolition derby? His playing dirty? The presentation of the sequences in the racing. the crashes and their effect on the cars, the drivers, the crowds? The atmosphere of the pit-stops and the crews?

6. The contrast with the Jackson family and their background: the presentation of the home scenes and their quiet and sensitivity? Mother and father in the atmosphere of home, the background of the moonshine and the stills, the carting of the moonshine, the making of money and the defying of the police? Elroy Jackson and his background? His regrets at the way of life he had to lead, moonshine and prison? His standing on principles and dignity and his instilling these into his sons? His attitude in going to jail Junior paying for the extras, the lawyer and the court-case? His patriarchal attitude towards his sons, even from jail? Comment on the emotional build-up when the sons proudly show him the still and then he destroys it? What had he achieved in his life? What did he want his sons to achieve?

7. Comment on the portrait of Mrs. Jackson: her relationship with her husband.. sharing his way of life, poverty and danger, the way she had brought up her sons, their love for their parents and their respect? Her concern for Junior, her appreciation of his love for cars, her not understanding the nature of the sport. yet her sharing in his victory? A convincing portrayal of a mother?

8. The contrast of Junior and Wayne? At home, their relationship with their parents, to one another, their work with the moonshine their supporting their family? Their relationship with their friends? How effective were the numerous sequences of interaction between Junior and Wayne and their friends. especially Junior’s self-assertion over the boys' slinging off at him? What did Junior want to achieve with them?

9. The importance of the demolition derby in setting Junior on his way, the importance of his dirty play and his destruction, the crowd's response? Hackel and the delineation of the manager of a demolition derby, his application of the rules. his trying to cheat Junior of his money. Junior's harsh reaction towards him and defiance?

10. The film's build-up of the presentation of the races, Junior's success his crashes and yet his brother and friends continuing to help him? The importance of his independence? The importance of his doing his own mechanical work on his car? The impact of the crashes, of winning?

11. What did Marge contribute to the film? What kind of character was she, her work in the office, her liaisons with the various drivers? Her moral stances and lack of them? How important were morals to her? Human relationships? Her helping Junior with the hotel? Her sweetness towards him? His taking her to the dance and their conversations? His discovery of her relationships with the other drivers? The importance of the sequence of their night together.. the effect on Junior, his capacity for humanity and loving, her capacity for love? The importance of the exchange of confidences, especially her talk about her past and her fatness, his talking about being himself? Her taking up with the other drivers at the end? Her final words of keeping in contact because he was her darling? How accurate a portrait of this kind of girl?

12. How well did the film fill in the background of the personalities of the other drivers, their ways of behaviour parties and socializing, rivalry, driving? Wives and their jealousies? The atmosphere of the people who go the round of the tracks?

13. The importance of Junior and his decision to become dependent on Colt? The sequence of his defying him? Yet his going to him with tough terms? Their encounter and the setting of terms? The character of Colt and his wanting to win, his power? His control of Junior during the race and Junior's decision to disobey? The effect of winning on both of them? Colt's threats and Junior's brazen retaliation? what was the future for him?

14. The final image and the still of Junior going into the interview, his sense of achievement and winning, the balance of the humanity in his background? The question of 'where are you going from here, Junior'? What would the audience answer? What would Junior answer?

15. How interesting a film in itself about human beings, about sport. about American heroes?