REMAINS TO BE SEEN

US, 1953, 88 minutes, Black and white.
June Allyson, Van Johnson, Louis Calhern, Angela Lansbury, John Beal, Dorothy Dandridge.
Directed by Don Weis.

Remains to be Seen is a slight romantic comedy with a touch of murder mystery. It is the fifth co-starring film for June Allyson and Van Johnson (High Barbaree, The Bride Goes Wild, Too Young to Kiss). They work easily with each other, romantically, and with song.

There is a pleasant pun in the title. The film is based on a play by Howard Lindsay and Russel Crouse (who wrote such books as Anything Goes, The Sound of Music as well as films like Woman’s World). The film is quite stage-bound, most of it occurring in an apartment with some scenes in a restaurant.

Van Johnson is the manager of an apartment block and discovers a dead body. When the death certificate says that the victim died of natural causes, a knife is stuck in him, revealing a murder as well as a secret doorway.

Angela Lansbury is the villain, has only a few sequences, but one where she hypnotises a sleepwalking June Allyson with music, trying to get her to fall over a balcony to her death. She is interrupted several times by Van Johnson turning on jazz instead. There is also a comedy routing where June Allyson finds she has to be at two tables at once and the waiter gets completely mixed up.

There is a pleasant interlude where Dorothy Dandridge, as herself, sings a club number, Taking a Chance on Love. There is also Toot-Toot-Tootsie? Goodbye from June Allyson as well as Too Amorous For Words sung by the two leads.

A pleasant entertainment, nothing particularly startling.

1. The blend of romantic comedy? Murder mystery? MGM production values? The cast?

2. The film based on a play, confined to apartments and to restaurants? The black and white photography?

3. The songs, Dorothy Dandridge? The popular songs from June Allyson and Van Johnson? The jazz background?

4. The pun in the title? The dead body? The murder mystery?

5. The setup, Waldo playing the drums, managing the apartment block, Mrs West and her complaints? The janitor helping him? The package, discovering the dead body? Calling the police, the doctor? The death certificate? Natural causes? The fight on the television, the medical examiner wanting to get away?

6. The body with the knife in it? The audience seeing Valeska? Knowing that she was responsible? The mystery of the secret passage?

7. Benjamin Goodman, Jody’s mistake thinking he was Benny Goodman? Her disdain for her uncle and his money? Goodman as the kind lawyer, trying to persuade Jody to take the money? Involved in the death, making the arrangements? The comedy with the two undertakers coming as rivals? Cremation instead?

8. The restaurant sequence, Goodman and his guests, Jody with Waldo? Going from table to table, commenting on the high prices, hamburger or steak? The bewilderment of the waiter?

9. Jody, unable to sleep, Waldo playing the music? The songs? His admiration for her, having her record? Her sleepwalking? Valeska and the music box, luring Jody to her death? Waldo turning on the jazz? His proposing to her, thinking she was asleep? Waking up?

10. Jody and her phone calls to Peewee, her job, Waldo playing the drums, the audition, getting the job?

11. The doctor, his being unmasked as the villain? The false diabetes? His relationship with Valeska? Valeska wanting the dead man’s money? The doctor murdering her?

12. The police, scepticism? The shootout with the doctor? The former criminal and his presence? The resolution of the case?

13. A supporting MGM feature – but with a good cast and the light touch?

INNER SANCTUM

US, 1948, 62 minutes, Black and white.
Charles Russell, Mary Beth Hughes, Dale Belding, Billy House, Fritz Leiber, Nana Bryant, Lee Patrick.
Directed by Lew Landers.

Inner Sanctum is a small B-budget supporting feature from the late 40s. It is the kind of material that would be on television fairly quickly, and foreshadowing some of the series like Twilight Zone with the sense of the mysterious and the eerie.

A woman listens to a story told to her by a mysterious doctor who is able to tell the time without looking at a watch, is able to say what is going to happen to a train, and tells a story to the woman about a murder. She listens with interest. The film then is mainly a flashback where a young man, played by Charles Russell, murders a young woman at a railway station and dumps her body on the carriage of a train. He is seen by a curious young boy. The river is up, the man cannot get out of the town, is offered a lift by the editor reporter of the local paper. He also recommends a boarding house – where the young boy in fact lives.

The film focuses on the quandaries of the murderer, making himself at home in the house, seeing the boy, trying to befriend him, persuade him that he didn’t see anything, ultimately trying to kill him. There is an attractive blonde in the house who makes a line for him. He plays along – but she guesses what has happened. In the meantime, the mother of the boy is concerned about his continually running away. Everything is presided over by the kind Mrs Mitchell who runs the house, with various boarders (who have an interest in drink).

There are some homely touches, some comic touches.

However, the film focuses on what the man is going to do, his propensity for violence, his pretending to be injured, pursuing the young boy in the dark. Eventually he is exposed – and he and the blonde discuss what he is to do. He says he is tired of running – and decides to wait for the police.

Meanwhile, on the train, the young woman listens to the story with interest. The mysterious doctor tells her not to get off the train. She sees her husband, rushes off the train, and the murder actually happens. And the film ends.

It is an interesting story in itself, the focus on the guilty man and how he handles the situation – plus the added interest of the Twilight Zone sense of prophecy.

TELL-TALE

US, 2009, 93 minutes, Colour.
Josh Lucas, Lena Headey, Brian Cox, Beatrice Miller, Jamie Harrold, Michael Kenneth Williams, Ulrich Thomsen, Dallas Roberts.
Directed by Michael Cuesta.

Tell- Tale takes its name and a feature from Edgar Allen Poe’s The Tell- Tale Heart.

Josh Lucas portrays a man who has had a heart transplant. The heart gradually alerts him to the memories of the original donor who was murdered with his wife in a robbery. The man with the transplant begins to see the robbery, also senses the presence of those who killed the donor. He is compelled to kill the robbers. However, the story is complicated because a detective was having an affair with the murdered woman. It also appears that donors were targeted by a racket, operating from the hospital including orderlies and a doctor.

As the presence of the donor overwhelms the man with the transplant, he worries about his sanity, his relationship with his daughter’s doctor, his concern about his daughter’s illness and her treatment.

There is a final confrontation, as expected. However, there is a final twist when the doctor admits that she put an order in for the heart for the transplant, not necessarily acknowledging the way that it was obtained, but leaving a sense of uneasiness for the future of the relationship.

Josh Lucas is the man with the transplant. Lena Headey is the British doctor. Brian Cox is the detective in pursuit of the killers. The director has mainly worked in television series like Six Feet Under and Dexter. He has directed the film L.I.E. as well as 12 and Holding and Roadie.

1. An offbeat thriller? Psychological drama?

2. Edgar Allen Poe, The Tell- Tale Heart – the updating of the inspiration from his story?

3. The American city setting, ordinary life, hospitals, the ghettos? The musical score?

4. The opening situation, the murder and robbery? The victim and his wife? Being a donor? The hospital, the surgery for Terry’s transplant?

5. Terry, the operation, its success, the deep scar? In himself, his health? His relationship with his daughter, the bond between the two, his concern about her health? With Elizabeth, the discussions, the prospects?

6. The Tell- Tale Heart, Terry and his looking at documents, finding the identity of the donor, learning what happened to him? His panic? His being near the orderly in the alley? The effect on him? His killing him, fleeing?

7. Being in the hospital, his agitation near the second orderly, the pursuit, death?

8. The investigations by the police, Terry and his seeing Philip Van Doren? Van Doren and his harsh attitude? The revelation of his affair with the murdered woman?

9. Terry’s daughter, Angela? Her health? With Elizabeth, the work together? The tests? The outings? The bond between the two? The possibility of a future family?

10. The conspiracy at the hospital, the doctors, the surgeons, the plans? The trafficking in organs? The confrontation with Terry? The admission of the guilt? The plan for Terry to die?

11. The build-up to the confrontation, Philip Van Doren, the doctor, the surgeon?

12. The prospects of a happy ending? Terry healed of his donor’s vengeance? Elizabeth’s revelation that she had ordered the heart? Not necessarily involved in the conspiracy – but dealing in organ trading? The insecurity for the future relationship, the uncertainty at the ending of the film?

THE SUNDOWNERS

US, 1950, 83 minutes, Colour.
Robert Preston, Robert Sterling, Chill Wills, Cathy Downs, John Litel, Jack Elam, Don Haggerty, John Drew Barrymore.
Directed by George Templeton.

The Sundowners is a film about feuds. It takes place on the open range, with outlaw brother against law-abiding citizen brother.

Robert Preston is larger than life as Kid Wichita, an outlaw who comes to the aid of his brother when his cattle are stolen. There is a younger brother, played by John Drew Barrymore in his first role, who sides with the law-abiding brother but has an admiration for the outlaw.

The film also has the sheriff in the town, various landowners, various people who have grudges against the outlaw. There is a great deal of wheeler-dealing going on with the various owners including Jack Elam and John Litel, with Chill Wills playing an ally who eventually kills the outlaw.

The film is colourful, but standard – until there is a shootout in a hollow rock, seen from the top and from the bottom of a vertical shaft.

1. The title? Workers on the range? Cattle? Cattle-rustling?

2. The West, the colour photography, the landscapes, the rocks? The vertical shaft sequence? The musical score?

3. Tom Cloud, his situation, law-abiding? His taking care of his younger brother, Jeff? The animosity between himself and his brother James? His place in the society, the law, his having to accept James’s help? But not approving? The final confrontation and his decision-making?

4. Jeff, young, brash, cared for by Tom, admiring James? His involvement in the range war? His being taken, wounded? Trying to get the gun? His having to make decisions?

5. The cattle-rustling, the various property owners, their clashes, the hired guns? Leading up to the battles and shootouts?

6. Sam Beers, his role in the community, with Tom, with James, confrontations, the shooting?

7. Kathleen, her relationship with the Clouds? Her marriage to Earl? Earl and his double-dealings, his death?

8. The sheriff, trying to deal with the situations? With James?

9. James, his helping out, his coldblooded shootings on behalf of his brother, killing Earl Boyce? His daredevil manner? The final confrontation and his death?

10. Familiar ingredients – how well done?

NEW MEXICO

US, 1951, 76 minutes, Colour.
Lew Ayres, Marilyn Maxwell, Robert Hutton, Andy Devine, Raymond Burr, Jeff Corey, Lloyd Corrigan, Ted de Corsia.
Directed by Irving Reis.

New Mexico is a standard western. However, in 1951 in the aftermath of such Indian-friendly films as Burning Arrow, it begins with a meeting between Abraham Lincoln and an Indian chief in New Mexico. The president extends the hands of friendship, promising collaboration with the Indians. However, after his assassination, the military commanders in New Mexico take a very strong line against the Indians, stirring up animosity, the arrest of many Indians, deaths and the decision by Acoma, the Indian chief, to lead a rebellion against the military. In the middle of all this is Lew Ayres as Captain Hunt, the friend of Acoma, witness to the meeting with Lincoln, forced to take a stand against Acoma when he rebels.

Lew Ayres is solid as the captain, voicing the concern about the treatment of the Indians by the military. There are various military officers, some with a comic touch as Andy Devine, others sinister like Raymond Burr. There is also a prejudiced judge, played by Lloyd Corrigan, who eventually is executed by the Indians with some savagery. The film contrives to have Marilyn Maxwell and her chaperone in the West, a showgirl on her way to perform in Nevada. She gets caught up in the confrontation between the military and the Indians, especially on a mountain top.

The film ends rather pessimistically – the military take refuge on the top of a mountain, are attacked by the Indians. However, they find a cache of arms and while the central characters are both killed, there is an explosion of the arms which destroys everyone except the little son of the Indian chief who is taken away to safety by the showgirl. The film shows the hands of Hunt and Acoma touching each other at the end, an irony about American history.

The film is directed by Irving Reis whose untimely death meant that he directed very few films although some were quite significant in their way including The Bachelor and the Bobbysoxer, All My Sons, The Four- Poster.

1. A 1950s western? The Indians and the resolutions of quarrels with Abraham Lincoln? The attitudes of the militaries and the stirring up of Indian attacks? The resolution – as a mystic yet with hope with the two hands touching each other?

2. The title, the New Mexico settings, the fort, the desert, the mountains? Colour photography? The musical score?

3. The prologue, Abraham Lincoln, travelling to the West, his dignity? With Captain Hunt? The judge present? The encounter with Acoma, the presentation of the pact? The hopes for the future?

4. Lincoln’s assassination? The news coming to New Mexico, the change of attitude in the military? The commander and his harsh treatment? The Indians, the rations, stealing? The looting, the shooting? Hunt and his stand, the explanations? The commander being hardhearted? The judge supporting him?

5. The character of Acoma, leading his people, meeting the president? Friendship with Hunt? The treatment by the commander? The deaths of the Indians? Acoma saying that war was inevitable?

6. The attack on the fort, the hatchets? The freeing of the Indians and Acoma? The death of the commander? Hunt and his speaking with Acoma, trying to heal the situation? Saying that he would have to take a stand?

7. The military, the variety of types? Their bad behaviour? The leadership? Their going out in search of the Indians? The shooting of Acoma’s son? Blame on the shooter? His resentment?

8. The arrival of Cherry? Her chaperone? The reception? The encounter with Captain Hunt, his not showing her the town? The reception by the men? Her wanting to go on to the West? The stagecoach, the judge, the Indian pursuit, overturned? The rescue? Climing the mountain? With the little boy, finding the water, telling Hunt? The arms? Her helping Hunt, his being wounded? Her taking the boy to safety?

9. The Indians, the siege of the mountain? The troops on top, their bad behaviour with Cherry and Hunt taking charge?

10. The judge, the water, with the little boy, coming down the mountain, his talking to Acoma, his execution?

11. The siege, the striking long shots, the flaming brands going down the mountain, the rocks? The attack, the deaths? Hunt and his being wounded, his preparing the explosion, shooting Acoma? The explosion and all being destroyed?

12. The symbolism of the hands together?

THE THIN MAN GOES HOME

US, 1945, 100 minutes, Black and white.
William Powell, Myrna Loy, Lucile Watson, Gloria De Haven, Anne Revere, Helen Vinson, Harry Davenport, Leon Ames, Donald Meek, Edward Brophy, Lloyd Corrigan, Donald Mac Bride, Morris Ankrum.
Directed by Richard Thorpe.

The Thin Man Goes Home is the second-last of the Thin Man series, the fifth. It had begun in the 1930s – a variation on the detective theme, a sleuthing husband and wife, their family life, their sparring together, solving mysteries. The formula worked very well for the films and they were extremely popular. William Powell and Myrna Loy had appeared in many films together, including Manhattan Melodrama. They work very well as Nick and Nora Charles. They were based on characters created by novelist Dashiell Hammett.

This film is slightly different. Nick and Nora and their dog Asta (a feature of all the films, although it is said that this was not the original Asta because the original had grown too old) go to upstate New York on a holiday to stay with Nick’s parents. The parents are played by Lucile Watson and Harry Davenport. Nick’s father is a doctor who is disappointed that his son didn’t follow in his footsteps and does not take into account his skill as a detective. Nora is at pains to prove that Nick is very good at his work.

The people in the town become suspicious – and there are some suspicious goings-on, including several murders. Needless to say, Nick becomes involves and solves the mystery – in the kind of drawing-room fashion where everybody is gathered together and, like Poirot or Miss Marple, everything is explained.

There is a good supporting cast of MGM character actors and the film was directed by Richard Thorpe, a veteran director of all genres of MGM films, after the initial series was directed by W.S. Van Dyke.

While the film is dated – it is a pleasant throwback to the screwball comedies of the 1930s and 40s as well as a murder mystery. Most people will not guess the murderer – although the film uses the Agatha Christie method of having a character interrupt proceedings all the time with the audience wishing that he would go away – and of course he is the murderer.

1. The popularity of the series, the popular characters, comedy, the mystery and its solving?

2. MGM production values, black and white photography, New York State? The musical score?

3. The title, the focus on Nick and Nora, the family, Asta?

4. Nick going on holidays, going to see his parents, the train ride, the problems with Asta, the baggage car, the bottle of milk for the baby, broken and his turning up?

5. William Powell as Nick, the background of the other films, his debonair manner, drinking, drinking cider, his reputation, going to see his father, the clash with his father? Nora and her sardonic tone?

6. Dr Charles, his work, building a hospital, his hopes for Nick, the gibes? The mother as nice and fussing?

7. The police, collaboration with Nick, people and the response around the town, the gossip, Nora’s noncommittal interview and the rumours?

8. The maid, welcoming Nick and Nora, her screams throughout the film, her seeming suspicions – and the comedy of her wanting an autograph at the end?

9. Willoughby, the teacher, suspicious, the factory? Draque and his wife? Their wariness, the issue of the painting and trying to get it? Ronson and his place in the town, business, his concern about his daughter? Dr Clayworth and his son? Berton and his art? The place of Crazy Mary and her denunciations? Willie Crump and his selling the paintings? The audience watching the various suspects?

10. Crazy Mary, her character, her attack on Nick, the background of her story, the affair with the rich man, her son, the orphanage, her shame, his pictures, her disappointment with her son, getting the picture back, her death?

11. The artist, working at the factory, being moved around? Coming to Nick, his being shot? His identity, Crazy Mary’s son? His pictures, the plans of the plant and the bomber? The pictures covering them?

12. Clayworth’s son, going out with Laura Belle? Laura Belle and Tom? The alibi, Laura Belle and her overdramatising things?

13. Willoughby, the factory, the orders, Ronson, responsibilities? The espionage?

14. Dr Clayworth, his work, his memories of Nick, the comparisons, his being obtrusive and unobtrusive, examining the bullets, giving his opinions, the revelation of the truth, his anger, pulling the gun?

15. Draque, sinister, the money, the paintings, using his wife, her not realising the truth? The final confrontation?

16. Willie Crump, Nora buying the painting, for Nick, his getting dressed without noticing it, his not liking the windmill? Giving the painting for charity? Draque wanting to get it? The plans? His following Nora, buying her the drink, her setting up the fight, the police arresting Draque? Nora’s suspicions of Brogan?

17. Brogan, his friendship with Nick, Nora tailing him, bringing in the gun at the end – and his working for Nick? The humour of his proverbs and quotations?

18. The gathering of everyone, the explanation of the situation, the revelation of the truth – and Dr Charles’ admiration for his son?

COLONEL EFFINGHAM’S RAID

US, 1946, 72 minutes, Black and white.
Charles Coburn, Joan Bennett, William Eythe, Allyn Joslyn, Elizabeth Patterson, Donald Meek, Frank Craven.
Directed by Irving Pichel.

Colonel Effingham’s Raid was based on a popular novel by Berry Fleming. It is in the vein of many films of Frank Capra in the 30s and 40s as well as the comedies in small towns made by Preston Sturges.

Charles Coburn does a tour de force as the outgoing retired Colonel Effingham. He returns home to his town in 1940 where the mayor and his cronies are ivd in corruption in rebuilding the law courts and other buildings, cooking deals and contracts. Colonel Effingham goes to the local paper, edited by Allyn Joslyn, to ask for a column. Instead of war memories, especially of Panama, he starts attacking the mayor and his activities. This divides the community, many of the older people supporting the colonel.

In the background there is a romantic story with William Eythe as the colonel’s cousin who works at the paper and the daughter of the founder of the paper, played by Joan Bennett. There is a range of character actors portraying the people in the town.

There is a great deal of warmth and humour, and Colonel Effingham is certainly a striking character. However, the film seems somewhat truncated at the end, the colonel being ill and not appearing for the last ten minutes except for a final salute to the troops going off to war.

1. The popularity of films by Frank Capra and Preston Sturges, social concerns, ordinary people, comedy? The experience of World War Two and its aftermath?

2. The brevity of the film, seeming truncated at the end, comic and serious?

3. Black and white photography, Fredericksville, a Georgia city? Homes, newspaper offices, the law courts? Capturing the period?

4. The musical score, the patriotic songs, the wolf-whistle incorporated?

5. The voice-over of Albert – spasmodic?

6. 1946, looking back at 1940 and the pre-war American style? Focused on American issues? Opening up to the war in Europe? In retrospect now?

7. Charles Coburn as Colonel Effingham, his performance, age, war experience, references to Panama, retiring at sixty-five, still wanting to fight – and his raid? Earnest, with Albert, Emma? Talking about his past? Going to the paper, discussions with Hoats? With Dewey? Writing his columns, not on the war, the local fight? The name of the square, the demolishing of the courthouse? Reactions, pro and con his columns? Meeting with the editor? With the mayor? Calling a meeting, his long speeches, rousing the crowd, the applause? His tactics? His friendship with Ella Sue? Meeting the bankers, their refusal to help? His illness? The final salute?

8. Albert, the voice-over, his place in the town, conservative, working for the paper, the discussions with Dewey and the sexist comments about Ella Sue? His interactions with Hoats? The wolf-whistle and Ella Sue’s skirt? His articles and his response to his cousin? At home, with Emma? His stances? The bowls and his poor efforts compared with Ella Sue and the school professor? The sexist attitudes? His change, signing the petition, going to the meeting, his interactions with Hoats, getting him to help his cousin? Enlisting, his motivation, the final kiss, the parade, his long speech and challenge to the mayor?

9. The mayor, his speeches, his cronies, the plans, contracts, the meetings, naming the square? Behaviour at the meetings? The public against them? The adjourning of the meeting after the colonel’s speech? The end, reviewing the troops, the troops challenging the mayor? Preserving the courthouse?

10. Ella Sue, her father, work at the paper, her stances, the credibility of her love for Albert?

11. The characters of the cronies, their meetings with the mayor? The ladies of the town and their opposition to the mayor?

12. The issue of the war, opening up America to the perspectives of World War Two and Europe? The issues and stances of America in the mid-1940s?

THE MOST DANGEROUS GAME

US, 1932, 62 minutes, Black and white.
Joel Mc Crea, Fay Wray, Robert Armstrong, Leslie Banks, Noble Johnson.
Directed by Ernest Schoedsack and Irving Pichel.

The Most Dangerous Game is based on a popular short story by Richard Connell. This was made in the early 1930s but shows a great sophistication for early sound film-making. In fact, it is quite gripping even now, audiences making allowances for the limitations and techniques of the period. It was co-directed by Irving Pichel who made a number of films, especially religious films such as The Great Commandment, Martin Luther, Day of Triumph. He also made many popular films ranging from The Moon is Down to The Pied Piper.

The team that made the film are those who next made the classic King Kong. The jungle scenes are reminiscent of that film.

The film shows a boat crashing on a reef in the Pacific – and audiences will be amazed at the mansion found on this particular remote island. However, that is not the point. Joel Mc Crea, a famous hunter, is the only survivor and finds a Russian count, Zaroff, in residence in the mansion. He has a mute giant-like servant as well as a Tartar servant. He explains that many people have been shipwrecked in a similar manner and a brother and sister are his guests at the time.

As Zaroff explains his love of hunting, his being bored with animals, it emerges that he shipwrecks people in order to hunt them.

The brother, played by Robert Armstrong, is an alcoholic who is sent out and pursued and brought back dead. The new stranger on the island, Joel Mc Crea, and the sister, Fay Wray, confront Zaroff. He explains his passion for hunting humans – and offers McCrea? the opportunity to hunt with him. When this is resisted, he gives Mc Crea a time limit and the hunt begins. The sister decides to go with the stranger.

There are some very good sequences in the hunt, the attempts to trap Zaroff, the confrontation with his hounds, clifftop sequences – and a final surprise twist and comeuppance for the count.

Joel Mc Crea was becoming a steady leading man in films and was popular for many decades. Fay Wray was to be the girl in King Kong. British Leslie Banks is quite striking as Zaroff, perhaps overacting or chewing up the scenery, but memorable nonetheless.

1. The impact of the film? A film of the 30s? The early sound techniques? Its impact later?

2. The popularity of the story, this version, the many versions and variations of a madman hunting humans?

3. The black and white photography, the sound stages, the miniatures for the shipwreck? The blend of realism for the special effects? Max Steiner’s score?

4. The title, hunting, humans being hunted by humans?

5. The opening, the ship, the discussion about hunting, the characters on board? The captain and his hesitation? The reefs? Bob the expert? The discussion with the passengers? The discussion about hunting, the nature of hunting? The hunters and their thrills? The proposal by Bob that they should think what it was like to be hunted? And the animals enjoying the hunt and eluding being captured?

6. The shipwreck, the shark, the deaths of the passengers? Bob surviving, going ashore?

7. The mansion – and the use of the doorknob as a sinister prop during the credits? Ivan standing behind the door, Bob confronting him, his being mute? Imposing and frightening? Zaroff and his explanations?

8. The character of Zaroff, his Russian background, bringing Ivan with him, the Tartar? His household? The mansion, a castle, every comfort? The piano and his piano-playing? His urbane manner? His accent?

9. Martin and Eve, the shipwreck, Zaroff’s explanation? The disappearance of the other passengers? Eve and her fright, confiding in Bob?

10. Martin, his drinking, going with Zaroff – and his being brought back dead? The confrontation of Bob and Eve with Zaroff, his explanations?

11. Zaroff, his boredom with animals, hunting humans? His trophies? His inviting Bob to hunt with him? Bob’s refusal?

12. Zaroff’s challenge, Eve deciding to go with Bob? Their going out into the jungle? Zaroff and his keeping time?

13. The pursuit? Bob and Eve, their ingenuity, Eve’s fears? The traps? The cliffs? Zaroff eluding the traps? Ivan and his being impaled? The Tartar and his fighting with Bob? Zaroff setting the hounds on Bob? The fights, wounded, his pushing the dogs over the cliff? Zaroff getting closer, the arrows, Bob and the hound falling over the cliff? Zaroff and his sense of achievement? Taking Eve?

14. Zaroff in his room? Bob’s arrival? The turning of the tables, Zaroff and his concession, getting his gun? The fights, the arrows? The Tartar and his death?

15. The pursuit of Zaroff, the boat, Eve and Bob escaping, Zaroff wanting to fire the arrow, his collapse, his falling into the sea? Poetic justice?

16. An effective and thrilling film from the early 30s? In its themes of hunting and being hunted?

THE MOONSTONE

UK, 1934, 46 minutes, Black and white.
David Manners, Phyllis Barry, Gustav Von Seyffertitz, Jameson Thomas, Herbert Bunston, Charles Irwin.
Directed by Reginald Barker.

The Moonstone is a very small-budget film from the early 1930s. It is part of a series on British mysteries.

The mystery is taken from Wilkie Collins’ book The Moonstone. It was filmed several times in the silent era and has had various remakes for the screen, adaptations and many series.

However, this film confines itself to an office in Scotland Yard and to a mansion in Yorkshire. The plot has been updated to the present. Information is given via newspaper headings that a famous jewel, the Moonstone, is to come to England from India, having been taken from an idol in India. It is to be in the possession of Ann Verinder in Yorkshire. It is being bought by her fiancé Franklin Blake.

Ann’s father, Sir John, is working in his laboratories for finding a new anaesthetic. He is being pressurised by an international criminal to repay loans. The criminal is also in contact with the maid in the house, who has previously been in prison for theft. Ann’s cousin and suitor Godfrey is also in the house as well as the rather sharp maid, Betteredge.

At one stage the Moonstone disappears, taken in a precaution by the maid. However, after Ann goes to sleep, someone takes the jewel from under her pillow.

The film is mainly the characters gathered in the drawing room, in the manner of Hercule Poirot or Nick Charles and their revelation of the criminal. However, there is one difference where the fiancé is given a drug which enables him to re-enact what he saw on the night of the theft, identifying the person who took it.

The inspector from Scotland Yard is able to solve the case, capturing the international criminal as well as the cousin who took the jewel.

The film is mannered in its style – but is interesting as an example of early talkie movie-making in England in the 1930s.

TIGER BY THE TAIL

US, 1970, 99 minutes, Colour.
Christopher George, Tippi Hedren,Lloyd Bochner, Dean Jagger, Glenda Farrell, John Dehner, R.G. Armstrong, Charo, Skip Homeier, Alan Hale Jr.
Directed by R.G. Springsteen.

An entertaining routine thrilIer. Christopher George, a perennial star of telemovies, is the hero and performs in a sullen manner
.
A group of veteran stars fills in the supporting roles with great interest. They include Tippi Hedren from the Hitchcock films, Dean Jagger and Glenda Farrell from the thirties. The film has the usual complications and a good finale with a performance by John Dehner which is essential to the core of the film and is well done. Direction is by R. G. Springsteen, director of B grade effective westerns and other thrillers.

1. The popularity of the American thriller?. The traditions on the screen, on television? The basic appeal of characters, action and mystery?

2. The New Mexico backgrounds, wealth, the law, corruption? How credible an atmosphere?

3. Steve Michaelis as hero? His background in the town, relationship with his brother and his reflections on their rivalry and their loneIiness? His service in Vietnam? His return, the story of the brawl, the encounter with his brother? The meeting again with Rita and their clash? His aggressive tone, being suspectecl of the murder, his determination to solve the mystery?

4. The build-up of the crime , the audience seeing it, the callous killing, the involvement of Ware - his subsequent behaviour at the meeting, his indication that he had a higher superior, his being the individual to go to the racecourse at midnight, the suddenness of his death?

5. The presentation of the suspects and the clues given – Whitehorn and his joviality, his plane? Poke and the bank and his power, Rita and her buying the device? Who was the most plausible?

6. Ben as the genial policeman, Sarah and her information about guns? The Mexican girl and her dancing and singing, her making the crucial phone calIs?

7. The picture of the sheriff - his explanation of his background, his official duties, his gambling house, his logic and his strong presentation of arguments? The confrontation in Steve’s home about the missing gun? His agreeing that he go free? The various tactics used and the final confrontation? Did the audience suspect him? His behaviour seen in retrospect of his guilt? His assistant and the responsibility for the deaths? His motives, greed? Ben's suspicions as a clue?

8. How satisfying the building up of clues, the time limit for Steve to find the money?

9. The final confrontation and its melodramatics?

10. The basic ingredients and stances of the American thriller - right and wrong, justice -the individual hero, romance and the happy ending?