STATE FAIR

US, 1962, 118 minutes, Colour.
Pat Boone, Bobby Darin, Pamela Tiffin, Ann- Margret, Tom Ewell, Alice Faye, Wally Cox.
Directed by Jose Ferrer.

State Fair is a Cinemascope and colour remake of an original film of 1933 starring Will Rogers, Janet Gaynor and Lew Ayres. It was directed by Henry King and was a charming folksy piece of Americana. The musical remake had Richard Rogers music and Oscar Hammerstein lyrics. The film had Jeanne Crain and Dana Andrews as the main leads, Dick Haymes singing and Charles Winninger and Fay Bainter as mother and father. It was a popular film of 1945. The 1960s remake keeps the same plot but brings it up to date for the atmosphere of state fairs of the '60s with racing car tournaments, television commentators and sexy dancers. The main ingredients of the earlier films are kept - especially with Alice Faye as mother and her winning of the Mince Meat Competition. Father, Tom Ewell, has his problems with his prize boar (and actually sings to it!).

The youngsters are led by Pat Boone with his smooth style and contrasts with Bobby Darin and his more up-to-date personality. Pamela Tiffin is the sister and Ann- Margret has some rather torrid numbers for the early '60s (in the Rita Hayworth vein) and is presented as 'the other woman'. Ann- Margret was at the beginning of her career and shows in the song 'Isn't It Kind of Fun' just how her career would go during the '60s as a singer-dancer - although she moved into great success as a serious actress in the '70s. Direction is by Jose
Ferrer.

STRANGERS: THE STORY OF A MOTHER AND DAUGHTER

US, 1979, 120 minutes, Colour.
Bette Davis, Gena Rowlands, Ford Rainey, Donald Moffat.
Directed by Milton Katselas.

Strangers is an excellent telemovie. A fine screenplay, written by Michael de Guzman, offers a mother being confronted by the return of her daughter, absent from home for 21 years. Hurt, relenting, some kind of reconciliation seem possible and are finally achieved. The relationship is presented sensitively and credibly. The direction is by Milton Katselas (Butterflies Are Free, Forty Carats, When You Comin' Back, Red Ryder).

However, the film is a tour de force for the two actresses: Bette Davis and Gena Rowlands. After acting for decades in films with great success, Bette Davis moved to telemovies and mini-series, again with great success. In a role designed for her, she gives her Emmy Award-winning performance. However, she is equally matched by Gena Rowlands who has received Oscar nominations for such films as A Woman Under The Influence and Gloria.

The story is simple, but is handled with great insight and flair to make it a moving experience.

1. The significance and tone of the titles, the sub-titles? Audience expectations for the family confrontation, reconciliation? Audiences able to identify with the characters and situation? The success of the film as a telemovie, the adaptation of treatment of themes for the home audience?

2. The quality of the stars, audience expectations of their performances? Success? The film's awards?

3. The establishing of the atmosphere of the small town, the middle class way of life, the details of daily life, attitudes and behaviour? Audiences recognising this background and identifying with it?

4. The feminine focus of the film, feminine sensibility? The range of generations? The perspective on the old woman, on the younger woman? The sensibility of the two women, the role of mother, daughter, wife, their places in their family? Feminine relationships and style? The quality of insight and feeling?

5. The introduction to Lucy: her living alone, her age, her house, the kids annoying her and ringing the doorbell, her antagonism, her doing jigsaw puzzles, her loneliness and the passing of time, her crabby attitudes? The contrast with Abby's arrival, wandering the town, greeting people? The confrontation at the door - the long silences, the hostile looks, Abby's pleading, Lucy with the stick against the children (and its symbolism against Abby)? The door left ajar, Abby talking and trying to settle in, her mother's silence? The establishing of the situation for the emotional conflict to develop?

6. How well did the film develop the interaction: the momentary thawing on the part of Lucy, her possibility of giving, of being able to relate, pardoning Abby, their growing together, their working together, joy? The clash as regards Abby's illness and the new hurt, the vicious response of Lucy, her relenting, gestures of help, movement to greater sharing? The possibility of understanding, forgiveness, declarations of love? How well did the film highlight the progress of the relationship through the incidents and the talk? The audience being invited to feel the situation and be persuaded by the incidents?

7. The effect on Lucy: Abby opening up the curtains, letting light in, clearing the garden, the outings in the town, meeting the neighbours, the visitors? Lucy's memories of her being hurt? The healing talk? The photograph, the gift of the jigsaws?

8. Abby and her genial attitude towards her mother, talking to her, cleaning the house, growing the vegetables? Her being hurt by her mother, wandering the town? Her reminiscences and the possibility of healing talk?

9. The dramatic impact of Lucy's learning of Abby's terminal illness - the audience guessing beforehand? Abby as sick, the fact of her dying, her asking to stay? The virulence and violence of Lucy's tirade against her daughter, not wanting to be hurt, questions of justice? Her relenting and gradual acceptance of her daughter's death and return? Her gestures of relenting - the sequence in the garden? The birthday party and all the joy that it meant? Carrying the mattress down the stairs?

10. The truth about Lucy's marriage - the courtship, falling in love and marrying, tensions, resentment, Abigail's leaving, her unwillingness to pursue her daughter, the breaking of the bonds with her husband?

11. The truth about Abigail - her leaving home, her age, marriage, the visits of her father, her promiscuity, professional work, her being ill and discovering it too late?

12. The themes of love, hurt, pride, the passing of so many decades, the possibility of sharing and growing in love? Redeeming the time?

13. The quality of the film's detail: the sequences in the garden, sharing cups of tea, talking to the neighbours - especially the absent-minded old lady? Shopping, the birthday meal and the cake, the fishing, carrying the mattress?

14. The quality of the screenplay in its speeches, authentic, harsh realism, tenderness? The dramatic interaction and feeling? The final words?

15. How valuable an experience of the human condition? Insight? The possibility of love and change, forgiveness?

THE STRANGER

Argentina/US, 1987, 93 minutes, Colour.
Bonnie Bedelia, Peter Reigert, Barry Primus, Cecilia Roth.
Directed by Adolfo Aristarain.

Strangers is an effective small mystery movie. It is about amnesia and is a 'whydunnit' rather than a 'whodunnit.' Bonnie Bedelia is the young woman who witnesses murders, suffers amnesia, is gradually helped by a sympathetic psychiatrist, Peter Riegert, and realises what has truly happened. The film is intriguing with its atmosphere of mystery about the woman herself, her relationship with the doctor, the pursuit of the criminals and trying to discover what actually happened. There is some irony insofar as the heroine loses her memory while watching a film and the film becomes part of her memory. There is a good supporting cast including Barry Primus as a detective and David Spielberg as the cold-blooded killer who impersonates a psychiatrist. Effective of its kind.

1. Enjoyable and interesting murder mystery? Whydunnit? Psychology? Regaining of memory? Violence, the drug world?

2. The techniques for violence, for the memories of the heroine, for her reliving her memories and regaining them? Colour and black and white? Editing and pace? Musical score?

3. The title, the focus on the heroine, the mystery of her experience?

4. The woman and the initial murders, cold-blooded, her watching, her escape, in the town and the car, the crash, her going to hospital? The treatment in the hospital? The brutality of the detective and putting her photo in the paper? The pursuit of the criminals and her almost being killed by the black killer? The killer disguised as the psychiatrist? Her relationship with the psychiatrist, falling in love with him, transference? His helping her to regain her memory? The building up of the memories, her job, her relationship with the drug agent, his death, the passing of the microfilm, the identities of the killers? The irony of the microfilm being passed in the theatre during the murders and their becoming part of her memory? Her regaining of her memory? The confrontation with the killer? The happy ending?

5. The doctor, his gambling habit, his debts - and their being used by the killers? His friendship with Anita? With the woman, the sessions helping her with her memory, with the police? The bond between the two? Getting Anita to look after her? The build-up to the climax with the physical dangers? His being used by the killers? His winning over them?

6. The killers in the memory, identified with the killers on the screen? Their boss and his drug empire, his commands? The black killer and his death? The pretence of the doctor, insinuating himself into the woman's life, therapy? The final confrontation and the truth, the violent struggle? The irony of the policeman being corrupt and on his side?

7. The detective and his brutality, doubting the woman's word, giving her name to the public, etc? The irony of his being deceived by his assistant? The assistant in the pay of the criminals?

8. The drug world, the agent, his death? The woman and her helping with the expose?

9. The popularity of amnesia stories? Audiences identifying with the victims?

THE STRANGER

Argentina/US, 1987, 93 minutes, Colour.
Bonnie Bedelia, Peter Reigert, Barry Primus, Cecilia Roth.
Directed by Adolfo Aristarain.

Strangers is an effective small mystery movie. It is about amnesia and is a 'whydunnit' rather than a 'whodunnit.' Bonnie Bedelia is the young woman who witnesses murders, suffers amnesia, is gradually helped by a sympathetic psychiatrist, Peter Riegert, and realises what has truly happened. The film is intriguing with its atmosphere of mystery about the woman herself, her relationship with the doctor, the pursuit of the criminals and trying to discover what actually happened. There is some irony insofar as the heroine loses her memory while watching a film and the film becomes part of her memory. There is a good supporting cast including Barry Primus as a detective and David Spielberg as the cold-blooded killer who impersonates a psychiatrist. Effective of its kind.

1. Enjoyable and interesting murder mystery? Whydunnit? Psychology? Regaining of memory? Violence, the drug world?

2. The techniques for violence, for the memories of the heroine, for her reliving her memories and regaining them? Colour and black and white? Editing and pace? Musical score?

3. The title, the focus on the heroine, the mystery of her experience?

4. The woman and the initial murders, cold-blooded, her watching, her escape, in the town and the car, the crash, her going to hospital? The treatment in the hospital? The brutality of the detective and putting her photo in the paper? The pursuit of the criminals and her almost being killed by the black killer? The killer disguised as the psychiatrist? Her relationship with the psychiatrist, falling in love with him, transference? His helping her to regain her memory? The building up of the memories, her job, her relationship with the drug agent, his death, the passing of the microfilm, the identities of the killers? The irony of the microfilm being passed in the theatre during the murders and their becoming part of her memory? Her regaining of her memory? The confrontation with the killer? The happy ending?

5. The doctor, his gambling habit, his debts - and their being used by the killers? His friendship with Anita? With the woman, the sessions helping her with her memory, with the police? The bond between the two? Getting Anita to look after her? The build-up to the climax with the physical dangers? His being used by the killers? His winning over them?

6. The killers in the memory, identified with the killers on the screen? Their boss and his drug empire, his commands? The black killer and his death? The pretence of the doctor, insinuating himself into the woman's life, therapy? The final confrontation and the truth, the violent struggle? The irony of the policeman being corrupt and on his side?

7. The detective and his brutality, doubting the woman's word, giving her name to the public, etc? The irony of his being deceived by his assistant? The assistant in the pay of the criminals?

8. The drug world, the agent, his death? The woman and her helping with the expose?

9. The popularity of amnesia stories? Audiences identifying with the victims?

A STRANGER IS WATCHING

US, 1982, 92 minutes, Colour.
Kate Mulgrew, Rip Torn, James Naughton, Barbara Baxley, James Russo.
Directed by Sean S. Cunningham.

A Stranger is Watching is a kidnap-murder thriller directed by Sean S. Cunningham, who graduated from The Case of the Smiling Stiffs to box office success with Friday the 13th. - and a subsequent spate of youngsters and multiple-death thrillers. This film has better cast, is better written and has excellent credits. The film uses the New York subway for horror, dramatic effect. Based on a novel by Mary Higgins Clark. Good of its kind.

1. An entertaining kidnap-murder thriller?

2. Colour photography, New York, the use of the subways? Flashbacks? Hazy memories? Special effects? Musical score?

3. The conventions of the genre: the presentation of the original crime - and its effect on Julie? Her mistaking the identity of the killer? The traumatic effect on her? Her relationship with her father? The interviewer and her gradually being drawn into the family, into the kidnap plot? Distressed father? Detectives? Deranged killer? The complexity of his kidnap and ransom plan? The build-up to confrontation and heroics? Deaths? originally done? Successfully done?

4. The complexity of the plot? The staging of the death - and the subsequent follow-up for kidnapping purposes? Taggart's cruel mentality? The complicity of the helper? The focus on Julie, the effect of her mother's death, relationship with her father, relationship with Sharon? The kidnap? The heroics? The death of Taggart? Sufficient credibility for the purposes of this kind of thriller?

5. The film's focus on Julie - little girl, memory, the consequences for the court and the imprisonment of Ronald Thompson? The appeals and success of defending him from death sentence depending on her? Love for her father? Relationship with Sharon and eventual depending on her? The confrontation with Taggart? The help of Lally? A good performance from Shawn Von Schreiber - credible within the context of the thriller?

6. Sharon as heroine? Her work, investigation, the professional woman? The reporting of the story? Her standards in her work? Involvement with Steve Paterson, with Julie? Dangers? The kidnap? Torture? The imprisonment? Her devices for escape? The chase and the confrontation?

7. Taggart as villain - the original murder? His return? Menacing Julie? The kidnap? The complicity within the household? The plan for the money? The murdering of his partner? Rip Torn's performance as a psychotic killer? The chase in the subway - his death?

8. Steve Paterson - the distressed father, relationship with Julie, with Sharon, with the police? Investigations? Worry?

9. Ronald Thompson and his being the victim of circumstances? Delivering the goods? His place in Julie’s memory? Imprisonment? Suffering? Death penalty and appeal? People believing him or not? Support for him? Issues of capital punishment and the execution of innocent victim? His being saved at the end the atmosphere of split-second timing?

10. Lally as the old woman wandering the subway? Character sketch? Type? Help? Death?

11. The sketch of the police and their investigations? Legal processes?

12. The atmosphere of the ordinary American household? Contemporary atmosphere - news reporting, television, the police etc.? The contrast with the underworld of the subway and the way that it was used?

13. A violent thriller - the use of violence - exploitation or restrained? Appropriate for this kind of film?

THE STRANGER

US, 1946, 95 minutes, Black and white.
Orson Welles, Loretta Young, Edward G. Robinson.
Directed by Orson Welles.

The Stranger is one of Orson Welles' earliest films. He made a great reputation for himself both as an actor and as a director with Citizen Kane in 1941. He was considered to have revolutionised styles in film-making, especially with lighting, sets, imaginative and symbolic filming. He uses many of these techniques, although on a minor scale, in this film. The Stranger echoes the atmosphere after World War II, the fear of infiltration of America by Nazis, and refugees from Europe.

Welles himself plays an extremely sinister character with suavity and alarm. Edward G. Robinson as the role of the enterprising detective hero. Loretta Young is very convincing as the threatened wife. The plot is interesting in itself although, in many ways dated. The film is important enough in Orson Welles career.

1. The impact of this film immediately after the war, now? Its impact as an Orson Welles film?

2. His use of sets and locations, the atmosphere of New England and the town? The quality of the black and white photography, the importance of light and darkness and the use of shadow? The clocks during the credits, the clock and clock tower throughout the film, its use and symbolism? How realistic was the presentation? How stylised?

3. The background of American patriotism after the war? Pride in the United States and its war record, its humanitarianism, the anti-Nazi tone? The emotional response to the war and the concentration camps? The incongruity of a Nazi being in New England? The importance of the insertion of the atrocities film for an American audience after the war? The audience sharing Mary's reaction to it?

4. The use of thriller conventions, a patriotic film, a study of a criminal and human nature? How well did these blend? Which predominated?

5. The focus on investigator Wilson: the initial set-up, his pursuing of the criminal, his cover, the various examples in which he found out information, his skill at detecting? Edward G. Robinson in this role, his presence? His living in the town, the risks and physical danger, the intensity of his pursuit of the criminal? How well delineated was his character, as representing America after the war?

6. The initial focus on the pursued man, the stranger? The irony of his escape, his taking the bait, the channels of discovery of Franz, his voyage, the dangers and his risk, the bus trip, leaving his bag at the drugstore? The confrontation with Mary, the happiness of the meeting with Franz, his fanaticism and prayer and expiation, the significance of his death in this context? His burial, the dog's discovering the tomb, the revelation of the corpse? His importance in life and death? The key to the identification of Franz and his arrest?

7. The presentation of the town itself., the ordinary people? The man at the drugstore and his observation of people, the intensity of his playing draughts, his allowing himself to be pumped for information, his curiosity? The opening of the case? The ordinary people in the drugstore, the boys at the school, the maids and servants, the judge and his family and status, Noah? How real did the setting seem?

8. The focus on Mary as an ordinary American citizen, able to be deceived by a Nazi? Our first meeting her, the confrontation with the stranger and its subsequent importance, her love and her marriage, the joy of the wedding, the return from the honeymoon, the meal discussion about history and Germans? Her love for her husband and her belief in him? The belief in each stage of his pretence and his lies? Her horror and hysteria at the atrocities film? Her still believing her husband? Her carelessness and its subsequent avoidance of death? The final confrontation of her husband? Her disillusionment? As a woman, as a symbol of America after the war?

9. How important was Franz? Also a stranger? His place in this New England town, his reputation in the school, the boys and their admiration of him, seeing him in class? His views of history, especially at the table? The fact that we had seen him murder the stranger initially and his explanation about the wedding? The tension in the audience's mind as they knew his identity and saw him go about ordinary life? His desperation and telling lies? His resisting Wilson? His powers of persuasion over Mary? His hostility towards the dog? Was it credible that he should have been such a Nazi monster? His wanting to escape, the plan and the tension for the murder of Mary? The final confrontation, the violence of his death on the clock? How credible a villain and a situation? What did it reveal about human nature and evil and using people?

10. The use of the clocks, the preoccupation with them, the town's admiration for the professor's fixing the clock, their turning against him? His death on the clock?

11. What did Orson Welles achieve in making this film?

THE STRANGE LOVE OF MARTHA IVERS

US, 1946, 119 Minutes, Black and white.
Barbara Stanwyck, Van Heflin, Kirk Douglas, Lizbeth Scott, Judith Anderson.
Directed by Lewis Milestone.

The Strange Love of Martha Ivers is old-fashioned American melodrama. Starring Barbara Stanwyck in a typical enough role - the strong ruthless woman,' the film also introduced Kirk Douglas. Rather untypically, he plays a weak man and does it quite well. However, he was to go on to stronger roles. The hero in this film is Van Heflin and he projects his character very strongly. Lizbeth. Scott is an interesting contrast to Barbara Stanwyck. Judith Anderson appears with her 'Mrs. Danvers' style but is murdered early in the piece. There is some interesting comment about American families, their rise to power, their lack of scruple and exploitation, and even the cover-up for their evil. (This latter makes the film somewhat more relevant for the 70s.) However the film is played in very melodramatic style which now appears dated. It was directed by veteran Lewis Milestone who made such films as All Quiet on the Western Front, Of Mice and Men. During this period he made A Walk in the Sun.

1. How successful and enjoyable a melodrama of the 40s?

2. The Hollywood studio style, sets and atmosphere, melodramatic musical score, the impact of the stars and their interaction? How does the film seem now -fresh, dated?

3. The meaning of the title, its reference to Martha and her love-hate relationship with all the characters in the film? The creation of situations, emotional conflicts? How did these stand within the American atmosphere?

4. The film's focus on America and its way of life, on the individual persons, wealth, success and power, guilt and the covering of guilt?

5. The importance of the prologue: the introduction of Martha and Sam and their characters, influence on one another, power? The introduction to Walter and his father? The interplay of their behaviour and covering up as a sign for the future?

6. Judith Anderson and her style as Mrs. Ivers? Her background, wealth, reaction to Martha, to Walter and to his father? Her hold over people, snobbery and greed? Walter's father as fitting into this household?

7. The melodrama of the death? The repercussions for Martha, for Walter? Walter's father quickly summing up the situation? The irony that Sam had not seen the death?

8. The introduction to the adult Sam? Van Heflin and his personality, Sam and his background, running away, being in jail, suddenly coming on his home town? The arrival and its effect on him? Seeking out his family? His curiosity? His coming across Toni and the repercussions of their meetings? Looking up Martha and the dilemma of his feelings about her? Seeing Walter's position and his reaction to him? Somehow or other the need to be free from his past? How well were these themes worked out in the particular incidents?

9. The delay in our seeing the adult Martha? The immediate impact of her character, situation in the town, wealth and power, lack of scruple? Her relationship with Walter and the mutual dependence? The atmosphere of blackmail? The greater revelation about the court case, the execution of the suspect and Walter's part and Martha's part? Her trying to make Sam to her way of thinking, Walter's reaction? The irony of her death?

10. The character of Walter - the weak intellectual, his love for power, the influence of his father? His lack of conscience? Hiring the thugs to beat Sam? The confrontation with Martha, with Sam? His realisation that Martha would stoop to kill him? The meaning of his gesture in killing her and himself? A convincing portrait of this kind of weak man?

11. The contrast with Toni, her prison background, being in this town and leaving, her own father? As belonging to another world instead of this town? Hurt, capacity for love, being forced to betray Sam, waiting for him? A credible woman?

12. The response to this kind of melodramatic situation and characterization and mood? Realism, sufficiently contrived for the purposes of a melodramatic film?

13. The romantic and love story elements interwoven - love and jealousy, power, sexuality? As illustrated by the four main characters?

14. The atmosphere of violence in American towns, the way of life, power?

15. How accurate were the observations on American families and their acquiring of wealth, their financial empires, industry, politics? Law and justice and Americans wanting to be above the law if they have power? How is this a constant theme of American literature and cinema - illustrating the past? Subsequent American history?

STRANGE INTERLUDE

US, 1932, 110 minutes, Black and white.
Norma Shearer, Clark Gable, Map Robson, Alexander Kirkland, Ralph Morgan, Robert Young, Maureen O'Sullivan, Henry B. Walthall.
Directed by Robert Z. Leonard.

Strange Interlude, the five-hour intensely dramatic play by Eugene O'Neill, was a strange choice for one of the earliest 'talkie films. It was presented as a vehicle for Norma Shearer and gave an opportunity for Clark Gable to perform in a serious (if miscast) role early in his career. The film keeps the outline of O'Neill's play as well its unusual technique: the use of voice-over to express the characters' thoughts in distinction to what they actually say to one another. The film seems especially contrived because of this but one can get used to it. However, audiences have to strain to respond to the film. Norma Shearer and Ralph Morgan have most lines with this device and they tend to overact, in the silent film style. Clark Gable is much more at ease in the device. Robert Young makes an appearance at the end as Norma Shearer's son.

The film was directed by Robert Z. Leonard who directed Gable in several films including Susan Lenox with Greta Garbo, made at the same time. Leonard was to make many films at M.G.M. - the most prominent were The Great Ziegfeld, Pride And Prejudice.

Strange Interlude has a very strong central character in Nina. She represents the manipulative and dominating American woman. Her husband Sam represents American success. Ned, played by Clark Gable, represents the self-sacrificing and used man. O'Neill refers to Greek tragedy and, as with Mourning Becomes Electra, has overtones of tragedy and fate in American settings. Other versions of O'Neill plays filmed were Anna Christie with Greta Garbo, The Hairy Ape, Mourning Becomes Electra with Rosalind Russell and Michael Redgrave, Desire Under The Elms and Sidney Lumet's Long Day's Journey Into Night. An adventurous film for the early '30s.

1. Eugene O'Neill and his play-writing talent, interests, reputation? His theatre reputation and themes? The style of the voice-over representing the characters' thoughts - a style for an early talking film? The success of this film with later versions of O'Neill?

2. The M.G.M. qualities, black and white photography, sets, fluid camera work and editing? The stars and their status?

3. The ordinary basic story of relationships, the passing of the years, fate? Guilt and punishment? The enhancing of the ordinary American story by the voice-over device? How contrived did it seem? Audiences straining, getting used to it? The style of language used in the voice-over - realistic or literary? The voices and the histrionic manner while the voiceover was spoken?

4. The adaptation of the play for the screen? The long play, the contrived drama, melodramatic aspects, acts, sets, the sense of time passing? How was this adapted for the screen and captured by the camera?

5. The post-World War One setting, the atmosphere of the '20s and into the 1930s? The implications of the film's action taking place after it was produced e.g. with Gordon's growing up? The background of World War One and the impact of the death of the older Gordon? The modernity of the '20s and '30s? New England representing the United States? The middle class and wealthy ethos? Wealth, manners, morals? Surface morality? The U.S. and its heritage - including madness? Family values (based on deception?)? The implications for morality, to help others, selfless ness? Truth and secrets? The life of success and wealth being brittle and hollow?

6. Nina as central character - a strong character of American drama? Initial sympathy for her? The precarious health, the confrontation with her father, getting Charlie's aid? Memories of Cordon? Her wanting to build a future in nursing? Father's opposition? The encounter with Ned and Sam? Her father's death and decisions? The influence of Charlie?

7. The complexity of Nina's motivations? Her wanting to mother Sam? His compensating for Cordon? The honeymoon, the possibility of success? The importance of Sam's mother and her speaking of the insanity? The collapse of the marriage? Nina's selflessness, self-preoccupation? Sam and his reaction? The importance of the brief sequence to visit the aunt in the attic? The encounter with Ned and Nina's beginning to control her life, her passion for Ned, her declarations of selflessness, having the child for Sam's sake? The various times she was on the brink of telling Sam? The irony of Sam’s prospering with fatherhood, big business, helping Charlie and Ned? The quality of his sanity - and the sanity of Nina and Ned? Nina's manipulation of Ned - sending him to the Bahamas, her kissing him in front of Cordon and her making up the story to appease Cordon? Her disappointment in not having Ned around? Her getting used to Sam? The affluent life? Her possessiveness of her son? Her wanting to tell Madeleine the truth? The irony of Sam's death, the confrontation with Cordon and his not knowing the truth? Freedom to marry Ned? Nina's femininity, control over men?

8. Nina's manner, her way of speaking, the importance of the voice-over and what it revealed about her interior feelings? Her missing opportunities to communicate her feelings? Her puzzle and anguish? Age, fears? Nina’s changing over the years? The importance of the birthday party sequence and the encounter with Ned and Sam? The rowing event and her being frustrated about Cordon's wedding? A peaceful ending? The final exhortation to Cordon as he flew away?

9. Sam (the ironic American name?) and his pleasantness, weakness, love for Nina, the marriage and honeymoon, his devotion to Nina, worry about her health? His mother's worry about insanity in the family? His never knowing the truth? The irony of Ned being the father of his son? A lavish father, wealth and prosperity? The birthday party and his presents for his son? His knowing that Cordon was to marry? The suddenness of his death? An American symbol of 20th. century prosperity and its values? The point of his having little voice-over commentary - few interior feelings and sentiments?

10. Ned as the pleasant friend, the infatuation with Nina, giving her her son, being forced not to tell the truth, his absence and his return to tell the truth and Nina's manoeuvres to hold him off? His desperation cooling over the years? His being caught in Nina's web? His biological research, absences from the family, the significance of his returns? Nina's sending him away? The birthday party and the clash with Cordon? His old age, saving Madeleine from knowing the truth? The possibility of Cordon knowing the truth at the end but Nina stopping him? The quality of his voice-over comments?

11. The ever-presence of Charlie? His friendship with the family, with Nina's father, advice to Nina? His mother and her illness? The quality of his friendship, jealousy of Ned, curiosity and wanting to know the truth? Watching everyone, gossiping? The comments made about his novels and their style? His growing old? His finally knowing the truth but not doing anything about it? The frequent voice-over, his manner? His disappointment in life?

12. Cordon and his role as the new generation, Sam as his father, Ned as his father? Hostility towards Ned, suspicions of his mother? Growing up and the marriage with Madeleine? His rowing success? His father's death
and his permission for Ned and Nina to marry? The optimism about the new generation?

13. Themes of fate, freedom, man's aspirations and their being thwarted, good and evil, guilt and punishment?

14. The success of the film as film? As filmed version of Eugene O'Neill?

STRANGE CARGO

US, 1940, 105 minutes, Black and white.
Clark Gable, Joan Crawford, Ian Hunter, Peter Lorre, Paul Lukas, Albert Decker, J. Edward Bromberg, Eduardo Cianelli, Frederick Worlock.
Directed by Frank Borzage.

Strange Cargo was Clark Gable's film immediately after the success of Gone With The Wind. He is teamed, for the eighth time, with Joan Crawford. The film is an adventure - an escape from a French penal colony in Guiana; but, it is also an allegory of the battle between good and evil. Ian Hunter portrays a Christ like figure Claude Cambreau, who takes Gable's place in a convict line-up, escapes with the convicts and gradually transforms their attitudes. Parallels with the Gospel story of Jesus are drawn - he becomes a prisoner with the men, takes their place, guides them, stops their violence. Joan Crawford is the prostitute who repents. There is an explicit sign of the cross at the end.

Direction is by Frank Borzage, a director of many comedies and dramas with otherworldly touch. The film is based on a novel by Richard Sale called Not Too Narrow, Not Too Deep.

The film works well enough as an I Escaped From Devil's Island, Papillon adventure. The allegory and the Christ-figure are certainly very interesting, although the reverent style of the '40s is very much in evidence. The film is in danger of being laughed at by contemporary audiences. Nevertheless, it is an interesting Gable performance and an interesting attempt by Hollywood to make an allegory and to explore a Christ-figure.

1. The film as a star vehicle? Adventure? Fable? Allegory? A satisfying entertainment blend? Impact in its time? Now?

2. M.G.M. production values: black and white photography, studio sets, gloss? Creation of setting and atmosphere? Franz Waxman's score? The strong cast?

3. The stereotype elements of the plot: the establishment of the prison, the echoes of the Devil's Island films, the prison situation, justice and injustice, the need to escape? The prisoner and guard types? Dangers, death? The transformation of Vern at the end breaking expectations?

4. Clark Gable as Vern? His emerging from isolation, criminal background, tough, interview with the Governor, being put on trust? The encounter with Julie and his promise to escape? The escape and Julie's betraying him? The Governor and Julie's expulsion from the island? The clash with Moll in the dormitory? Carefree attitude? Sureness of himself? The encounter with Cambrau and the Bible? His knowing the Bible and his quoting it throughout the film e.g. The Song of Songs to Julie? Creation and the Genesis story and the image of God in all men? Moll's preventing him escaping, his contriving the escape, his adventures in joining the group, clashing with Moll and the fight on the shore, his taking over leadership, the closeness to Julie? The final confrontation with Moll and his drinking the salt water? The arrival on the mainland? His thinking Julie had betrayed him? The escape on the ship? The confrontation with Cambrau?

5. Julie as the miss Sadie Thompson type? The girl stranded in an outpost? Her talking to Vern on the wharf? Her leading him on, calling the police? The Governor expelling her? Her antagonism towards Pig? The outpost? Cambrau leaving the money for her? The confrontation with Vern and the escape? Sharing the sufferings of the group? Resisting Cambrau and taunting him? Thinking that she would die during the calm? Changing awareness of the meaning of her life? The new encounter with Pig? Her giving herself to let Vern escape? Vern spurning her? The final making up and his going to atone for his crime? Joan Crawford's presence and style? As the heavily made-up Julie? As Julie without make-up and her being seen as an ordinary woman?

6. Telez and his Bible-reading, fear? His crucifix? His supplying himself with food and his being almost murdered for it? Dupont and Flambeau and their attack on him, thinking he was dead? His coming again? His death and the long confessional scene with Cambrau - the nature of God, repentance? Dupont as the kid his bashing Telez, his fears? The friendship with Moll and the singing of the song? His anticipation of death? His being missed by Moll? Flambeau and the food, killing? His throwing the cask into the sea? Cambrau helping him to repentance and an understanding of his life? Saving the cask and being taken by the shark? Giving his life for others?

7. Moll and his toughness, leadership, heading the breakout? Preventing Vern from leaving? His gradual fears? Cambrau helping him? The strong friendship with the kid - affection? His drinking the salt water himself to save the others?

8. Hessler and the background of his poisoning wives? His presence in the prison, strong, intellectual, appreciating Cambrau? Cynical and sceptical? His surviving? His comments that Cambrau was the Devil -yet not wanting to blaspheme? The opportunity for a change of heart? His decision to go into the town and find a new wife? His moment's hesitation - Judas figure?

9. The Governor and his administration of the prison, his trust in Vern? Pig and his being an informer? The attachment to Julie? His exploiting this at the end? The officers, the girls of the town? The atmosphere of Guiana and French convict settlements? The memories of France? Yet the atmosphere of the '30s?

10. The character of Cambrau and his difference from the other prisoners? His arrival and substituting for Vern, his calm and dignity yet being one of the men, his ability to quote from the Bible, his discussion of the nature of God? His presence in the escape, supplying the money for Vern, drawing the map for him? Always helping and guiding? His seeming to know the future? His ability to affirm people yet let them be e.g. allowing Moll and Vern to fight? Money, arranging? His being near to Julie and her spurning him then her discussing, her life and confessing? Telez and his cross and true repentance? Flambeau and his change of attitude? Dupont and foretelling his death? Moll and the allegory of repentance? Hessler seeing the truth but refusing to accept it?

11. Cambrau's actions, leadership, help, warnings, supplying food, preventing them drinking salt water, walking and carrying his fellows, stopping violence, knowing there was to be a calm, steadying people, foretelling life and death, the fisherman, helping them on land, onto the ship?

12. The build-up to the crisis and the Governor trying to catch Vern, Pig and his manipulating Julie? The fisherman and his ship, the storm? The final clash between Vern and Cambrau? Vern resisting him? His saying that God was in everything and realising that Cambrau could be God? Diving to save him? The comment that only man can rescue God? Cambrau dying and coming to life again? Changing Vern? The credibility of this change of heart, Vern's going to atone for his crime, the love of Julie and her waiting for him?

13. Cambrau as Christ figure: the nature of the incarnation and Christ amongst men, as human beings are, yet without sin, becoming a prisoner with others, slave? Sharing their experience, taking the place of victims? Guiding, offering advice, letting people be, to choose their lives? To lead and draw out conversion from people? Giving advice but giving each the chance to change, to be better? The prostitute and her motives and conversion? Persecution and death, being saved by man, rising to a new life and starting again? The fisherman's sign of the cross?

14. The allegory of Good and Evil? Within the framework of a popular Hollywood film?

A STRANGE AFFAIR

France, 1981, 105 minutes, Colour.
Michel Piccoli, Gerard Lanvin, Nathalie Baye.
Directed by Pierre Granier Deferre.

A Strange Affair is an intriguing psychological thriller, well-acted and directed - by Pierre Granier Deferre, a director of quality thrillers including the Romy Schneider film A Woman at Her Window. Acting is particularly good with Michel Piccoli winning a Best Actor award at Berlin, 1982, for the central role.

The film focuses on the world of business: the ordinary young man with ambitions but virtually nothing to do who is caught by an older man who begins to manipulate him at work, at home, gradually taking over his whole life and then dropping him. The film is in many ways an alarming probing by drama of manipulation and surrender of identity within the context of contemporary business.

1. Interesting and entertaining drama? The irony - and the title? Comic touches? Melodrama and satire? The complexity of audience response?

2. The French atmosphere: the city, business, domestic sequences, the differences of the generations? The presentation of the office, business, success, power? Questions of identity, career and achievement? The offbeat Gallic touch? The irony of characterisation and situation, the reality being somewhat less than clear? The fascination of the enigmatic?

3. Paris and the atmosphere of authenticity and realism? The sketch of the characters, behaviour, reality to unreality? The screenplay's including Nina's realistic balance? Realism, contrivance? The characters and their situation as a microcosm of today's business world? The musical score?

4. The focus on Louis: the ordinary young man, his position, not working, the build-up to a crisis, friends and cards, the funeral and his worry? His love for Nina? The encounter with Malair? Puzzle? His becoming busy, being relied on, success and his response to success? Prospects better? His partner and others? Afore responsibility, more work, feeling affirmed? The balance
with Nina? His being O.K. yet reverent with Malair? Meeting him, defending him? The reaction to Malair's moving in, taking over? Staying away? His excuses? His losing his wife, the house? Grandmother, mother, Bertrand? The murder image? What was left - that Malair might come? Needs, drives, manipulation, psychological games?

5. Nina as an ordinary character? life, love? Work, support? Common sense? Her meeting and disliking Malair, telling him off? Leaving, coming back? The funeral? An anchor in Louis' life? Her grief at not being loved?

6. Bertrand Malair as an enigmatic but fascinating character? Michel Piccoli's presence and performance? The air of mystery? His unknown origins, arrival, nervousness, smoking, what to say and what to do, the encounter with the boss, his skill, ambitions and push? Enjoying his power? Paul and Francois? Work, support? Paul critical, Francois subservient? His needs and Louis' response? His insight into Louis? The beginning of his games, playing with people, egomania? The week, orders, the boss? Gossip? Presumptions? His exercise of power - asexual though hints of homosexuality? His disappearance? The fact that people would be tempted to kill him?

7. Paul and Francois: men, boys? Francois and the lackey, games?

8. The mother and the story, the grandmother?

9. The contribution of Doutre and the others?

10. The background of employment, meetings, waiting, work, farewells? The nude show sequence? The work world?

11. The portrayal of this office as a microcosm and symbol of the contemporary world and power games?

12. The contemporary ailments of society? or perennial questions in a contemporary mode?