THE SOUND OF MUSIC

US, 1965, 170 minutes, Colour.
Julie Andrews, Christopher Plummer, Eleanor Parker, Richard Haydn.
Directed by Robert Wise.

The Sound of Music is, as everybody knows, one of the most popular films made. For instance, on first release in Sydney, it ran from April, 1965 to October 1968 in the city alone. Critics did not like it and attacked its too pretty sentimentality, yet it won the Oscar for the Best Film of 1965 and Robert Wise won the Oscar for the Best Director. Despite all the possible critical comments, audiences the world over loved it, its music, scenery, humour, excitement, charm.

Robert Wise incorporated authentic settings beautifully into the film and used it then, with good editing, to illustrate the music. Each song, and its reprises, could well be examined to see how they have been effectively used in cinema.

This is Julie Andrews' warmest performance. Usually proper, she comes alive under Wise's direction. (They worked together for Star, 1968). The Sound of Music has probably been seen by most audiences, but millions had no objection to seeing it again.

1. What aspects of the film have made it the most popular film of our times? Why did so many individuals the world over see it dozens of times? Was the music responsible for much of the popularity? Julie Andrews' performance? The children? The scenery?

3. Did the historical setting of Austria at the time of the German takeover at the Anschluss add to the interest and strength of the film? How?

4. Since the film was entitled The Sound of Music, the music was important. What did it contribute by way of mood, humour, sentiment, dramatic point to the story? E.g., "The Sound of Music" to move the Captain, "Edelweis" for patriotism, "Goodbye" for the escape.

5. How was the scenery used and the authentic Austrian settings -how did they give an atmosphere and colour to the film - e.g. the opening, the singing of "Doh, Re, Me"?

6. Why had Maria joined the convent? Was it evident that she was not suited to life at the Abbey? Her singing, talking, love of nature, immense capacity for love? Did you like the nuns' singing? Why? Does it look somewhat quaint? How did the nuns come across in the film?

7. Why did Captain Von Trapp run his house like a ship? Why didn't he understand his children? Why did they say they played pranks to get his attention? Did you like the children? Were they presented sentimentally, especially five-year old Gretel? Were they all too cute?

8. How did Maria win their confidence and bring them to happiness? How much did play and the sound of music contribute?

9. Did you like the Baroness? Why? Why did she desperately want to marry the Captain? Why did he want to marry her?

10. Did you like Max? What role did he play in the film?

11. Why did the Baroness manipulate Maria's emotions and get her to go back to the Convent? Was the Abbess right in telling Maria not to use the Convent as a refuge but to face her problems? Why?

12. Why did the Captain break off his engagement? (How did the sequence of the children playing ball with her and the announcement of the marriage prepare for this?) What reasons did the Baroness give for the marriage not working? Was she right?

13. Were you glad that Maria and the Captain married? Why?

14. How was the political theme introduced into the film and developed? Rolf, the Anschluss, the flag and telegram to go to Bremen?

15. How was the concert and escape sequence handled?

16. What role did Rolf play in the film - his early song with Lisel, romance, yet belonging to Hitler youth, his uniform and warning to the Captain, his not shouting to the Captain, his calling the soldiers?

17. Critics called the film sentimental, mushy etc. Was it? Why? Even if it was sentimental and pretty, does that destroy its value as a film? Now that you have discussed the film, can you better why it has been so popular?

SOUNDER

US, 1972, 108 minutes, Colour.
Cicely Tyson, Paul Winfield, Kevin Hooks, Janet McLachlan?.
Directed by Martin Ritt.

Sounder is a beautiful film and rightly deserved the number of awards it received was nominated for. Its timing was right - growing concern for African-American? rights and a growing criticism of such black fantasies as the Shaft series, Superfly, Blacula, Slaughter and so on. This picture is of gentle sorrow and human dignity, a family story set in the Depression. The quality of family life and the relationship between father and son especially is warmly portrayed. These people are real people, very noble, perhaps, but dignified in their day-to-day living and in their resigned suffering of the constant disregard of their humanity. What is most harrowing is the ever-present humiliation of African Americans, in little things and in big.

1. Why was this film so likeable?

2. Could the same film have been made, more or less, with white characters? What does this say about the presentation of blacks in this film?

3. What were your main impressions of the family? What impressed you about them as a family?

4. The relationship between father and son - the love, the respect, the trust and admiration - the value of the opening sequences; Nathan's disappointment at not getting food, in being prepared to steal; David Lee idolising his father and disappointed at his arrest? The humiliation for Nathan?

5. How did the imprisonment strengthen the relationship between the two - the visit.. the cake, the warning that David should never go to prison? David's attempts to discover where his father was? David's long trek to find his father? What effect did this have on David?

6. David and his relationship with the other children?

7. Rebecca as a person - loving wife, loving mother, caring, resourceful, doing white washing.. working the fields, sending David Lee to look for his father? Her love and nobility? Her patience and resignation to the wearying prejudice - the refusal for her to see Nathan, the continual going back to ask permission? Rebecca as a woman, her dignity?

8. How did the film communicate by particular episodes – significant, even symbolic episodes? Which episodes stand out - e.g. the initial hunt (father and son. food etc.), the morning meal, the baseball match. the church-going (and God trying to get into a White Church), the children playing, the shooting of Sounder etc.?

9. The importance of the white lady - her treating the children as human, her respect for Rebecca, her attempts to find out where Nathan was (how big a risk was this for her?), the planning of the journey? The relationship between black and white?

10. The Sheriff - perpetrating prejudice. why? obeying orders? Unwilling to break out of patterns? Why? Not allowing human feeling to overcome him?

11. The prison sequence - the humiliation of prisoners. their garb.. work, being abused - the lack of respect. Prisoners as symbols of African- American in the United States?

12. The school sequence and Camille. What did it add to the film? David and the children? The believing of the boy's story - how important a sequence was this in revealing David to us, in revealing human nature?

13. Camille as a person, her kindness, lessons, house, books? What vision did she give to David? How would this encounter have changed his life forever?

14. The home-coming sequence - why was it so moving? What was your reaction? Why? How did it gather together the emotional response to the whole film?

15. How had prison affected Nathan?

16. The resuming of the relationship between father and son - how difficult? The problem of Nathan's ability to work and David's work? Going back to school? Nathan's following David and their "reconciliation"?

17. Why did Nathan not want David to stay as he was? Why did he-want him to learn and have opportunities?

18. How was this a positive film - in outlook, values, humanity?

19. Was it a sentimental tear-jerker?

20. How realistic was the film? How idealistic?

21. What could "Sounder" do for the African American image for film-viewers? For combating racism and prejudice?

22. Why was the film called after the dog? Was Sounder - mix-breed, farm dog, shot at, recuperating, companion etc. - a symbol of blacks?

SOUL MAN

US, 1986, 104 minutes, Colour.
C.Thomas Howell, Rae Dawn Chong, Arye Gross, Melora Hardin, James Earl Jones, Leslie Nielsen.
Directed by Steve Miner.

Soul Man begins as one of those youth films with a smug, self-centred teenager from affluent surroundings. This one, accepted for Harvard Law School, finds his father won't pay. What to do? Take experimental tanning pills and get a scholarship designed for negro students.

Actually, the film brightens considerably. Aiming at young audiences rather than the sophisticated, the film offers a lot on bigotry but also shows our hero having to face reality and responsibility. C. Thomas Howell convinces well enough as the hero. The supporting cast is quite strong including Rae Dawn Chong as Sarah, Arye Gross as the hero's best friend and James Earl Jones as the Professor. The message comes through sentiment and humour quite strongly and is better than expected.

The film was produced by Steve Tisch whose main success was Risky Business. The film was directed by Steve Miner who directed, amongst other films, some of the Friday the 13th. series.

1. Comedy, race relationships and bigotry, human nature and hypocrisies -at a popular level?

2. The affluent Los Angeles lifestyle, the contrast with Boston and Harvard? University, apartments, slums?

J. The musical score, the range of songs - and their use as background for the action?

4. Credibility of the plot? The role reversal genre (Tootsie and the poor rich men and women, Trading Places)? The moralising and the hero learning - and the audience sharing his new perspective?

5. Mark and his lifestyle, in bed with the girlfriend, the drug-taking, the affluent Los Angeles life? Acceptance to Harvard? His hopes? Sharina with his friend? The ironic sequence of his father refusing to give him the money to build his character? Mark's desperation, going to the banks and the various firms and trying to con them? Brad and his mocking him? The negro scholarship, application? No qualms?

6. His taking the pills and becoming black? The credibility of his masquerade? His friend not recognising him? Going to Boston, experiencing the prejudice of the landlord? Their apartment? Enrolling in courses, seeing Sarah? Going to class, Criminal Law, the Professor and Mark's carry-on? His dressing up militarily to go the black radical meeting? His ineffectual play at basketball - and the slow-motion collage of his failure? Hearing the two white students tell anti-black jokes - 'No offence'? And finally punching them? His Stevie Wonder mimicry? The owner's daughter and the sexual liaison and her stereotypes about black sexuality? Going to her family and the meal - and each member imagining Mark with a stereotype: as a rapist, as Prince, as a drug dealer? His meeting Sarah's little boy, studying with her, their ups and downs, classes? The interview with the Professor and his being invited onto the Board? The farce of the mix-up when his parents came and the two girls? Sarah's reaction? His discovering the truth about the scholarship? Final exam? His decision to admit the truth? His talk with the Professor and his making amends? The final encounter with Sarah, her rejection? Acceptance? His future? A callow white American learning something about responsibility?

7. His best friend and his smart patter, working together, the apartment, covering for him, experiencing the racial prejudice, the girls, the attitude of the parents, his special sequence in his smart talk defending Mark before the Professor and the students?

8. Sarah, her background, working, pleasant, her boy, study, the puzzle about Mark, friendship with him, romance, her family, hurt by the truth? The final relenting?

9. Themes of white bigotry: the students with the jokes, the landlord and the ousting of Mark, the owner and his bigotry, his daughter (finally seen with the Indian)? Mark's comment about being in a black's shoes - but always being able to get out?

10. The Professor, tough, his classes, the offer to Mark to be on the Board, his response to the trial, his demands at the end and his affirmation of Mark?

11. The satire on affluent American parents, going to the Bahamas, not giving their money to their son? The mix-up with their visit? The contrast with Sarah's family?

12. The light comic touch? Serious themes for a popular audience?

THE BROTHERS McMULLEN

US, 1995, 97 minutes, Colour.
Edward Burns, Jack Mulcahy, Mike Mc Glone.
Directed by Edward Burns.

The Brothers Mc Mullen is a small-budget feature, written and directed by Edward Burns who stars as the middle brother. He has taken an Irish- American family, whose culture is Catholic, and shown how brutality in the parent generation has had its effect on the sons and their capacity for relationships and commitment. It looks at infidelity and betrayal, hurt and conscience and the heritage of Catholic moral norms.

Many who were brought up in a Catholic world thought everybody should behave practically perfectly and set themselves ideal standards. They were very disedified when these were not put into practice; but Catholics were protected, in those days, from a world that was frequently amoral. Many have come to expect that films should portray an edifying world and are often wary of stories that present characters who do not share these values. The Brothers Mc Mullen is an entertaining values challenge.

1.The focus of the title, the Irish- American Catholic family, the relationship between the three brothers? The Long Island and New York State setting, Irish Catholic New Yorkers? Audience expectations?

2.The film and its awards? Small budget production? The Burns family and their contribution? Family and friends?

3.The Long Island settings, homes, apartments? The contrast with the busyness of Manhattan? The musical score?

4.A humane portrait of a family? Strengths and weaknesses? Men and women and relationships? Decisions?

5.Mrs Mc Mullen, the funeral, her demeanour, her memories of her marriage, the clash with her husband, burying him? The advice for her sons? Her influence on their lives and decisions? Her decision to return to Ireland and marry her long-time sweetheart?

6.The portrait of Jack? The oldest son, solid, the brothers moving in with him? His marriage to Molly, their relationship, love, tension? The domestic scenes? The parties, the encounter with Ann, her flirting, seduction? His being able to be seduced while professing his unwillingness? His decision to go into Manhattan, the meetings with her, his succumbing to her? His inability to face the truth about himself? His Catholicism, his work and his coaching? His lies to Molly? His advice to his brothers, listening to their problems? The confrontation with Molly? His admitting the truth? Patrick and the money? His decision to stay with Molly, to commit himself to her again? Jack's emotional journey? The portrait of Molly, in herself, her relationship with Jack, her birthday, the celebrations, family, the deception, her perceiving that there was something different, her ways of challenging Jack, the hurt, the resolution for the future?

7.The portrait of Patrick? In himself, the middle son, relationship with the other two, his professional work? The relationship with Susan? The affair, her Jewish background, her parents? Susan's reactions to him? The possibility of marriage or not? Pregnancy? His friendship with Leslie and the memories of schooldays? His ability to talk with her, ask her advice? The plan to go to California? His going to church, confession, expectations of himself morally, marriage commitment? Susan and her miscarriage and the effect on both of them? His place in the family? Getting the money from Jack? The decision to join Leslie?

8.The portrait of Barry, the youngest, the writer, his wanting to rent the house, the encounter with Audrey and her getting the rental? His callow womanising style? Attracted to Audrey, the meetings, the discussions? His selling his script? His unwillingness to make any commitment? Audrey's response? His finally having to do something about his life, the discussions with his brothers, his stance on commitment - and his finally chasing Audrey?

9.The women in themselves and their relationship with the men? Susan and her family background, affluence, love for Patrick, nagging him, the pregnancy, the miscarriage? Audrey and her ambitions, the rental, interest in Barry, the final decision-making?

10.Leslie and her Catholic background, school, discussions with Patrick?

11.The importance of talk in the film? The enunciation of problems, philosophy of life, the difference between head and heart? Interior monologues? Advice? The realism of the portrayal of the brothers? Insight? - one reviewer remarking that it was a film of irritable intimacy?

SO THIS IS PARIS

US, 1955, 96 minutes, Colour.
Tony Curtis, Gloria de Haven, Gene Nelson, Corinne Calvet, Paul Gilbert, Mara Corday, Allison Hayes. Directed by Richard Quine.

So This is Paris is a pleasant minor musical. It was one of the short feature, small-budget vehicles for Tony Curtis in the early '50s at Universal. He acquits himself of singing and dancing quite well - though not spectacularly. The dancing is left to Gene Nelson, the singing to Gloria de Haven, the comedy to Paul Gilbert. There is glamour with Corinne Calvet.

However, the film visually resembles the M.G.M. musicals of the '40s and '50s -especially with the presence of Gloria de Haven. The staging of the dances, the songs are very reminiscent of M.G.M's style. This may be due in large part to the direction by Richard Quine. He had appeared in several M.G.M. musicals in the '40s: Babes on Broadway, For Me and My Gal, etc. In the early '50s he became a director of Frankie Laine musicals. He was to make a number of musicals, thrillers and comedies in the '50s and '60s.

The basic plot of three sailors on leave in France, painting Paris red, singing and dancing, meeting three girls with misunderstandings, helping orphans to raise money are all very reminiscent of On the Town. A pleasant example of Universal doing a 1950s style musical comedy.

SO THIS IS LOVE

US, 1953, 101 minutes, Colour.
Kathryn Grayson, Merv Griffin, Joan Weldon, Walter Abel, Rosemary de Camp, Jeff Donnell, Douglas Dick, Mabel Albertson, Fortunio Bonanova.
Directed by Gordon Douglas.

So This is Love is a pleasant but not memorable musical from Warner Bros. in the early 1950s. It is the biography of popular singer, later opera star, sometime film star, Grace Moore. It is adapted from her autobiography. Direction is by Gordon Douglas who directed many films in the '50s and '60s - a wide range from westerns to gangster films and musicals. Kathryn Grayson, on loan from M.G.M., is attractive as Grace Moore. Her forte is in her singing rather than her acting. Merv Griffin, later a popular host of television talk show, is the hero. Regular character cast from Warner Bros. fill in the minor roles. The treatment is generally conventional Hollywood biography.

1. An attractive and entertaining musical? The interest in Grace Moore and her career? A memorable musical or not?

2. The production values of '50s musicals: the colour photography, the staging of the musical numbers, the opera score? The musical comedy conventions and stereotypes? How attractive a film?

3. Hollywood treatment of biographies: the highlighting of success after the explanation of origins, struggles, crises, career and romance? How conventional was this biography? Insight into Grace Moore? Into the period? The traditions of American musical comedy and opera?

4. The period of Grace Moore's life shown, 1917-28. The background of Grace Moore's childhood? Her early career? Her training? The indications of her later success? A sufficient view of Grace Moore?

5. Kathryn Grayson's presence and style as Grace? The explanations of her background? Her determination on a singing career? The sternness of her father and his military background? Her presence in the music school? The encounter with Mary Garden and her response to her praise? The concert with John McCormack? The continued clashes with her father? Buddy Nash and his audition? Her success? The straining of her voice? The time in the country? Her continued success in Broadway productions? Their staging? Her clash with her father? Love for Bryan Curtis? Her decision to postpone the marriage? Her making a bet about her opera career? Her study in Europe? The final triumph and the production of La Boheme?

6. The background of Grace Moore's father and his hostility? Her persuading him to let her go on? Her being vindicated?

7. Buddy Nash and his support and the Broadway shows? Her love for Bryan Curtis - but her choosing career?

8. Her friends and their support - especially Ruth? The support of Aunt Laura? Henrietta Van Dyke? Mary Garden and her encouragement, later encounter?

9. The conventional picture of training, Broadway musicals, studying music, the final triumph in the Metropolitan? Sufficiently entertaining musical of the 50s?

S.O.S. TITANIC

US, 1979, 180 minutes, Colour.
David Janssen, Cloris Leachman, Susan Saint James, David Warner, Ian Holm, Helen Mirren, Harry Andrews.
Directed by William Hale.

S.O.S. Titanic is the third time round - akin to the semi-fictional 1953 Titanic rather than 1958's A Night To Remember, based on Walter Lord's research. This is generally low-key, less melodramatic panic (especially in the wake of so many disaster films). The implications of class distinction on the Titanic focus the basic human interest ingredients with David Warner and Susan St. James, middle-class hero and heroine (also highlighting the U.S./British co-production) mouthing the moral of the film, first class elegance and snobbery (plus Cloris Leachman acting quite unsinkable as Molly Brown) and the Irish in the steerage. The disaster and rescue are relatively brief - and the whole production is interesting rather than memorable.

1. The memory of the Titanic as a mammoth ship, its disaster on its maiden voyage? The memory over the decades? The feat of building the ship, the symbol of Edwardian elegance? The magnitude of the disaster?

2. The film presentations of the tragedy - the 1953 fiction, the 1958 documentary style film? This telemovie adapted for the how audience? Cinema audiences? Within the disaster trend of the '70s?

3. The film as a period piece: the presentation of the ship and what it symbolised, shipboard life in the early 20th. century, people, manners, decor and costumes? The disaster effects?

4. The structure of the film: launching to rescue? The use of initial newsreel material, the elaboration of the days of the voyage, the cumulative effect of the disaster and rescue?

5. The impact of the cumulative effect of the film: The launching of the ship and the establishing of the importance of the Titanic, the introduction to the various characters, to the various classes? Shipboard, relationships, emotional crises, presumption, the disaster, the rescue?

6. The impression of the ship - the use of the Queen Mary for filming? The particular levels, the first class and its decor and wealth, the second class and its ordinary comfort, the steerage and the lack of amenities? The working of the ship - from bridge and the Captain's orders, to the officers, to the telegrams, to the furnaces and engines? The importance of the various classes - the arrival of the people at the ship, the owner, the crew? The stop in Ireland and the migrants? The stressing of the classes and the contrasts throughout the film, the various barriers, the steerage people invading first class at the end in disaster? The ship as a microcosm of the world of the time? A world about to be plunged into the disaster of World War One - and changed?

7. The presentation of steerage - the attractive presentation of the Irish port, the boys and girls and their migrating, hard life in Ireland, hopes for America, fear of the sea? Their banding together? The dances? The romance of the central couple and the romanticising of the dance? Life together on the ship, the build-up to the disaster, the need for escape and the men helping the women? The women escaping from the first class? The lack of lifeboats and jackets in steerage? The importance of the visit of the steerage people to the first class dining room?

8. The contrast with the second class - Laurence Beesley as teacher, Leigh Goodwin as exchange teacher? Their arrival, Leigh's arranging of the coincidences for their meting, their dining together, dancing? Shipboard romance? The available cabin and yet their proper behaviour? Participation in the deck games? Their being the mouthpieces of views of society at the time? Their both being rescued? Their final comments about the situation? How well delineated the characters - for audience identification?

9. The wealth of the first class - the Astors and the Guggenheims , Astor and his wealth, his young bride, the honeymoon? Guggenheim and social ostracising? The meals, the dances? Molly Brown and her unsinkable behaviour? Her friend? The young man with the camera and his wife? The gamblers oblivious of anything else? The way of life, elegance, meals? The Astors' maid and the incident with the dress? Ismay and his farewell to his wife, his pride in ownership of the ship?

10. The humour, the stories, snobbery, wealth, hopes? The ordinary human themes illustrated on shipboard? The cross-section of British and Americans?

11. The Captain and his reputation, the qualities of the crew, the warnings, the sequence about full speed and the hopes of arrival, the ice floes and the warnings? The Captain and his arrogance? The clash with Ismay?

12. The striking of the iceberg, the initial reactions, the sudden cutting open of the ship, the crew and their capacity for coping, the Captain and his decisions, Ismay and his panic and saving himself, the contrast with the Carpathia and its receiving the messages, its hastening to the rescue?

13. The visual presentation of the disaster - icebergs, the sea? Special effects especially with the capsizing and sinking of the ship? The silent behaviour of so many of the people, the lack of lifejackets, the filling up of the boats, the crew and their having to use guns? The women and children being saved? The dignified partings? Ismay in contrast with this? The time element for the sinking, morale? The piano playing and singing? People jumping into the water, erratic behaviour, controlled behaviour? The steerage and their escape, the steerage maid and purser? Advice? The second class people escaping? The first class and their decisions? The Astors' maid and her staying? The designer and his staying? The presentation of death, the listing of the ship, the muted panic, the sudden sinking?

14. The sequences of rescue, the Carpathia and the taking on of the passengers, the observing of people after the disaster? The numbed reaction, the lady with the refreshments?

15. The observations on God especially by Mrs. Astor? Themes of death, pride, technology and presumption, the inevitability of disaster?

THE SORCERERS

UK, 1967, 85 minutes, Colour.
Boris Karloff, Catherine Lacey, Ian Ogilvy, Elizabeth Ercy, Victor Henry, Susan George, Dani Sheridan, Ivor Dean, Peter Fraser.
Directed by Michael Reeves.

The Sorcerers is one of Boris Karloff’s final films - but he is still excellent in portraying the sinister and compassionate. However, he is matched by Catherine Lacey in a frightening performance of greed and vicarious ugly experience. Ian Ogilvy is the hero and Susan George appears in a small role. The film is sadistic in tone - science fiction about a professor who has a machine which can control the mind and enable old people to enjoy the vicarious experience of the young. The film is directed by Michael Reeves who co-wrote the screenplay. He made The Revenge of the Blood Beast and Witchfinder General before dying at an early age. The film is small budget by quite effective within its limits.

1. An entertaining piece of horror, science fiction?

2. The conventions of the genre - the ageing professor and his wife, the contrast of their old age with the '60s psychedelia? The murder sequences, chase sequences, the professor and his wife? The inter-editing of both strands? The mounting ugliness and horror?

3. The effects of the small budget - washed out colour photography, London locations? The score? The contribution of the special effects?

4. The plausibility of the plot - in reality, in fantasy? The scientist persecuted and his invention? Mind control? The victim performing violent actions without knowing it - becoming truly a victim of the mastermind? The use of a potentially good invention for evil? The diminishing of human freedom? The setting of the story in the real world of the '60s? The blend of reality and contrivance, fantasy?

5. Boris Karloff's style as the professor - his hopes, his resentment against ridicule? His love for his wife? The ordinary domestic sequences as they had their meal., discussed the machine? The control of Mike? Their enjoying the swim? The professor's reaction to Estelle and her wanting the coat? His admitting the enjoyment? His reaction to Estelle's stronger will, the loss of his walking stick? His moving every effort to control Estelle but failing? The horror and ugliness of his death - poetic justice?

6. Estelle as the old lady, the devoted wife? Her resentment, urging on of her husband? The exhilaration of the swim and the way this was communicated from the screen? Her desire to have the coat and her enjoyment of the dangers especially with the policeman and the theft? The high-speed riding on the motorbike? The bashing of Allan? The violence erupting and the murder of the two girls after the terrorising? The loss of control by Estelle? Her fighting her husband? The ugliness of her death?

7. The presentation of the 'bored young things' of the 60s? Mike and his work, the dance, his going to the house and being controlled? The swim with Nicole and the enjoyment? His lapses of memory? The theft and its effect on him? His standing up Nicole and becoming irritable? His being moved further into crime and becoming the victim of Monserrat? Mike and the violence - the encounter with Audrey, with Laura and the terrorising of her? The bashing of Allan - the confrontation in the shop, the escape from the police? The final chase? Mike as the ordinary young man deprived of freedom and becoming victim?

8. Allan and his friendship with Mike, the fight, the worry and concern at the end? Nicole and her love for Mike, concern?

9. The minor characters and their contribution - conventional for this kind of film - Audrey as the girlfriend, Laura as the singer. the police and the investigators?

10. The audience being invited to share in the experience of the two old people - their seeming good intentions, their enjoyment of vicarious experience, the eruption of violence and sensuality, the loss of control?

11. What insight into human nature - and the dark side of human nature? The effectiveness of a horror thriller like this touching this aspect of our behaviour and attitudes?

SOPHIE'S CHOICE

US, 1982, 150 minutes, Colour.
Meryl Streep, Kevin Kline, Peter MacNicol?.
Directed by Alan J.Pakula.

Sophie's Choice is based on the novel by William Styron, the Stingo of the film. It is a star vehicle for Meryl Streep who is superb. She won an Oscar for this performance. (She had won an Emmy award in the 1970s for her role in the mini-series, Holocaust). She is well supported by Kevin Kline as the manic Nathan and Peter MacNicholl? in a warm performance as Stingo, both at the beginning of their screen careers.

The film re-creates the atmosphere of Brooklyn in 1947 with sad and well-dramatised flashbacks to Auschwitz. In fact, these scenes are very powerful especially because the sequence of Sophie's choice concerning the life and death of her children is dramatically kept to the latter part of the movie. The pathos of the film is very, very strong by the end when Sophie's choice and its secret are revealed.

The film makes comment on the American way of life, its madness. its dreams, its disappointments. It contrasts it with the world of Poland during the 1930s, the world of the Jews and anti-Semitism in Poland, the fears of the Communists and the accusations against Jews that they were Communists. Sophie is a Polish Catholic caught up in Nazi persecution and viciousness and, finally, the concentration camps.

A very moving film with Meryl Streep at her best. Music is by Marvin Hamlisch. The screenplay was written by director, Alan J. Pakula (Love and Pain, All the President's Men, The Parallax View).

1. Impact of the film? Its acclaim?

2. Adaptation of the novel? The autobiographical perspective of Stingo?

3. The strength of the cast? Re-creation of Brooklyn in the '40s? Poland and Auschwitz? The camp sequences? The styles of photography, the blue black flashbacks? The mellow Brooklyn? The use of close-ups, especially
of Sophie? The final look at Sophie at the end? Musical score, songs?

4. The structure of the film: Stingo's voice-over (and the older Stingo voiced by Josef Sommer)? His coming to Brooklyn, his hopes, encounters with Sophie and Nathan? The flashbacks to Sophie on her arrival in New York? The flashbacks to Auschwitz, to the choice itself?

5. A young man's journey: the naive young man, his understanding of personalities, of himself? Discovering American madness? The pathos in Nathan? World War II, the heritage of Nazism, the camps, cruelty? The ultimate suicide? The pessimistic experience for Stingo?

6. The portrait of Stingo: age, background of the South, hopes, literary talent, a man of his era, Brooklyn, the apartment and the landlady, the encounters with Sophie and Nathan, the initial puzzle, Nathan mocking him, apologies, Nathan's erratic changes? Sophie's friendship, inviting him to the apartment, sharing with him, talking? Their becoming the best of friends? The picnic on the Brooklyn Bridge and the toast to Nathan and his achievement? Nathan's being erratic, his devotion to Sophie? The encounter with Leslie, the picnic? the sexual gropings? His work, finishing the novel? Nathan reading it, his hopes, Nathan's mockery? The encounter with Nathan's brother, the impact of the truth? His concern? Listening to Sophie's story, the impact on him? The proposal, her telling him the secret and its impact? Going to the South, the hopes, the sexual encounter, her leaving the note? The deaths? Stingo and what he had learnt from this experience? The audience identifying with him?

7. The skill of Meryl Streep's portrayal of Sophie, the actress's versatility: the first impressions, her appearance and accent, in herself, relationship With Nathan? her response to his erratic behaviour? Pleasant, welcoming to Stingo? The fights, on the staircase, in the room? Love and love making? The moods? Her friendship with Stingo, justifying Nathan? The gift of the watch and his rejection, suspicions? The suspicion about the English professor? The pleasant times on the roof, the picnics, the beach? Audience sympathy with her? The concentration camp number? Her memories, emaciated, unable to speak English, classes, the question about Emily Dickinson, the library and her collapse? Nathan taking care of her, the bed, her illness, Nathan reading? The bond between them? Her memories of her father, explanations of his genius, praising him? The gradual change in America? her Polish background, Catholic background - no more?

8. The gradual revelation of the truth, the close-ups for her explanation of herself? The sequences in Poland, her work, her relationship with her father, his anti-Semitic attitudes? Her husband, the children? Helping her husband, accused of being a communist? The arrest, the train journey, with her children, her explanation of one being sent to die, the other living? The Auschwitz scenes? Her survival in the camp, her work, emaciated, interaction with the officials, the attraction of the officer, the women supervisors, the families? Her final being let out of the camp?

9. The final revelation of the choice: the sequence in the train, the officer, her not being Jewish, her being given the choice of one child, her choosing her son, criteria, the cries of her daughter being taken away? The anguish, the consequences, the distress and disillusionment?

10. Her support for Stingo, interest in his work, the proposal of marriage, her love for him, leaving him? Nathan and his moods, going back to him, the truth, her debt to him, the suicide and the tableau of the two together in death?

11. Kevin Kline's personification of Nathan: in himself, his mental illness, his moods, rudeness, joy and frustration, in love with Sophie, angry at her, being late, suspicious? Friendship with Stingo after the initial attack? His stories, the celebration, the Brooklyn Bridge? The happy scenes together? His care of Sophie and genuine love for her? His reaction to Stingo's book? The gift of the watch and his jealousy? The truth, his collapse? In death with Sophie?

12. The sketch of Leslie, in the house, relationship with Stingo, at the beach, in the room, her psychological jargon?

13. Nathan's brother, the phone call, the explanations to Stingo, the truth?

14. The Brooklyn characters, the landlady? Brooklyn style?

15. The contrast with the flashbacks to Auschwitz: the visuals, the crowds, the horror, the trains, the officers, the women? The official families and the children? Sophie and her trying to take the radio, being caught by the girl, the dangers?

16. Audience sympathy with her? The concentration camp number? Her memories, hated, unable to speak English, classes, the question about Emily Dickinson, the library and her collapse? Nathan taking care of her, the bed, her illness, Nathan reading? The bond between them? Her memories of her father, explanations of his genius, praising him? The gradual change in America? her Polish background, Catholic background - no more?

17. A film and a portrayal of insight and sympathy?

SOPHIA LOREN: HER OWN STORY

US, 1980, 180 minutes, Colour.
Sophia Loren, Armand Assante, John Gavin, Rip Torn, Theresa Saldana, Edmund Purdom.
Directed by Mel Stuart.

An entertaining TV movie biography. It is long but retains the interest. It is generally on the level of popular biographies by ghost writers or the series of articles on celebrities in women's magazines. However, because it is introduced by Sophia Loren herself, because she plays her own mother very vividly and because she plays herself with ease and charm, the film is more interesting and gives us a glimpse of the charisma and talents of Sophia Loren. The film focuses in its first half very much on Remelda, the strong-willed mother who brings up her illegitimate daughters with pride and begins to live their hopes for careers.

In the second part the film takes up Sophia's winning beauty contests (as runner up), her screen tests, her friendship with Carlo Ponti which was to develop eventually into a very long marriage, the friendship with Vittorio de Sica and his building up her career, the move to international stardom, her relationship with Cary Grant, her winning the Oscar for Two Women and eventually the longed-for birth of her first child. This is material that has been generally in the public eye over several decades - it is done with genial good taste. Hints of difficulties are in the film but by and large it is a rather pleasant biography.

Sophia Loren is especially persuasive in portraying her mother. Armand Assante is effective as Sophia's father - who disowns her but eventually comes to recognise his daughter. (Assante was punched by Goldie Sawn in the name of Women's Liberation in Private Benjamin; he appears as an extreme male chauvinist in this film.) Rip Torn is unusual casting for Carlo Ponti. Edmund Purdom has some good sequences as Vittorio de Sica. There are some film clips from The Gold of Naples, Two Women, Arabesque - with some praise of Gregory Peck. John Gavin does only an average imitation of Cary Grant.

The film shows the warmth of Sophia Loren and is attractive as the wish fulfilment success story in the aspirations of so many people. Direction by Mel Stewart who has made a number of features and many telemovies.

1, Audience interest in the life of Sophia Loren, her background, career, success? Written and developed for a home audience? The telemovie style? The level of biography, depth, quality of response?

2. The star Introducing the film and her tribute to her mother? The strength of her interpretation of her mother - interpretation and memory? Her playing herself with natural warmth? The highlights of her life as seen by herself? Enough to give a satisfying impression of the actress?

3. The structure of the film and its ranging over times and places? The introduction. the focus on Remelda and her life’ in Pozzuoli, the relationship with Ricardo and the need for a career in acting, the birth of Sophia and her struggles, the experience of the war, the allies? Her push and promoting Sophia's career? The transition to Sophia herself, Carlo Ponti, Vittorio de Sica, Cary Grant, the Oscar, the baby? A satisfying range of incidents in Sophia Loren's life?

4. The sketching in of Sophia’s background: family life in Pozzuoli, the grandparents, aunts? The Greta Garbo look-alike competition and Remelda's success, her mother's refusal? Her going to Rome and attempts at acting? Mussolini and fascism in Italy in the 130s, the background of war, migrating to Rome, the bombings? The allies and the occupation? The transition from poverty to success? The background of the Catholic Church, moral stances, illegitimate children, divorce and annulments, remarriage? Italian strictness as regards the divorce law? The environment shaping Sophia Loren?

5. The character of Remelda - her confidence in the Garbo competition, her home life and her decision to stay at home, the infatuation with Ricardo and believing him about her career., her pregnancy, her being abandoned by him after her visit to his home, the influence of his mother? Hospital and the nuns getting Sophia's name? Possibility of adoption? Her return home and her pride? Bringing up her daughter at home? Her visits to Rome and the continued infatuation with Ricardo? Tricking him to visit Pozzuoli to see Sophia? Her second pregnancy? Getting the legal name for Sophia? Her attitude towards family, wariness of marriage, suspicion of men? Her pushing her daughters to career? The surrogate career in her daughters? The irony of Sophia Loren playing both parts - literally her career in the image of her mother?

6. Sophia’s background at how, the family, school and the antagonism of the children? War and moving to Rome - echoing Sophia Loren's film Two Women? Cabaret for the allies? Ricardo's reaction and the news of his marriage? Maria and Sophia? Her growing up, the beauty contests? The meeting with Carlo Ponti, his comments about her mask? The benefit of her acting lessons? The screen tests, Vittorio de Sica? The collage of her early films and capacities? The launching of her career?

7. The relationship with Ponti and her mother's attitude? Her career, his wife, the Mexican divorce? The irony of the Mexican marriage by proxy? The marriage in the scene of Houseboat with Cary Grant? Her relationship with Cary Grant? Her choices? Becoming a French citizen for marital purposes? Her miscarriages and longing for a child? The time in Switzerland for a careful pregnancy? The birth of her child and the culmination of her biography? The fact of her steady relationship with Carlo Ponti for almost thirty years?

8. Her charisma. career? International fame with The Pride and the Passion? The affair with Cary Grant and its style yet her decision that it was two people from different worlds? Her talk to reporters? The indications of her films and leading men? The insert about Gregory Peck? Her visit to her mother and the success of her career? The decisions to make Two Women - and the sequences shown., Oscar night and her reaction to winning? Audiences knowing the success of her career?

9. Themes of relationships - her mother and her love, push e.g. in the making of Quo Vadis? Sophia not wanting to be bitter like her mother? Her attitudes towards her father and the reconciliation sequence? Maria and her support? The achievement in terms of an Italian girl from the south?

10. The Italian focus on children and the desire to have her baby? The joy in her achievement?

11. A pleasant biography - the intrinsic interest, personality of a star, a glimpse at the history of cinema, Italian cinema, and international success, the success story. glamour? A film of pleasant insight?