STAR WARS

US, 1977 (remastered, 1997), 121 minutes, Colour.
Mark Hammill, Harrison Ford, Carrie Fisher, Alec Guinness, Peter Cushing.
Directed by George Lucas.

George Lucas intended to blend techniques and aura of space exploration of 2001 with straightforward simplicity (and naivety) of the serials (Flash Gordon etc.) of his boyhood. He has succeeded admirably. Technically the film is inventive, beautiful and exciting. In narrative, the complex and far-fetched characters and plots of outer space delight the child in us. By a story and atmosphere of the future, relying for significance on old conventions of knighthood, chivalry and heroes, the film is thoroughly enjoyable for the present. (Plus John Williams 'epic' score). The humans are bland American comic book types, Alec Guinness and Peter Cushing provide straight heroics and villainy. The robots are wonderful.

1. The quality of the film? Reputation? Enjoyment? Its impact and freshness in 1977? In retrospect? The influence it had, derivatives?

2. Its background in the old serials of the 30s and 40s, their value as popular entertainment, for young audiences, the fantasy world, the climaxes and dangers and adventures, heroes and heroines? The basic situations in this world, in the universe? The types of characters, good and bad? The cliffhanging situations? The simplistic approach and audience enjoyment of this and identification with it? The happy endings and triumph? The film's prologue indicating this kind of background in its words, the visuals of the prologue? The presuppositions of serial and Saturday matinee enjoyment in the audience?

3. The importance of the technical achievement? How impressive? The intimations of space, the visuals of spacecraft and machinery? The elaborate sets? The quality of the filming of this technical gadgetry?

4. The basic plot? Its verve and vitality? Audience identification? Emotional response to situations and characters, the clash of good and evil? The f film's attitude towards right and wrong? The presentation of the characters in simplified form - the comic-strip style, the very American presence language and accent of the main characters? The background of the serious characters both good and evil?

5. The enjoyment of the film as sheer space adventure? The atmosphere of intergalactic wars, an imaginary time in the past or the future, rebels and resistance, betrayal, heroism, the world of black darkness and fascism, the world of irreligion and the reliance on power and destruction? The significance of the Force and its place in this kind of sheer adventure?

6. Ben Kenobi's explanation of the Force? The Jedi Knights and their unity, the mystical power uniting them, their place in the Force? The Force adding something more to the sheer adventure? The overtones of religion and mysticism? "Pop mysticism"? The moving of the adventure story onto the level of old-fashioned tales, epic stories of knights and adventure, the level of fairy tale and myth and its meaning?

7. The picture of the galaxies in their particular time? The science-fiction world of past, present and future? The audience response to intergalactic science-fiction? Its growing reputation and respectability? Expectations of life in other planets, the parallel to human existence, the background of wars, destruction of planets, death stars and rays, the influence of the empire? A mission within the intergalactic world? The desperate situation? How well was this communicated in the visuals, the technology, the battle sequences?

8. The introduction to Princess Leia? A plucky princess, her mission, her transmitting the message to the computer, her giving an impetus to Ben Kenobi's involvement, the attraction to Luke Skywalker and the knight to the rescue? Her confrontation with Tarkin? The threats to her life and her reaction? Her being blackmailed to reveal the rebel location? The impact of the destruction of her own planet? Her imprisonment, the rescue by Luke and her reliance on him, her attitude and criticism of Han Solo? Her participation in the adventures and the various trials before the escape? Her arrival with the rebels, communicating the plans, watching while Luke achieved his heroics? Her being won by the hero and the happy ending? A fairytale princess? An attractive heroine?

9. Luke Skywalker as hero - the significance of his name? Seeing him in his ordinary life on his own planet? Yet his father's background amongst the Jedi Knights? His ordinary life and home life with his uncle and aunt? The ordinary earth parallels? Doing his chores, selecting the machines, working with them? Revealing the ordinary side of life in the galaxies? The relationship of men and machines and the friendly encounter? The response to talking robots? Luke at how, as a pilot, his hopes of study and moving away from the family, the ordinary work to be done? His searching after the lost robot? The dangerous encounter with the Sand People? His admiration for Ben Kenobi and sharing in his knowledge? His grief after the death of his uncle and aunt? His attraction by the princess and his going to save her? Receiving his father's sword? Luke turning into hero - and yet Han Solo's continual reference to him as 'kid'? His being disguised as an empire soldier and joining with Han in the invasion of the battle star? Shooting, rescuing the princess, swinging over chasms, in the garbage disposal and contacting the robots? His place in the mission to escape, his being the hero of the attack on the battle star, his involvement in the wars, saving his friends, dropping the missile into the battle star? The importance of Ben Kenobi's influence on him - the explanation of his background, his father, the meaning of the Force, his seeing Ken Kenobi give his life, the training for the fighting and letting his feelings go, Ben Kenobi's advice to trust his feelings for destroying the battle star? Luke as an everyman hero of the film?

10. Han Solo as comic hero? His particularly American style, the overtones of the West, his gambling and involvement in the strange bar and its strange creatures, his smuggling background? Challenge and his rising to a dare? The mercenary and his eagerness for money? His being slow on the uptake? His wariness in being involved? His relationship with the Wooki? The escaping from the empire soldiers? The landing on the battle star? His participation in the rescue of Princess Leia and his fears? The dangers in the garbage disposal, getting the machine going, escaping? His decision to away with his reward? What persuaded him to come in at the end as Luke's saviour? A genial ordinary kind of hero?

11. The presentation of the robots – C3PO and R2D2? Audience response to robots, the indication of technological development? The personalities of the two robots and the way they were acted? Their importance in the plot? The personality of C3PO - protocol, fussy, very British tone, his fainting, his being separated from the group, his shrewdness in helping Luke and the others to escape? His attachment to R2D2? and wanting to help? The intelligent robot? as small, more like a pet, carrying the message and transmitting it, being captured, participating in the final mission with Luke, destruction but always able to be fixed? C3PO and the loss of his arm? The humanising of the robots, their always being able to be mended even if they seem dead? The comedy of the robots?

12. The strange creatures of the intergalactic worlds - the anonymous soldiers of the empire and their disguise? The various small people that captured robots and sold them to humans? The Sand People and their violence and ugliness? The Wookis and the humorous and strange variation on mutants -and the Wooki's ability at being a pilot, participating in the strategy within the battle star, especially for the prison, playing games and wanting to win against the robots? The world of the empire and the knights -especially Darth Vader and his anonymous black evil? The mixture between human and robot?

13. Peter Cushing as the choice to play Tarkin? His cool control and villainy, his self-assurance, the threats to Princess Leia, his relationship with Darth Vader, the decision to destroy the rebels, his arrogance and final destruction? Embodying the evil control - his presence, appearance, uniform, strategies, evil?

14. The contrast with Alec Guinness as Ben Kenobi? Age, appearance, wisdom, the tradition of the Jed! Knights? A man of causes and ideals? His participation in the mission - relationship with Han Solo? His work on the battle star to destroy it? His diversionary tactics? The inevitability of confronting Darth Vader, his pupil, and the fight? His allowing himself to be destroyed as the heroes escaped? Giving his life for others? Yet his presence and the presence of the Force?

15. Darth Vader as traitor villain? His possibility of being a Jedi Knight, his choosing evil, his evil advice to Tarkin? His participation in the strategy especially the attack on the rebel planet, the defence of the battle star? His being lost in space at the end?

16. Comment on the kind of world that we were presented with in Star Wars -planets and their strange appearances, colours, moons etc.? Yet the ordinary landscapes of deserts, trees? The world of technology, of buildings? Of space?

17. The world of the rebels - their cause, plans, the defiance of the empire? The destruction of planets? The confrontation at the end with the possibility of destruction? The intensity of the need to destroy the battle star? Sending out their forces, the explanation of their chief? The almost helplessness before Luke destroyed the battle star?

18. The tableau of the happy ending - appropriate thematically and emotionally for this film? Why its great appeal? As entertainment, as adventure, as popular message of good and evil?

STAR TREK 111 - THE SEARCH FOR SPOK

US, 1984, 105 minutes, Colour.
William Shatner, Leonard Nimoy, DeForest? Kelley, James Doohan, George Takei, Walter Koenig, Nichelle Nichols.
Directed by Leonard Nimoy.

This film follows the success of the spectacular, if rather heavy Star Trek: the movie and its more engaging successor Star Trek 11 - the Wrath of Khan. In that film, Spok seemed to die -and there arose the immediate concern by the public and the commercial concern of the studios to achieve some kind of resurrection.

Not only does Spok resurrect, Leonard Nimoy directed this third Star Trek movie. It is strong on colour photography and special effects. It also reunites the regular cast of the Enterprise - while the stories seem ageless, the cast does not. William Shatner is as intrepid as ever (losing his ship, his son, his career). As a bonus Christopher Lloyd snarls as the villain, James B. Sikking (of Hill Street Blues and many films) is Captain Styles and Judith Anderson is T'Lar the leader of the priestesses who are able to effect the resurrection of Spok.

The story is standard spacecraft, entertaining in its way. The focus is on Spok and the teasing indications of his past and the hopes for his resurrection - which is achieved.

1. The popularity of Star Trek on television and in the movies of the 80's? the popularity of space exploration? the space adventures, the exploration of meanings?

2. The importance of the colour photography, Panavision, technical and special effects? the atmosphere of space? space travel and exploration? the different planets? the Enterprise and its technology? rival ships? rival empires? the focus on Spok and special effects? the child and the growing Spok? the ceremony for his resuscitation? the musical score?

3. The Title and the focus on Spok? the concern about his death? the possibility of his survival? resurrection? his significance in himself? the concern of his father? the school in which he was able to remain in existence in McCoy? his resuscitation and gradual realisation of who he was, his friends?

4. The focus on the Enterprise and Captain Kirk? the impact of the defeat of Kahn, the death of Spok? the creation of the Genesis planet? the battered Enterprise on earth? the de-commissioning of the ship? its being scrapped? The encounter with Ambassador Srek? the information about Spok implanting his soul in Dr. McCoy? David Marcus and Saavik on the Genesis planet? the discovery of Spok's coffin? the maturing child? the Genesis explosion? Kirk and his helping McCoy? out of the
detention centre? stealing the Enterprise? the journey towards Genesis? the clash with Kruge, the taking of David, Saavik and Spok? David's death? Kirk tricking the Klingons and the self-destruction of the Enterprise? the return to Vulcan? the return of Spok's soul? the reuniting with Kirk? the valiant adventures of the intrepid Captain?

5. Audience response to the regulars of the Enterprise crew: Dr. McCoy? and his being inhabited by Spok, his erratic behaviour, being detained, being freed? Scottie and his place on the ship ? the rest of the crew?

6. The villains - Kruge and his behaviour, make-up and costume, the decor of his planet? the vengeance of the Klingons? the cruelty in the capturing of the hostages, the death of David?

7. The Genesis experiment, the planet, its instability? David and Savik's responsibility? Their being captured?

8. The ceremony for the resuscitation of Spock? Judith Anderson as Talah? Serious, humorous?

9. The reason for the popularity of the Star Trek films? Audience familiarity with the crew and cast, identification with them? The theme of space exploration, experimentation? Symbols for the search for meaning for the future?

STAR TREK (STAR TREK: THE MOTION PICTURE)

US, 1979, 136 minutes, Colour.
William Shatner, Leonard Nimoy, DeForest? Kelley, James Doohan, George Takei, Walter Koenig, Persis Khambatta, Stephen Collins.
Directed by Robert Wise.

The title rightly indicates the kind of science fiction: not Star Wars, but a trek, a dazzling technological journey through space with the characters familiar from the popular TV series. The basic plot (Isaac Asimov receives a credit as adviser) is a mixture of familiar material (mystery vehicle threatens Earth) and a rather cerebral treatment of theme - a data-collecting satellite becomes so powerful, it lives and seeks its maker, a union of emotional man and logical machine. Critics were almost unanimously unfavourable on the film. However, time will probably vindicate it. Direction is by Robert Wise, Oscar-winner for West Side Story and Sound of Music. Previous science fiction films include The Day the Earth Stood Still (1950) and The Andromeda Strain (1972).

1. Interesting and satisfying entertainment? Expectations from the television series, the build up for the expensive film? The hostile reviews of the critics?

2. The impact of television and spin-offs? The time of popularity of the television series, its influence on science fiction and space exploration fiction? The TV spin-off and the presuppositions in the screenplay that audiences would be familiar with characters, the trek itself, the Enterprise etc.?

3. The picture of the future world, San Francisco of the future as space centre? The attack of alien forces and ships? The technology of the future., its complication and jargon? Its smoothness of operation? Starships and the variety of people in the crew? Their knowledge and abilities? The variety of people. the oddities of type? The interaction of the various planets e.g. in Doctor Spock? The aftermath of NASA and the repercussions of present space exploration and technology for the future? How credible the screenplay?

4. The importance of the visuals - Panavision and colour? Sets, decor, space vehicles, machinery and technology? Special effects? The presentation of space, the galaxies. time and space patterns and colours. shapes? The incidental special effects - e.g. travel and instant change of place, individuals moving against gravity etc.? The musical score and theme?

5. The impact of the initial attack, the alert to Earth? The alien creatures and their attack, their capacity for devastation?

6. The crisis and the way that it was being handled on Earth? The preparation of the Enterprise? Kirk and his being recalled? Decker and his command., relationship with Kirk, the inevitable clash? The strict orders and authoritarian method of Kirk's taking over? Kirk and the long sequences of his arrival at the Enterprise, the long close-ups in detail of the Enterprise itself? The audience seeing the ship through Kirk's eyes and with his feelings? His love for the vessel, his past experiences? Yet his not knowing the new technology and his making mistakes? The importance of the tour to familiarise the audience with the space ship, with the staff especially Scotty? The briefing sequence and the presentation of the variety of people working, their appearance, costumes and uniforms etc?

7. The crisis and Kirk's taking command, Decker and his subsidiary roles? The initial accident, decisions and Decker's wise advice? The arrival of Ilia and her appearance. baldness, planetary origins? Decker and his knowing her? The love between the two, memories of the past? Her vow of celibacy? Her presence during the crises. response to Decker?

8. The presentation of Dr. Spock - his quest, religious experience the presentation of his planet and its landscapes, decor, language? His inability to be fully dedicated to his mission? His rejection? The clash between reason and emotion? His sensitivity towards the Enterprise's crisis? His sudden arrival, his stern manner, his decision to help and the crew's acceptance of him?

9. The arrival of the doctor, his past work on the Enterprise, the human touch, his fears, his advice to Kirk?

10. The focus of the film's title on the trek as distinct from wars etc.? The language and jargon of trek, technology and surveillance, communications, television? The procedures when the collision course was inevitable, moving through time, warps etc.? The emphasis on techniques during the trek?

11. The emphasis on information, data-gathering? The time limit for destruction? The size of the ship and technological knowledge of it? The visual impact of how much had to be known? The moving towards Vger? The approach, being drawn into its orbit, the decision to go in, to be trapped? The consequent decisions and the amount of information available?

12. The presentation of the crew and their ways of interaction? The importance of the time limit and therefore Kirk's taking over from Decker? The doctor's interviews and advice for Kirk in his treatment of Decker? Ilia and her contribution? The international membership of the subordinate officers?

13. Spock's expertise and the way this was communicated? His decisions to go out by himself, his discovery, its almost taking his life, his recuperation?

14. The dramatic impact of the raid and the capture of Ilia? Decker's grief? Her return and her having been taken over? Her appearance, the jewel in her neck? Her voice? The devices used to try to reactivate her memory, her resistance? The clash between logic and information-seeking and layers of memory and emotion? The importance of the questions about the carbon units?

15. The menace of Vger and the build up towards it, its power and the absorption of information, its size, its cosmic impact, the visuals to represent this? Its questions and the inabilities of the humans to provide the answers? Ilia and her continual seeking? Kirk and his quick thinking, his delays? The decision of the group to go and confront Vger? The build up to their approach, the confrontation?

16. Audience response to the discovery of Vger's identity? NASA and the 20th. century? The mission of the satellite and its fulfilling its mission, its becoming saturated, its seeking its creator? The importance of reaching its creator and finding the answer? Decker and his insight into emotional unity with the intellectual Vger? The possibility of a union between himself and the robotised Ilia? The importance of the combination of emotion and technology?

17. The philosophy behind this solution? Possible, impossible? The philosophical type language, the dealing with the physical, the metaphysical?

18. The beginning of the human adventure as the film said at the end? Optimism about man's future and his role in the universe? Powers greater than man in the universe? The cerebral aspects of the star trek compared with the visual and sensual, the technological? A convincing star trek?

STARTING OVER

US, 1979, 105 minutes, Colour.
Burt Reynolds, Jill Clayburgh, Candice Bergen, Charles Durning, Frances Sternhagen, Austin Pendleton, Mary Kay Place.
Directed by Alan J. Pakula.

Starting Over is a more romantic minded, and often comic, masculine parallel to Paul Mazursky's An Unmarried Woman. Jill Clayburgh stars in both (expertly but differently vulnerable in each). However, this is a Burt Reynolds vehicle. He deliberately goes against his macho image, portraying a rather reserved, sensitive middle aged man whose marriage breaks, who goes to the divorcees' group, who dates but yearns for his ex-wife and faces separation traumas. He is good (if suggesting some self-consciousness). Candice Bergen as his ex-wife has to look glamorous and sing songs in a loud off-key manner. She is excellent in an unsympathetic role.

Pleasing for those in the 'starting over' age group. Reynolds alternates his action films like Smokey and the Bandit and Hooper with serious films like this such as Semi-Tough and The End. Direction is by Alan Pakula who made such films as The Sterile Cuckoo, Klute, All the President's Men.

1. An entertaining film? For what audience? Masculine response, feminine response? The appeal to the middle-age group?

2. The American style, setting? Boston? The presentation of people in the city, homes, apartments, stores? Easy identification with the characters - or not? Themes of marriage.. divorce., age? Dating, careers.. discussion groups, psychology?

3. The psychological background of the film - American trends in the '70s? Serious, comic? Satire, gentle mocking? The value of psychology? Group work? The focus on the discussion group - the individuals.. divorce, the serious problems and the way they discussed and shared them? The humour of the ladies' group taking over on the dot of nine? Mickey and his professional skill.. planning, therapy in the department store? Marva and her eager psychologising?

4. The importance of music - the background, the songs e.g. The Way We Were? The title song and its use at the end? Jessica and her composing, the lyrics? (Her singing of them?)

5. The serious and comic tones of the film? The many funny sequences, touches, dialogue? Satire? The blend of the styles of comedy? The audience laughing at the situations, feeling and identifying with the characters?

6. The opening break-up setting the tone - the talk behind the credits? Phil and Jessie and their age, the years of marriage. experience? Jessie and her walking out? Phil and his feelings.. not wanting the marriage to break? Iris comment that he was glad of their marriage - and Jessie's later use of it, Phil's taking it back? Phil and the trauma of separation, Jessie and her immediate song composition, his finding an apartment and its loneliness? His yearning for companionship. for Jessie? Mickey and Marva and their initial help, his phoning them in the middle of the night? Jessie and her turning up later. her visit. the seduction sequence and her singing? Phil driving her in the car and punching her? The song in the motel and the ludicrous aspects of it. Phil's leaving? What motivated his decision to return to her, the build-up to their lovemaking, her comment about orgasm? Their trying to build a life again together, the shopping sequence and the clash? Jessie's letting him go?

7. The group therapy and the help given by the group? The parallels of people in divorce and separation situations? Paul and his remarriages? His driving Phil and giving him advice? His presence at the final proposal to Marilyn?

8. Mickey and Marva - fraternal relationships, Mickey challenging Phil on his visit, their setting up the meting with Marilyn and the comedy routines about her being accosted? Their presence at Thanksgiving dinner with their son and moving out? The giggling behind the door when Marilyn and Phil left their how? Arranging the date for Marilyn at the end? Mickey's performance in the department store and the people's applause? Humorous presentation of do-gooders - with the psychological touch?

9. Burt Reynolds and his change of image as Phil? His portrayal of a shy and sensitive man? The experience of the break-up, sadness and loneliness? His being in the apartment by himself, phoning, buying furniture? The following of Marilyn and her attack on him? The humour of his repeating her words at the dinner? Her refusal of a date and his trying to push this? The interim date and his visit to her house, the encounter with the children, telling stories at the restaurant, his exasperation and longing for Marilyn? His decision to go to the group, his presence there, friendliness? The effect of the group's advice? His decision to teach - and his awkwardness, the humour of the short lesson? (Our seeing him go there again but not knowing how he succeeded?) Marilyn and his awkwardness, visiting her home, the date, the sexual relationship? His growing in love with her, her dependence on him? His decision that she should move in and the humour of his dunking her at the school carnival? Jessie’s visit and the coincidence, the possibility of his being seduced by Jessie, his return? The break-up and Marilyn's demand of a promise from him? The effect of his return to Jessie, breakdown? Marilyn, his ringing her, visiting her, breaking his promise, following her as Santa Claus, striding across the basketball court with Paul? Sweeping her off her feet? The possibility of marriage, family, a happy future with her alone? How sensitive a portrayal of a contemporary American middle aged man? Audience identification with him? Funny, sentimental, strengths and weaknesses, failures, faults?

10. Jill Clayburgh's portrayal of Marilyn - her age, appearance, vulnerability? The humour with her being accosted and her reaction, her embarrassment at the dinner? Her reasons for refusing a date? Phil's visiting her at hone, outing, sharing experiences and talking? Visiting her at the school, her help with the teaching, the sexual relationship? The morning after and her attacking him in the snow? His dunking her and her humiliation and laughing? Her moving in and the encounter with Jessie? Her hurt and moving out, demanding the promise, her pain? Her laughter at the date with the basket-ball player and his height? The proposal and her being swept off her feet, the buying of the sofa? A credible single middle aged American woman?

11. Candice Bergen and her self-deprecating performance as Jessica? Her glamour, her career, her adultery? Her unreality compared with Phil and Marilyn? Her music composition and success? The initial song and its reflection on her experience, being so out of key and loud? And the humour of Phil's date singing Jessie’s song? Her arrival at the apartment, her clothes, seduction? Her being hit in the car? The motel and her suddenly turning on the music and the long tracking take with her singing the raucous song about reconciliation? The return and the lovemaking sequence, her bland comments? The fight in the supermarket? Her letting Phil go - and her ringing him up after the motel incident about her making a fool of herself? The satirical touch through her character?

12. The dating sequence when Phil took out the mother of the children, his encounter with them, her continued chatter, singing Jessie's song, the restaurant sequence? The futility of dating?

13. The importance of the comic dialogue for making the audience laugh, for the arousing set pieces e.g. Phil's buying the furniture, dunking Marilyn at the carnival, his having the fit in the store and Mickey's helping him, the people with the valium? The seduction sequence in the motel with the song? The bedroom sequence with Jessie? Phil's direct proposals? His lecture and its taking only four minutes?

14. Themes of marriage, commitment? Breakdown and building up? The true nature of love? Lingering memories and their needing to be coped with? Themes of middle age, fears, expectations of society? The realities of starting over?

THE STARS ARE SINGING

US, 1952, 99 minutes, Colour.
Anna Maria Alberghetti, Lauritz Melchior, Rosemary Clooney, Fred Clark.
Directed by Norman Taurog.

The Stars are Singing is a pleasant Paramount musical. It introduced Anna Maria Alberghetti to stardom. She had appeared with Bing Crosby in Here Comes the Groom, but she was to make only a few films. She had a charming personality but did not make the impact of such stars as Deanna Durbin or Jane Powell.

The film also introduced Rosemary Clooney, who had a very lively film personality, sang and satirised her hit 'Come on a My House' in this film. She was to appear in the musical western spoof Red Garters and with Bing Crosby and Danny Kaye in White Christmas, with Bob Hope in Here Come the Girls and with her then husband Jose Ferrer in the Sigmund Romberg biography Deep In My Heart. They are joined by opera singer Lauritz Melchior who had been in a number of M.G.M. musicals. The story is light - Anna Maria is a Polish migrant who causes some trouble in New York. Rosemary is the leader of a group who want to make it in show business, who decide to help her with record and television promotion. There are clashes with Polish authorities and with the American Immigration Department. Needless to say, there is a happy ending.

There is some incidental comedy with Bob Williams and his dog Red Dust. All in all, pleasant escapist entertainment directed by Norman Taurog, a veteran of so many films from the '30s to the '60s, from The Champ in 1931 through some M.G.M. musicals and comedies to Dean Martin and Jerry Lewis vehicles and Elvis Presley musicals.

The film echoes the atmosphere of the cold war at the time with the antagonism of the United States towards eastern bloc countries and communism and the way of life behind the Iron Curtain. It is a film highlighting the image of American freedom in the '50s.

STARMAN

US, 1984, 115 minutes, Colour.
Jeff Bridges, Karen Allen, Charles Martin Smith, Richard Jaeckel.
Directed by John Carpenter.

Starman is delightful romantic science-fantasy - reminiscent of Close Encounters and E.T. While this is Steven Spielberg territory, the director is John Carpenter who began his feature films in space (tongue-in-cheek) with Dark Star. But, of course, he is better known for Halloweens, Fogs and Things.

While the Spielberg influence is clear, Starman is derivative only in the sense that it takes familiar themes and re-works them freshly. Jeff Bridges received an Oscar nomination for his engaging blend of charm, robot-like gait and his struggles with textbook English and U.S. slang. Karen Allen (Raiders of the Lost Ark, Split Image) is an attractive and resourceful widow..

The film is a fable for adults. Humans are primitive and technological amateurs in the eyes of space aliens. But they have a sense of enthusiasm and fun. Despite the rednecks and trigger-happy military, the message is peace and care. This is a visually exciting fantasy, with sentiment and humour.

1. The appeal of this romantic science-fantasy? How well does it work as a fable?

2. The material familiar from Steven Spielberg's films, Close Encounters of the Third Kind, E.T.? Delightful in itself? Its message about human beings? hope and peace?

3. Panavision photography, visual impact: the range of locations for the United States countryside? The special effects for the planet, Starman's coming to Earth and transforming himself? The finale?

4. The plausibility of the plot: the 1977 invitation sent into space? The alien's hearing the message, watching it on television? The arrival at Earth? The plausibility of such visits and UFOs? Departments for investigation of extra-terrestrial life?

5. The focus on Starman: the planet that he came from, responding to the message from the United Nations? His arrival, the sense of his presence in Jenny's house, his looking over the house (the subjective shots)? The photo of Scott, his strand of hair, the cloning process? The special effects for the child growing immediately into Scott? Jenny's amazed response? An alien on Earth, the awkwardness of movement, imitating, the humorous gestures, watching the home movies, Scott's expressions, asking definitions, hearing the swearing, amusing gestures? His mission, investigation, his attitudes towards Earth - primitive people, technological amateurs? His own background as civilised but lacking zest? his enjoyment of the earthiness of Earth - food etc.? His three days, needing help, otherwise dying? The sense of urgency?


6. Jenny and her watching the film, her grief for her dead husband? The arrival of Starman and her thinking it a dream, witnessing his transformation, tainting? Thinking she was kidnapped, afraid? Talking to Starman, stopping the car on the highway, leaving the message in the toilet? her driving frantically (and driving faster through amber lights - and Starman imitating her later)? The experiences on the road? The diner and the meal, her decision to leave him with the credit card? his bringing the deer back to life? Her decision to stay? The phone call with Sherman? The holiday at the motel, the police gate-crashing? The chase and the crash into the oil tanker? Her being brought to life by Starman? In the mobile home? his leaving her, her hitching a ride, the roadblock and helping him to escape? The train ride to Las Vegas? The lovemaking and her explanation about not having a child, not able to have one, his giving her the baby? The comedy at Las Vegas with the winning of the money, the buying of the car? The hurrying to the crater? Eating at the diner, Sherman’s coming to save them? The helicopter chase in the crater? The farewells? Her experience of the Starman, fear turning to care, turning to love? The gift of the child?

7. Starman and the mirroring of human behaviour: the use of language, human quirks, his reaction to the dead deer and bringing it to life, the tight with the rednecks? His enjoying the food? Asking for definitions? The accident and his saving Jenny? Watching From Here to Eternity and the famous beach scene on the television? The encounter on the train? his wanting to give Jenny a child who would grow up on Earth? Las Vegas and the jackpots? The encounter with Sherman, the farewell to Jenny and the kiss, to Sherman? The final chase and his leaving?

8. Fox and the military mentality, administration, suspicion, discussions with the Russians, the severity of decisions, the clash with Sherman?

9. The contrast with Sherman and his genial nature, a slob, the cigar? His concern, the phone call to Jenny, the pursuit of Starman, the road blocks? The meeting, his allowing them to escape?

10. People on the road, the hunters and the raising to life of the deer, the redneck battles,. the police wanting to break into the motel, the military personnel? The pleasant lady at the diner and her help?

Il. Technological background, helicopters, the contrast with the space vehicle, the capacity for cloning?

12. 20th century interest in space, space adventures? Hopes and peace? Faith in human nature and foibles? A pleasing romance?

A STAR IS BORN

US, 1976, 140 minutes, Colour.
Barbra Streisand, Kris Kristofferson, Paul Mazursky, Gary Busey.
Directed by Frank R. Pierson.

A Star Is Born is the third version of this story. Just as its predecessor was Judy Garland's showcase, so this film is Barbra Streisand's, and despite the adverse criticism, she handles her role very well. The transferring of plot from Hollywood to rock world, while contemporary, limits the film's appeal to older audiences, although Streisand is as versatile as ever. The film does not delve into the characterisation and themes as did previous versions and the plot takes on the form of a romantic fairy tale with an unhappy ending. Interesting comparisons of plot treatment are continually present, but for those who don't know other versions, this one works enjoyably on the level of light entertainment.

1. The popularity of this plot, the original, the remakes? The updating to the '70s? The archetypal story of the rise of the star and the fall of the star? Why the perennial appeal?

2. The impact in the'70s? The plot, success and career? Rise and fall? The particular styles of the stars and their interaction? The music world, the rock world, vast concerts and popularity?

3. The strength of the plot and its characters, struggles, American dream, disillusionment, tragedy?

4. How well did the film use the atmosphere of show business, the rock world, music - concerts, records? Stardom, heartbreak, success and successful breaks, luck? Individual and personal lives affected by the impact of success and its artificiality? Wealth?

5. The film as a Barbra Streisand vehicle? Her contribution to so many aspects of the film? Her personality, style, singing? Winning an Oscar for 'Evergreen"? The Initial impact of Esther and her singing, the group, her reaction to John Norman and his disruption, helping him? A talented person, a singer with a future?

6. The introduction to John Norman? The choice of Kris Kristofferson for the role and the background of his singing career, his drinking? His skill in working with Streisand? Seeing him singing, his success in his concerts, his going downhill with drinking and drugs, the effect of popularity? His behaviour at the concert? His irresponsibility? Gimmicks?

7. The interaction at the nightclub and his interrupting her act? Her singing, his reaction? Her saving him - and the consequences for the breakfast? The interaction between the two, dependence, love, mutual help?

8. The film's focus on his career, the possibilities of his success, his lack of concern and care, popularity? His letting his career go? The contribution of Brian as his agent? Paul Mazursky's skill in presenting the music agent? His friendship with John Norman, his friendship and advice to Esther? The importance of Bobby Ritchie and his musical talent, support of John Norman? The other members of the group?

9. Esther's personality, her genuine help for John Norman? Her presence at his concert and the spectacular aerial effects for presenting the concert and its impact, the fans, her going onstage, his crash?

10. The repercussions of the concert and his prompting her? Her songs, the concert where he stood back and let her sing instead? His joy at her success and good reviews?

11. The contribution of the songs: 'Evergreen' and the way that it was staged? Comment on the impact of Kris Kristofferson's presentation of his songs, Barbra Streisand's? The importance of the finale 'With One More Look at You'?

12. The marriage - how well did they know each other, love each other, the possibility of its success? Their working together?

13. The lyrical sequences of the planning out of the house, the change from the city to the countryside, the building of the house and their settling in it, the ranch and the horses? The possibility of happiness?

14. Esther's rising success and the wag this was presented, the repercussions for John Norman? His returning to drink? The build-up to the Emmy Award presentation? His disrupting it and Esther's reaction? (And the presence of Rita Coolidge, Kristofferson's wife, in this sequence?)

15. The contrast with their life at how, Esther trying to cope, John Norman trying to cope? His tapes, listening to himself, his regrets and yet his support of Esther?

16. The reporter and her interrogation, his being seduced by the groupie, Esther's reaction?

17. The inevitability of the clash, the repercussions of such a long fight, their decision to fight for each other and Esther's demands on him? The repercussions for him and his inability to face them?

18. The tenderness of his farewell to the sleeping Esther, the drive, the listening to his records, the build-up to the crash? Was it inevitable that he should kill himself?

19. The finale and Esther's presenting herself as 'John Norman's wife'? The importance of the ten-minute conclusion with the song 'With One More Look At You'? As a tribute to John Norman, as an illustration of Esther's ability?

20. The overall impact of the basic story and its exploration of character, show business, success, comedy, tragedy?

A STAR IS BORN

US, 1937, 111 minutes, Colour.
Janet Gaynor, Fredric March, Adolphe Menjou, Lionel Stander, Andy Devine, May Robson, Owen Moore, Franklin Pangborn.
Directed by William A. Wellman.

A Star Is Born, directed by William Wellman is the first of three versions of this film. There was a previous film, What Price Hollywood, directed by George Cukor in 1932 which had something of the same plot and was said to be based on the careers of silent stars Marguerite de la Motte and John Bowers. The 1937 version was said to have thrown a lot of light on the Hollywood of the '30s. The film is very impressive as Hollywood drama of the '30s and was filmed in colour with a strong screenplay. Fredric March, who had already won an Oscar for his Dr. Jekyll and Mr. Hyde in 1932, is very good as Norman Maine and Janet Gaynor, also an Oscar winner, is Esther Blodgett and plays her with great charm and strength. The supporting cast is also very good. The film was produced by David Selznick and was nominated for several Oscars.

The next version was the musical version with Judy Garland and James Mason and was directed by George Cukor.

The plot was adapted from Hollywood to the rock music scene of the '70s for the Barbra Streisand-Kris? Kristofferson version. This followed the plot in outline although it changed the name of the characters slightly. It was popular but did not receive critical acclaim.

1. The archetypal Hollywood story and its basic interest and appeal? Its strength, appeal in the '30s, the reason for the remakes? Why the basic appeal of the Hollywood stardom story linked with the Hollywood decline? The impact of the film in the '30s, its light on Hollywood of the time? The reality of the plot?

2. The stars and their performances and reputations., the supporting cast, the use of colour in the mid-'30s? Musical score?

3. The strength of the plot, the quality of the dialogue, the blending of the American dream and American disillusionment? The background of America in the '30s and the Depression and the Hollywood dream factory?

4. How well did the film communicate Hollywood and its aura? The look of Hollywood, the studios, homes, parties etc.? The glamour of stardom? The realities of heartbreak? The importance of luck,' people known, connections, breaks? The effect of success. people using one another, the effect on human values. on the values of life? The artificiality of Hollywood?

5. The small town background of Esther, identifying her with the average American, the details of family life, Gran and the money, the Depression and Esther's hopes? The flavour of so many films of the time with the middle-American background?

6. The build-up of her travel, the arrival in Los Angeles, the film's contrasting Los Angeles with Esther's rural background? Her being overwhelmed by Hollywood, the footprints, Norman Maine and the introduction etc.? Could audiences see how this atmosphere could affect a person?

7. The hardships of life in Hollywood: seeking apartments, questions of money, the interviews - and aspiring starlets being one in a hundred, the various jobs and their dead-end tone, the continual attacks and almost desperate trying?

8. Esther's friend, as a type, her help, stand by? The humour of Andy Devine and his portrait? His telling the truth to Esther?

9. The sequence of the Hollywood Bowl, Norman Maine and his way of life, glamour, friends, women? The peak of Norman Maine's career? The publicity drives, truth and falsity? Norman Maine as a character within the Hollywood system?

10. The party sequence, Esther and her acting as a maid, Maine and the plates, his drinking, his estimation of himself, the contrast with Esther and her straightforwardness, her helping him? The repercussions?

11. The luck of the phone call, the break, the leading to success? The fulfilment of dreams?

12. Oliver Niles and his role, studios, ruthlessness, boss, using people, manipulating people? His attractive qualities as a person, unattractive? Libby and his job, the hustler, publicity, thinking up schemes, pushing? The embodiment of the Hollywood hustle? His true attitude towards Norman Maine and the venting of his hatred? His regard for Esther?

14. The look at films and film-making in the 1930s, studios, style, the build-up to the completed film, the preview and the audience and their response?

15. How well did the film develop Esther's career, success, her handling of the situation?

16. The contrast with Norman and his lack of drawing power, drinking, decline? The credible paralleling of their careers?

17. The background to their wedding, how well did they know each other, love each other? The possibility of success for both? The importance of the house and its being theirs? Their being at home?

18. The contrast of Esther being at work and Norman being at home? The demoralising effect on him? The effect on her?

19. The set piece of the award night, the glamour, the ballyhoo, Esther and her success, Norman and his humiliation?

20. How well did the film show Norman in his decline - what was left for him? The sanatorium sequences, the races, the fight, the court case? Libby and his role?

21. Niles and his gesture to give Norman and character part? The ultimate humiliation?

22. The build-up to the final night, Esther's tenderness for her husband, his regard for her? The build-up to his death and its pathos? The credibility of this way of ending his life?

23. Esther's response to her husband's death, her reappearance, Gran and coming from the country? The build-up to the broadcast and her being 'Mrs. Norman Maine'? An appropriate climax for the film?

24. The film as an exploration of human values and relationships? How valuable, how much insight? Its basic themes of success, failure, wealth, reputation, interdependence, life and death?

STARFLIGHT ONE

US, 1983, 105 minutes, Colour.
Lee Majors, Hal Linden, Lauren Hutton, Ray Milland, Gail Strickland, George de Cenzo.
Directed by Jerry Jameson.

Starflight One is a routine telemovie-type adventure combining disaster in a plane with adventures in space. While the idea is novel, the treatment is as expected. However, there seems to be a great calm among the passengers floating in space waiting to be rescued - a great deal of action adventure decorum.

1. The popularity of disaster films? Space exploration? Interest in disaster, human reactions, technical rescue? Heroics?

2. The telemovie style: the set-up of the plane's flight, crises, human greed, passengers and personal conflicts.

3. The advances in technology? Air travel, speed? Space? Computers? Visual links? Television coverage? The atmosphere of technical advance? The musical score and its style?

4. The plausibility of the plot: the Star Flight, Los Angeles to Sydney, orbits? The rescue bids? The range of people - ordinary and extraordinary?

5. The sequences setting up the situation: the introduction to the people, way of life, expectations, anxieties, marital situations, industrial espionage? Sufficient interest to hold viewers?

6. The plane and its style? Joshua and his ability, anxieties? NASA and the supervision? Computers and their control and information? The media? Luxury? Big business and lack of scruple?

7. The rocket, the debris and the putting of the plane into orbit? The hole? Coping? Pete and his heroics and death? Joshua transferred by the coffin? The tunnel? The airbus? Columbia? Monitors, computers? Media coverage? Human ingenuity, the use of machines and high technology?

8. Tension and the rescues and atmosphere?

9. Lee Majors' solid (stolid) style as Cody? Janet? Family relationships? His affair with the hostess? Her family relationships, son? Coping? Decisions? Bill. ingenuity? Janet and her waiting?

10. The hostess and her daughter, Felix and friendship, smooth-talking, coping, advice, the final rescue?

11. Joshua and his ideas, his being brought to earth, the anxiety of his wife?

12. Ray Milland as the big business tycoon? Ruthless? Money? His son and decisions? Business and industrial espionage? The ordinary passengers? Going through the tunnel? Felix and the television coverage? Heroism?

14. The ground crew, suspense, contacts. ideas, Columbia?

15. The popular American blend of adventure, hopes, human coping, the human spirit?

STAR 80

US, 1983, 100 minutes, Colour.
Mariel Hemingway, Eric Roberts, Cliff Robertson, Roger Rees.
Directed by Bob Fosse.

Star 80 is Bob Fosse's film focusing on Playboy model and Playmate of the Year, Dorothy Stratton, who was embarking on a film career when she was brutally murdered by her estranged husband Paul Snider, who then killed himself. Dorothy Stratton's story was also the subject of a telemovie with Jamie Lee Curtis in the central role.

Star 80 was one of the major Hollywood films of 1983. However, it drew very mixed reactions. For some it was yet another of Bob Fosse's outstanding and interestingly offbeat films. For others it was a confusing and bleak, even prurient look, at the strange phenomenon of stardom and exploitation. The film received no Oscar nominations, though Eric Roberts as Paul Snider had received several awards including a Golden Globe.

Bob Fosse had a successful career as a dancer and then as a Broadway choreographer. His films are Sweet Charity, Cabaret (Oscar-winner 1972), Lennie, and All That Jazz. These films all focus on aspects of the entertainment industry - and all present an offbeat and bleak point of view. Star 80 certainly fits into this group. Fosse seems to be preoccupied by the glamour and its shadow side of exploitation and violence. One of the difficulties with the story of Dorothy Stratten is that she seemed to be a rather insignificant girl (and Mariel Hemingway plays her like this) who fulfilled something of the American dream. In such films as Galaxina she acted very poorly. In Peter Bogdanovich's They All Laughed, she seemed to be developing a comic style. (Peter Bogdanovich is portrayed in Star 80 by Roger Rees as Aram Nicholas, Dorothy's director and strong influence in her life, with whom she was romantically involved.)

while there is the emphasis on the Playboy glamour - with Cliff Robertson as Hugh Hefner - the screenplay seems more interested in the narcissistic and exhibitionist Paul Snider. Eric Roberts (King of the Gypsies, Raggedy Man) gives a highly stylised but striking performance. Carroll Baker appears as Dorothy's mother - with memories of Carroll Baker's early career in Hollywood and her controversial appearance in Baby Doll.

Photography is by Ingmar Bergman's favourite director, Sven Nykvist, there is a soundtrack of original and many contemporary songs. The overall effect of the film is a puzzling collage illustrating an American dream become nightmare.

1. Audience response to the film - interest, entertainment, distance, alienation? The extremely mixed reactions of the public and critics on release?

2. The work of Bob Fosse and his point of view? The bleak perspective on show business and the entertainment industry? The picturing of razzamatazz, glamour, and hype? Picture of achievement and success? The visual arts and performance? Narcissism and exhibitionism? Potential and its being limitless? Yet exploitation, sensationalism and inbuilt destructiveness? Control and breaking out of control? Violence - both emotional and physical? The ugliness of human nature? The shadow side of the human psyche? A constant theme in Fosse's films? His background in music, choreography and comedy? Did these influence this film?

3. Fosse's contribution to the film in his screenplay? The dialogue illustrating his point of view and attitude? His choice of writing about Dorothy Stratten? The importance of Paul Snider?

The screenplay's structure: collage, flashbacks? An emphasis on the presentation of material rather than the linear story? The importance of editing, fadeouts and superimpositions? The mergings of time and incidents? Atmosphere of confusion, puzzle? The demand on the audience to try to put pieces together and understand? The realism of memory operating in this way?

4. The colour photography, its qualities and style: the light of Vancouver, the atmosphere of California, Los Angeles? ordinary lifestyle, the atmosphere of Hugh Hefner and his mansion, photography studios? The elements of darkness and bleakness in the colour?

5. The background score: contemporary songs, new songs? The importance of so many of the lyrics - commenting on Dorothy's rise? Dorothy living a life of the lyrics of pop songs?

6. The intrinsic interest in Dorothy's story: an ordinary young girl in Vancouver. the fantasies and dream of young girls about glamour and success, wealth and attention? The almost too-easy fulfilment of dreams? Yet the nightmare quality? The ultimate reality of nightmare? The comment on the nightmare of the traditional American dream? Dorothy as mildly interesting in herself as a person? Yet the universal interest in her as a Playboy model? The presentation of her in the Playboy layouts (and her comment on so many photos taken)? The artificial style of the photos and their provocativeness? An artificial life story for this kind of Playboy Bunny and model? Her being presented as a man's fantasy playmate? Dorothy as a young girl. as a model. as an aspiring actress? This type of girl as the star of the '80s? The audience view. Paul Snider's view and his making of a star? The contradictions in Dorothy's life? The old story of a star is born - and Star 80 as an ironic '80s variation on this theme - this time with the destruction of both characters?

7. Mariel Hemingway's appearance, performance? A certain naive and deadpan style? Her height, the credibility of her beauty - as Dorothy Stratten and for Playboy? At home, her mother and her sister, her work selling hamburgers etc.? The encounter with Paul, the dates, infatuation? The photography sessions and her overcoming inhibitions? The sexual liaison? Her lies to her mother on the phone (and Paul's later remembering this)? The competitions, the permissions to go to Los Angeles? Her arrival, the naive young girl in L.A.? Her awe of Hefner? The modelling and the layouts? Her ingenuous nature, not knowing what was going on, the parties, the types she met? The phone calls to Paul? His arrival, his taking over her life, managing? Her gratitude? Her response to his erratic behaviour and moods, the humiliations? The possibilities of acting, her poor films, her interviews and mistakes? The introduction to Nicholas and his attraction towards her, taking over her life, making her break with Paul? The tension in the phone calls to New York? Nicholas' handling of her - and his dreams of developing her potential? Her inability to cope? The return to Paul, the arguments, the desperation, the sexual attraction? Her death? The audience trying to understand this life via Fosse's collage and screenplay? The shuffling of time and incidents? How persuasive a portrait of Dorothy?

8. The Playboy world and Hugh Hefner, his values and what he stood for? The Playboy ethos, Its reputation, worldwide influence? Sex. sexuality? Accusations of sexism? Cliff Robertson's portrayal of Hefner - how sympathetic? Parties and entertainment, lavish style, his pyjamas? The host - yet his range of advisers and his business shrewdness? Interest in Dorothy, building her up? His dislike for Snider and refusing his requests? Hefner's reputation, power?

9. Bob Fosse's preoccupation with Paul Snider? The qualities of Eric Roberts' performance? The opening and his narcissism, the mirror, rehearsing his styles? A conman and hustler? His macho image? His erratic responses, indications of violence? The focusing on the aftermath of Dorothy's death and audiences being puzzled, the gradual filling in of the picture? The memoirs of people who knew him - his organising competitions e.g. the Wet Shirt Night? Yet his not getting enough money - and almost-succeeded? Clothes? Attraction towards Dorothy, taking her over, relationship, photos, sexuality? His fascination? The outings, the gifts for the family? The antagonism with Mrs Stratten? Her refusal to be persuaded to sign the permission? His signing it nonetheless? His pushing Dorothy? The phone calls to Los Angeles? His sleazy work at strip joints? His promiscuity? The arrival in Los Angeles, the Hefner car, the first encounter with Hefner and his quoting him, commenting on people's behaviour and remembering all about them e.g. the star in the television series - and the star's antagonism? His pushiness, interfering with the photography sessions, his being edged out of Dorothy's management? The importance of the marriage and his proposal, the desperation of the marriage? The lavish house. the barbecues? His flatting with the doctor friend - and the friend's observations and memoirs? His carpentry and inventions - and the bizarre sexual emphases? Dorothy's growing career and his decline? His organisation of the male strippers' show - again a financial failure? His growing obsession with Dorothy, the distance, suspicions, thinking her lying? Her return, the confrontation and his mad desperation, the violence of the death, the sexual overtones, his suicide? Audience response to Snider? Insight into his character?

10. The ordinariness of the background of Vancouver, hamburger shops, Mrs. Stratton (and Carroll Baker's performance), her concern about her daughter? Dorothy's sister? The interviews?

11. The Playboy layouts, sex provocation - to what purpose? The Playboy layout as a recurring refrain during the film?

12. The background of Hollywood, film-making? Aram Nicholas as a character? Interest in Dorothy, agents and push, interviews, truth and lies, Dorothy's acting inability, her learning, on the verge of a career? Nicholas' influence?

13. The film's portrayal of human nature and its ugliness?, Human nature and its potential - exploitation and destruction? A view of the shadow side of human nature and entertainment?