STARDUST

UK, 1984, 111 minutes, Colour.
David Essex, Adam Faith, Larry Hagman, Keith Moon, Paul Nicholas.
Directed by Michael Apted.

In That'll Be The Day, we watched a callow young man of the 50's fail in marriage and set out on the pop road of success. Here we see where the road--leads. Stardust is a fantasy commodity. It can be magical and deceptive - the theme of this film, with its music and popular aura of the 60's and its heady look at international success (especially the greed, ugliness and the emptiness behind the glamour). David Essex repeats his role of the ambitious singer who naively and selfishly walks over and is guided over people to the top until he withdraws, a junior Citizen Kane to his castle in Spain. Grimly interesting.

1. An entertaining and interesting film in itself? As a sequel to That'll Be The Day? A rock variation on the old A Star Is Born theme? Memoir of the '60s? The facts of the Beatles' career and those of other groups?

2. The production values: British film-making in the '70s? Colour photography? Locations? Authentic atmosphere? Contrast with the United States, with Spain? Britain looking back and recreating the '60s? The contrast of the ordinary world of Jim and his growing up? The affluent world of his Stardust career? The importance of music for the film: the concerts, the rehearsals? The operetta? Show Biz glamour, Show Biz ugliness? The recreation of the popular and pop atmosphere? The world of television and advertising? The importance of the editing?

3. The score and the use of well-known songs? The Beatles parallel and its effectiveness? The contribution of David Essex - with his subsequent career? Paul Nicholas and his career? Keith Moon and his work with The Who - and his tragic death? The elements of realism and fact in the fictitious screenplay?

4. The screenplay taking up the earlier film? The atmosphere of the '50s? Jim's background, music, work, marriage, son? The changes in England in the late '50s? Jim as being affected by these? British culture being affected by the changes in society in the late 150s?

5. Jim and his background, the town, family, relationships? Jeanette and his son? The importance of seeing her and the boy again at the funeral? The reaction? Her change? Changing name? Brian and his support? The hatred - and Jim having forgotten it? His Catholic background and surface religion? Work, music, gigs, the success, the hopes? The ordinary young man and his strengths, weaknesses? His being exploitable? The success bringing the worst out of him? The heights and the depths? His inability to handle success? His short life and the impact of his death?

6. David Essex and his skill in characterisation, singing, his music? The groups? The chances? Johnny and Co and the early success? Mike's intervention and his beginning to manage them? The laundryman and his sponsorship? The world of promoters? Records? Playing with groups? Edging Johnny out? The groupies and the fans? The manoeuvres for popularity? The fans and the charts? The effect on Jim? Drink, drugs, the sex romps etc.? Yet his feeling guilty and wanting to apologise?

7. The group and its style, music? The variety of characters in the group? Relationships? Their handling of success, celebrating, the charts, the tours and their style? Jim growing away from them? Jealousy and their leaving?

8. Johnny and his push, friend, the sex, his music - ability and inability? Mike's decision to be rid of him? Johnny's being used?

9. Mike as the hustler, his lame leg, friendship with Jim, recognition of talent, his ability as an agent, push, smart talk? Money deals? Keeping an eye on Jim and chaperoning him - get permissive e.g. sex? Jealousy and possessiveness of Jim? The funeral sequence and his reaction? Danielle and Mike's jealousy. wanting to outmanoeuvre her? His reactions to Colin Day? To Porter Lee Austin and his push? The build-up to the oratorio? The television impact? Yet his ambivalent attitudes towards Jim and letting him go downhill, not controlling him? The period in Spain and his losing him? His acid remarks to the reporters at the end about the good story? A portrait of a man from the streets and the parallel kind of success to Jim? Yet behind the scenes and a controller?

10. The United States and the different world from Britain? The atmosphere of the '60s, the Beatles and their success, the fans? The continued interplay between the United States and England especially Jim's mother, the funeral sequence? The United States and the television shows, the nightclubs, his being feted, interviews, wealth, Time Magazine and myth? Jim being caught up in the publicity? Danielle's love for him and support? His break?

11. Danielle and her background? Love for Jim? Moving in his entourage? Supporting him? Her being hurt and Mike manoeuvring her to watch him with the groupie?

12. Los Angeles, wealth, push, the pool, hustling, deals, parties and style? American know-how compared with British know-how?

13. The build-up to his improvement in music, performance? The oratorio and its glamorous presentation? The theme of woman? Woman as "Dea sancta et Gloria” (Woman as goddess holy and glorious)?

14. His retirement to Spain? The empty world? The dust of Stardust? What doth it profit a man .....? The attempt at a comeback? The interview and Jim's death?

15. The '60s seen in retrospect? Pace, life, celebrity? Packaged fame? Adulation and the spent star? A perennial show business story with the contemporary touch?

THE STAR CHAMBER

US, 1983, 118 minutes, Colour.
Michael Douglas, Hal Holbrook, Yaphet Kotto, Sharon Gless.
Directed by Peter Hyams.

The Star Chamber is an interesting melodrama about American law enforcement and the administration of justice. Charles Bronson and Clint Eastwood made a number of films in the '70s and '80s with a vigilante theme, highlighting the inadequacy of the police to cope with the amount of crime in America. These films were often condemned as being fascist in intention - Death Wish, Dirty Harry and the sequels. There were many imitations - especially with the advent of the martial arts films.

This drama is more upbeat. While it focuses on the police and the solving of crimes, its main concern is with the administration of justice, especially with the legal niceties of the law and the work of the judges. The film makes an emotional appeal to show the abuses with the exact application of legal precision. The film then makes an emotional appeal to people taking the law into their own hands and the possibility of error and destruction. It is not clear what the final conclusions of the film are - it is unsatisfying on an intellectual level. However, on an emotional level highlighting the ambiguities, it is very effective. Michael Douglas is earnest in the central role of the judge. Hal Holbrook shows his ability in being persuasive for good and for evil. (He was seen to advantage in a similar role in Peter Hyams' Capricorn One as well as in All the President's Men.) Yaphet Kotto has a sympathetic role as a harassed detective.

The film is in Panavision and has an important aura about it, perhaps more than the film demands. Direction is by Peter Hyams (Busting, Our Time, Capricorn One, Outland).

1. An interesting and entertaining drama? The blend of action, the administration of justice? The complex message of the film?

2. Authentic Los Angeles atmosphere. Panavision photography, colour, action sequences and the immediacy of chases? Violence? The world of affluence, the courts? The streets, the warehouses? The ugliness of murder, robbery, pornography? musical score?

3. The title and its reference to the court of judges at the time of Henry VIII and their taking over administration of justice when the letter of the law was inadequate? The application to the United States of the '80s? How appropriate such a Star Chamber? The administrators of the law working above the law?

4. The stances of the screenplay: the law and its protection - of whom? Victims, criminals? 'The law is an ass.' The reversing of the stance with showing the abuse of the law? Justice and legal ambiguities? Intellectual response? Emotional response?

5. The initial build-up of the horrendous crimes - the background of the multiple murders, the policeman chasing the guilty negro, his gun in the rubbish bin, their searching the trash, his arrest and confession? The trial and the inadmissibility of their evidence on a technicality? Audience response to this freedom? The two drug-takers in the van, their wanting to rob, their cruising around city, the police interrogation, suspicion of marijuana, the discovery of the murdered child's sandshoe? The inadmissibility of this evidence? The case being ousted? The response of the outraged father? The later detail of the cases considered by the Star Chamber? Audience reaction to this application of the law?

6. The interplay of justice, law and morality? The focus on Stephen and his work as a judge, hearing the evidence, knowing the precision of the law, consulting precedents? His having to throw out the cases? His own personal response (and even the response of council to the accused)?

7. Stephen as a judge, personality, the glimpse of his home life, relationship with his wife and dependence on her, her capacity for listening to him, helping him socialise? he kids and their video games etc.? The pressures of his work and decisions? Media coverage and interviews? His growing exasperation? His listening to his mentor? His being led on? The sports match and his exasperation? His readiness to join the Star Chamber?

8. His mentor as friend, past lecturer, judge? His socialising? Words of wisdom? Saying he could sleep nights by doing something about crime? His own hope? The presentation of the Star Chamber in action, their cases, passing of verdicts? The vacancy because of the death of the suiciding judge? The recruiting of Stephen?

9. The prologue with the judge being praised and his suiciding? The vacancy in the Chamber? The sittings, the verdicts? The emotional response to seeing their assassin in action? The explanation of the victims' guilt, seeing the victims, their deaths? The changing of the agenda by Stephen? Their inability to alter the hiring of the assassin? Wheels in motion - even leading to Stephen's death to protect the Chamber?

10. Stephen's dilemma - the urgency of his wanting to condemn the alleged guilty couple, the information about the true criminals, his pressure on his mentor, the calling of the meeting, the discussion, the threats? His going to see the detective for information, his going to the warehouse to warn the two men? The dramatics of the action chase in the warehouse. the possibility of the explosion, the explosion and his fall, the assassin disguised as the policeman, the possibility of his death as a victim of the Star Chamber? The irony of his being saved? The tension built up for the audience?

11. The glimpse of the father of the boy and the effect of his death, his wife's illness, the trial and his drawing the gun, his going to prison and his ironic comments on prison, his suicide?

12. The sleazy couple and their cruising, the background of the warehouse, the irony of the car thieves having taken their van, the informer arrested after robbing the cars, the pressure by the police, the information leading to the arrest of the true criminals? The ugly background of child pornography and child torture? The reaction of the investigating detectives?

13. The world of the detectives? The sympathetic detective, his integrity, work, hunches? The assistants and their wisecracks, comradeship? The arrest of the car thieves and the routine? Interrogations? The police and their work as partners, coping with crime on the streets?

14. The details of court procedure, law. Protection, the lawyers, the District Attorney and her not preparing her case well, judges' decisions? Media treatment?

15. The assassination of the criminals and audience response to this -and the sudden shift of perspective when the two seeming criminals were not guilty as charged? Stephen's responsibility to stop the assassination?

16. The exposure of the Star Chamber - where would it lead?

17. The film as a police and legal vigilante thriller of the '80s, highlighting the extraordinary difficulties of administering urban justice?

THE STAR

US, 1952, 91 Minutes, Black and white.
Bette Davis, Sterling Hayden, Natalie Wood.
Directed by Stuart Heisler.

The Star is a strong melodramatic Bette Davis vehicle of the early 50s. It is very reminiscent of her role in All About Eve. It marks the transition from her early and glamorous heroine roles to middle age and the kinds of roles that she was to take in the 60s and 70s. Sterling Hayden offers effective support. Natalie Wood appears as her daughter. The Star is full of rich strident melodramatic scenes in which Bette Davis excels and she won an Oscar nomination for her role.

1. The Hollywood title, appeal and expectations? The ironic viewpoint and the critique of Hollywood and the atmosphere of the stars?

2. Having Bette Davis in the central role, her relationship to the issues of the film in her own life and her career? Her particular style and what she brought to this performance? Visually, manner?

3. The theme of stardom, the effect on people who are stars and become involved in the aura of stars for twenty-four hours a day, the publicity machines, thinking of real life in terms of screenplays valuing awards, wealth, being in front of the cameras? Career personified? How was Margaret Elliott a star in this sense?

4. what critique of this kind of stardom and human way of living did the film make? The contrast with people who were not stars? The critique of Hollywood and the systems that make people like this?

5. The film as a glimpsed portrait of Margaret Elliott? Her first appearance at the auction and her reaction to the agent buying her things? Her friendship with the agent and yet her acid tone? The fact that she had no work? Her meeting with her daughter and the revelation about her career, her ex-husband? The need for money? Her lies to her daughter? Her drinking, her driving and her commenting on the young star's houses? The crash, running from the police, prison and abuse? Her lies on the phone to her daughter? Her attitude towards the landlady who had saved some of her clothes?

6. The contrast with Jim? The reason for his bailing her out? His memory of the film he made with her and his love for her? His war service and new career? Jim as a solid type, generous? His telling her the truth, being kind to her in an ordinary kind of way? His consideration and tenderness? The importance of the sailing sequence and with Gretchen? His helping her with getting the job in the store? His telling her the truth about the impulse and impulsiveness to work? The support that he gave her at the end? An admirable type contrasting with the Hollywood world?

7. The interview with the shop people, her concealing her identity, her work, the criticism of the old women and her angry reaction? The inevitability of this kind of reaction to such a star? What did it tell her about herself?

8. The importance of the film and her seeing herself playing an eighteen-year old role? The build-up to the test? Her not taking Jim's advice about following directions? The way that she played the test as a flirting young girl? The changing of the make-up? Wanting to control the director? Her reaction to the test and her disappointment? How well did she see the truth? The visit to the agent, the parting and her overhearing about the other woman getting the part? The confrontation with people?

9. The theme of the film in the film world as the screen-writer explained that could be as any other? The significance of his outlining the screenplay to Margaret and the effect that it had on her? How hurtful?

10. Themes of ageing, fame and reputation, public opinion, adulation? Living in a fantasy world and a real world? The presentation of human values?

STAR!

US, 1968, 194 minutes, Colour.
Julie Andrews, Richard Crenna, Michael Craig, Daniel Massey, John Collin, Robert Reed, Bruce Forsyth, Beryl Reid, Jenny Agutter.
Directed by Robert Wise.

Star! is a very interesting musical. It is a musical with a difference: greater acting demands on Julie Andrews and she acquits herself very well. She is quite different from her role in Robert Wise's previous musical with her, The Sound of Music. Star is the usual big-budget show business biography with a strong repertoire of old songs and very spectacular stage sets. There is a London setting in the early decades of the century and then a move towards America in the '20s and '30s. Some of the songs are excellently presented e.g. 'Parisian Pierrot' and 'Limehouse Blues'. There is a spectacular finale with the 'Jenny' song from Lady in the Dark. The biography is that of actress Gertrude Lawrence. It takes us up to 1940.

Gertrude was a talented extravagant singer who rushed into marriage, bore a daughter, gets caught up with her career. Many are willing to marry Gertie. However, she finally marries American Richard Aldrich who later wrote a biography of her. The film is also an interesting part-biography of Noel Coward whose songs and an excerpt from Private Lives feature. His is precisely played by Daniel Massey. The film has an interesting supporting cast of English actors and actresses and Jenny Agutter has a small role as Gertrude Lawrence's daughter. The film was not a success at the box-office, even though it is a very well-made musical.

1. The appeal of musicals? Show business biographies? Drama, sentiment, theatre, music and dancing? A successful combination here?

2. Audience familiarity with Gertrude Lawrence? Her career, her presence in the theatre in England and the United States? Later film career? The audience's knowledge of her personality, star status, career? Interest in her career? Her reputation? The device of the documentary about her life up to 1940? Its providing background, information, detail? Its success as a device throughout the film, blending of black and white photography with colour Panavision? An atmosphere of realism, and a possibility of comments? The editing in of these insertions? Making Gertrude Lawrence a credible character? Sustaining audience interest? (Gertrude Lawrence had a later successful career on stage in Lady In The Dark, in the film of The Glass Menagerie, on the stage with Yul Brynner in The King And I.)

3. The film as a Julie Andrews vehicle? Her impact in the '60s with Mary Poppins and The Sound Of Music? Her acting ability, singing? Her range? Her English background and suitability for Gertrude Lawrence?

4. The film as a part-portrait of Noel Coward? His background, growing up, training, theatre career, plays, songs? His wit? His circle of friends? His influence in theatre? Friendship with Gertrude Lawrence and influence on her?

5. The background of theatre: the music halls and their style, burlesque, revues? The London stage tradition? New York? The varying styles, the audiences, the type of entertainment, the type of skills required?

6. Gertrude Lawrence's origins: the presentation of London, the family house, Gertrude as a child, her father and mother, her father and his leaving, his work in the music hall? The singing of Piccadilly with her father and Rose, the throwing of the tomatoes etc.? Gertrude asserting herself? Her throwing the tomatoes at the audience? The sketch of her father? The sketch of Rose?

7. Gertrude's training - at school with Noel Coward, the story of riding first class in the train? Her push, her attitude towards the audience? Her performance in Oh It's A Lovely War and her mistakes? Her being sacked? The flowers, auditions, her push especially with Charlot? The encounter with Noel Coward? Her participation in the chorus of 'Everything' and her trying to steal the limelight?

8. Her friendship with Jack, his helping her along, her becoming the understudy? Her marrying Jack and not understanding why? The birth of her daughter? The war? Jack's drinking, her irresponsibility? The divorce? The background of her singing 'Burlington Bertie’ and making such a success of it? Her being in love with her career?

9. The attentions of Anthony Spencer? The initial meeting and her taking offence, the flowers, his visit to her room backstage? Dinners? Her being sacked by Charlot and his supporting her, her work as a model - and the detail of the fashion sequence? Her enjoying his company? His proposal and her resistance? Her decision to go to the United States? His visit to America? His finally going to India and her still refusing his proposal? The bond between the two? Why did she not marry him? Would it have been possible for her to settle down? Noel Coward's advice about marrying Spencer?

10. The portrait of Pamela ~ her being left with her nanny when she was little, her growing up, telephone calls across the Atlantic, Gertrude taking her to the South of France, the awkwardness of the holiday? The later phone call and the continued disappointments because of Pamela's interests? The Gershwin them of 'Someone To Watch Over Me' used in reference to Pamela?

11. Noel Coward's influence in getting Gertrude back to the stage, the 'Parisian Pierrot' song and its success? The change to America, the posing on arrival? The atmosphere of the American theatre? The elaborate presentation of 'Limehouse Blues'? The party, the reviews? Charles and his taking Gertrude all over the town, liaison, proposal? The presentation of Ben Mitchell and Gertrude with two suitors? The toga party and the singing, Anthony Spencer's arrival? Gertrude keeping the men on a string and their later marrying? Her extravagant life in the United States as in England? The toast of America?

12. Her return to England, the atmosphere of the Depression, the argument with the speaker in Hyde Park? Her friendship with Jeannie and her being her secretary? The bankruptcy and Jeannie's ignorance? Gertrude's irresponsibility and lack of knowledge? The lawyer and his attempts to explain things? The court case and Gertrude's performance? Noel Coward's telling her off and trying to face the truth? Her non-stop work especially with the dance marathons and the collage of the song 'Do Do Do'? Her collapse and illness?

13. The transition to further success, Noel Coward and the writing of Private Lives? The comedy sequences of explaining the play to the Lord Chamberlain and his assistant and their acting with people looking in the window? The stage presentation of Private Lives? The transfer to America, the disappointment in the holiday with Pamela? Her drinking and her being abusive at the party?

14. Richard Aldrich and his encounters with Gertrude, pleasantness, the invitation and her rudeness? His wanting to drive her home? His speaking the truth to her? Her defiance and the visit to Cape Cod? The rehearsals? His continued attentions, the indications for how to perform the 'Jenny' song in Lady In The Dark? Her realisation of the truth, her decision to marry? Her settling down at last?

15. Her later career not being told? The rags-to-riches story, the change of accent, being at home in society, Buckingham Palace, wealth and extravagance? The star status and her using it? The contrast with her loneliness and fear? The truth about her and her moving to success?

16. Noel Coward and Daniel Massey's performance, style, the songs, influence on the theatre, sayings, telegrams, advice? The portrayal of Private Lives? The various musical numbers and their contribution, themes e.g. the comedy with Cole Porter's 'The Physician', the sentiment of 'My Ship', the extravaganza of 'Jenny', the marathons and 'Do Do Do', the sentiment of 'Dear Little Boy' etc.?

18. A story of the 20th century, atmosphere of the times? Audience interest and involvement?

19. The appeal of the story of a star? The final song? The perennial appeal of show business stories?

STAND ON IT (STROKER ACE)

US, 1983, 96 minutes, Colour.
Burt Reynolds, Loni Anderson, Ned Beatty, Jim Nabors.
Directed by Hal Needham.

Stand On It (Stroker Ace) is one of many films made by stunt expert Hal Needham. It was his 5th collaboration with Burt Reynolds (two Smokey and the Bandit films, Hooper, The Cannonball Run). These films rely on Burt Reynolds' genial personality and the emphasis on cars and stunt work. This film is no exception - but is more genially lower-key than some of the other films. Needham's satiric western Cactus Jack and his action adventure Megaforce were not successful. He seems to need, at least, Burt Reynolds' strong personality to sustain interest in the conventions and the stunt work. Reynolds is ably supported by Ned Beatty in this film and Loni Anderson adds some glamour.

1. A Burt Reynolds vehicle, the emphasis on cars? Director Hal Needham's skill with cars and stunt work? Popular, if passing, entertainment?

2. The film as a piece of Americana, the racing car tracks, hotels, the world of the commercials and sponsorship? The authentic atmosphere of America? The emphasis on stunts and special effects?

3. The humour of the screenplay and the performances? Stereotype characters and humour? The focus on American images? Commercials? The humour of Burt Reynolds sending himself up: mock-hero, sex symbol, star with huge ego. macho ability with stunts? This being emphasised with the final credits and the humour of showing the out-takes and the mistakes?

4. The prologue and the past. the echoes of the bootlegger films, the emphasis on cars, Stroker Ace and his self-opinion, humour? The later use of this prologue story?

5. The focus on Stroker Ace and cars, concern about doing his hair etc.? His phrase 'Whatever' ? The introduction at the car rally, the girls and their snubbing him? His techniques? The clash with Mr Caddie about sponsorship and putting the cement in his car? The races? Torkle and his persistence, the contract? Perabrook as administering the contract? The jokes about macho image and sexuality? The jokes about advertising - the opening of the chicken dinner restaurants? The hugs and the autographs? The chicken commercials? Aubrey as the snobbish rival? The devices to get out of the contract? His friends and the business set-up? Torkle and his double-dealing? Winning the race and the happy ending for all?

6. Lugs as a type, his friendship with Stroker, the television and wanting to appear on it, his skills, reaction to Stroker, friendship with Pembrook. his wanting to sing - and Jim Nabors' ability? His being part of the plans, involved in the fights etc.? In the happy ending?

7. Pembrook and Loni Anderson's spoof of the Marilyn Monroe-type image: the Sunday-school virgin? The contract with Torkle? Helping with the ads? Her change of attitude, the champagne and undressing sequence? The assault and the fire?

8. Ned Beatty's send-up of commercial interests with his character of Torkle? His appearance, clothes, vulgarity, wheedling the contract? His old over Stroker, the advertisements, the openings, the chases, his stating always that he wouldn't be angry, the police, his being taken in, the fire and the ending?

9. Arnold as the big black man, his service to Torkle, helping him out of difficulties, the car chase? His change of heart at the end and helping Stroker?

10. Aubrey and his showing off, vengeance, rivalry, fooling around in the hotel, going into the pool, the final race and clash, his genial giving in at the end?

11. The father and son and their friendship with Stroker? Singing, acting? The performance as businessmen to take in Torkle?

12. The background of the professional drivers, the announcers, the racing tensions, the insertion of video material of actual races and crashes? Audience response to cars and racing?

13. A pleasant piece of Americana, tongue-in-cheek with types and stereotypes?

STAIRCASE

US, 1969, 101 Minutes, Colour.
Richard Burton. Rex Harrison, Cathleen Nesbitt, Beatrix Lehmann.
Directed by Stanley Donen.

Staircase is the film version of a noted play by Charles Dyer, popular in England and elsewhere at the end of the 60s. It was adapted for the screen, given the colour Panavision treatment and Rex Harrison and Richard Burton persuaded to star in the roles of ageing homosexuals. Director was Stanley Donen, noted for his musicals in the 50s and his sophisticated comedies and thrillers in the 60s.

Rex Harrison gives a very clever performance and Richard Burton gives a more penetrating one. The two work together well but one is very conscious that it is the two stars playing roles. The film was made at a time when the Gay Liberation movement was emerging. It may not be so popular now amongst those favouring homosexual rights because it does highlight the loneliness and pathos of the way of two older men who have lived together and suffer petty jealousies and loneliness. It is very striking that both have mothers who possess them and wield a great influence on them. Perhaps in this way it does present some stereotypes of homosexuals. However as a brittle comedy-melodrama of loneliness it is very effective at times.

1. An interesting film. enjoyable film? Interest in human nature, human relationships? Homosexuals, homosexuality?

2. The quality of the film as a drama. comedy? Its satirical aspects, realistic aspects? The blend? Insight into human nature, homosexuals, the situation of homosexuals in society? A film favourable to homosexuals, offensive?

3. The significance of the title? Its references to Harry's dream and his explanations - indications of theme? The initial song, the credits? Life's staircase and the implications of that image? For Harry and Charlie?

4. The use of Panavision, colour, London and its locations, interiors exteriors? Song, score?

5. The appropriateness of using Richard Burton and Rex Harrison in the central roles? were they convincing? Good acting? Was the audience conscious of the actors themselves and their roles in homosexual portrayals? Did this add to the authenticity of the film or detract from it?

6. Was it evident that the film was based on a play? Dialogue, staging of scenes? Audience response to the plot: Charlie and Harry in their middle-age, the portrayal of their life and the meaning of their life, their relationship to one another, love, possessiveness, jealousy? The mutual giving to one another, the hold over each other, the hurt and the pain? The importance of the mothers and their attitude towards each of them? The court-case and the background of the prosecution of homosexuality, homosexuals and the legal pressure? The parallels to the marriage situation - in theme, dialogue,
visually? Love, fights? Ordinary bickering day by day? The indication of the emotional needs of these men? The fight and the seeming separation, the need for one another and their being together at the end?

7. The film's presuppositions? Did the film contribute to understanding - as a product of the 60s. seen in later decades? Attitudes, compassion, judgements? The presentation of sequences of male attraction, e.g. Charlie bringing his friend home, their looking at the men exercising etc. Their comments on male attraction? Issues of legality, morality, human needs, human relationships? Human rights?

8. The presentation of the characters and their manners, language - their affectations? The presentation of masculine role and behaviour, feminine roles and behaviour? Men taking feminine roles and the repercussions of this? The psychology of the men? The importance of the sequences where Harry discussed physiology? Cleanliness and dirt? His self-consciousness, appearance, his bald head and his keeping it covered, his revelation? Charlie and his dapper attitude? Their work as hairdressers? Their comments on family love, parental roles, the fact that they could not have children? The background of Charlie's marriage and family?

9. The film's portrayal of the mothers and the implications of their attitudes towards their sons and their effect on them? How did each of the mothers reflect their sons? Their reaction - Harry and his mother's perpetual presence, her age, feebleness, ugliness, needing to be fed, changed, cleansed? Harry and his devotion - as well as his exasperation? Charlie's offhand manner towards his mother? Charlie’s mother and her being in the asylum, his visit, the atmosphere of the asylum and madness, her recognition and her verbal condemnation, his grief? His changing his face to meet the world?

10. How did Harry and Charlie reflect each other? In their work, mutual haircuts and shaving, their attitude towards men, complementary Runner? Their interaction, love, care, need, mutual loneliness? Harry and the bike ride, Charlie and bringing the man home, the prospect of the court case?

11. Richard Burton's portrayal of Harry - his appearance, work, soft, domestic, relationship with his mother, his yearnings, vulnerability, his reaction for the bike ride, to Charlie bringing the man home, the blood pressure sequence, his hair and the wig? Insight into a human character?

12. The contrast with Rex Harrison and his more flamboyant style, the television commercial, his daughter. discussion about the drag situation and the dance, the case and the prosecution, his flair, bitchy kind of manner and language, bringing the man home, the bike and the outing, the walking in the park, his reaction to Harry's seeming deaf, his sense of aloneness at the end?

13. What was the audience left with in terms of understanding, compassion?

S.S.T. - DEATH FLIGHT

US, 1977, 106 minutes, Colour.
Lorne Greene, Susan Strasberg, Burgess Meredith.
Directed by David Lowell Rich.

S.S.T. - Death Flight is yet another disaster telemovie with the focus on disaster in the air. It is average entertainment and popular for home audiences. It was directed by David Lowell Rich, who was to direct the much more spectacular Airport 80 – The Concorde. Rich has directed many telemovies and disaster films. There is the regular star cast, a bit more spectacular than the usual with people such as Burgess Meredith and Susan Strasberg. Another film about Concorde disaster was the Italian The Concorde Affair with focused on the sabotaging of the supersonic plane.

1. An interesting and enjoyable disaster film? The focus on supersonic planes? Their technology, financial implications for contracts etc.? Sabotage? Questions of the '70s?

2. The structure of the film as a telemovie: devices for suspense, human interest. audience participation (and commercial breaks), the focus on technology, the crisis, the handling of the situation? The actual crash at the end?

3. The technical background of the film, discussions about supersonic planes, the technology and the controls? Audience interest in planes? The special effects for the difficulties, the crash?

4. Discussion about supersonic planes? Dangers, expense, sabotage and the way this was arranged? The complications with the virus? The moral questions about saving lives, spreading infection? The dramatics of the taking of the head count? The various ingredients for soap opera background to the disaster? How predictable were the characters and the events?

5. The credibility of the plot: the plane, its inaugural flight, financial contracts, the range of people on the plane, the social issues, human behaviour and human nature, survival, a fable of being confronted with the significance of death and therefore the meaning of life?

6. How well did the film present the plane itself, the issues, safety features, skill in flying it, going by the book, correcting difficulties, the pilot's ability to control the plane and land it, the crash landing? How effective was the suspense?

7. How interestingly did the film present themes of life and death: coping with critical situations? People succeeding, people failing?

8. The gallery of characters and what they represented? Willie Best and his being a legend? His skill with the plane, his trust in pilots, his decisions about the flying, his death? The importance of the contact with Marshall on the ground and the basis for his decisions, trying to remedy situations? Walsh and Fairbanks and their ability to fly planes? The previous history of decisions and trials? The crisis in the plane itself, the confrontation for Walsh about going to Senegal or not, Fairbanks and his skill? The picture of the various members of the staff, the stewardesses, the stewards and their ability to handle people, their skills. the rules. personal decisions? The romantic story of Anne and Paul? Anne's boyfriend and his ambitions. his panic, his showing the worst of human nature in a crisis? Paul and the breaking off of the relationship? Anne's caring for him especially with the infection? The story of the Kingmans reputation, failure, bankruptcy, doing deals, Kingman and his rising to the occasion, his wife and her pride in him? Timothy and Miss S.S.T. - her being the beauty queen, not knowing all the answers. the story of her pregnancy, Timothy and his double promises, their surviving and his standing up to his promises? The story of the saboteur and his being humiliated, the way that he engineered the sabotage, his paying for it? The doctor and his having the virus on board and his trying to control the situation?

9. How surprising was the crash of the plane? The rescues? The future for those who survived?

10. How enjoyable are melodramas like this? How do they show people's reactions and human nature for popular audiences?

THE SQUEEZE

UK. 1977, 107 Minutes, Colour.
Stacy Keach, David Hemmings, Edward Fox, Stephen Boyd, Carol White.
Directed by Michael Apted.

The Squeeze is an above average crime thriller, toughly directed by Michael Apted with an eye to London and authentic, underworld atmosphere. He makes sure it does not seem pleasant. But it is also quite a good character study since the central character is a middle-aged alcoholic ex-policeman trying and not trying to cope. The other characters, also well drawn, especially in relation to him. American Stacey Keach portrays convincingly the failed man whose touch and skill and heroics highlight his wasted potential. A quality British cast including David Hemmings, Edward Fox, Carol White and especially an ageing-gaunt Stephen Boyd and Freddie Starr ensure the quality of this thriller.

1. The significance and tone of the title, themes?

2. The competency of this thriller, interest in the kidnapping, robbery, murders? Police work? The underworld? The blending of all these? The thriller style, character, quick action, suspense, violence?

3. The quality of the London locations, streets, hospitals, bars, apartments, underworld mansions, derelict houses etc.? The music and its stridency -appropriate for the dramatics of this film? The contribution of the strong British star cast?

4. The initial focus on Jim Naboth, during the credits, the initial focus on him as an alcoholic, his desperation, degradation, low self-opinion? The importance of the cure? Teddy and his devotion in taking him home? The revelation of Jim's relationship with his children, his wife's absence? His love for his children? His attitude towards Forman and his inability to keep his wife? The sequences with the nurse? Playing with his children - the human touch? His gradual involvement with the mystery of Jill's disappearance? His interest in the case because of his police-work, he and Teddy and their private detective firm? His skill in following Forman, recognizing Keith, discovering the relationship between Keith and Vic? His skill in breaking in to Vic's home yet its turning round with his being bashed and stripped, humiliated? His walking through the streets and the people laughing, the woman offering her coat? His sons' reaction? Their worry about school the next day? His gradual involvement with the case, following Vic, researching Keith? The importance of the encounter with Forman and Forman's wanting to kill him? His skill in working out a plan as if he were dead? Tracking down the place of Jill's prison? The rescuing of her daughter? The pathos of his wanting to opt out at various times, Teddy as a standby? Teddy's search amongst the derelicts at night? The massage parlour and his getting some self-respect? The final self-vindication and resolution"*F' His involvement, his always wanting to opt out, his suffering, low self-opinion, yet his skills? Touch and go with success? A great potential unrealized? How good a character study within a thriller?

5. The importance of the alcoholic theme? The debilitation of this kind of weakness, a study of weakness and failure?

6. The contrast with the criminals: Vic and his Irish background, his wanting status, his wealth, home, the races? His pride in his daughter? His cruelty and sadism, humiliating Jim by stripping him and beating him? His gullibility? The contrast with Keith and the first seeing of him during the kidnapping, his rough brutality, his bashing? His criminal background? His treatment of Jill, forcing her to strip, sexuality? The various thugs and their ability to bash? The three kidnappers and their treatment of Jill and her daughter? The kidnapping itself, watching the strip-tease, putting the daughter in the furnace with the rats? Their greed during the crime? The inevitability of their deaths?

7. Teddy as an engaging character, his helping Jim, as a character in himself, not drinking? His ability to steal - the humour of his parking the car, attempt to rob Harrod's? The comedy aspects? His skill and scouting out information, following criminals? His driving ability? The achievement in searching out Jim, helping him to resolve the problem? Standing by at the end?

8. How attractive a character was Jill? Whose fault was it that the marriage broke? Her lack of support of Jim, her not being able to cope with his drinking? Her leaving the boys with him? The pleasant scene in the park and the transition to the kidnapping? Her fear, her fear for Christine? Her making of the tapes and Keith's brutality and Jill asking Christine to make the tapes? The humiliation of the strip-tease and sexuality? Her presence during the robbery? Her reaction to the deaths?

9. Forman as a character, big business, his initial desperation, his following the directives of the criminals, his reaction to the order to rob himself, to kill Jim? The sequence on the yacht and his attempt to kill Jim? His agreement with the plan to conceal this? His going along with the criminals preparations? His presence and watching the violent ending?

10. How well communicated was the plan, audience interest and involvement, The overtones of brutality and violence? The build-up, the preparations, the cross-cutting to everybody involved in the plan? The violence and things going wrong?

11. The irony of Jim's using Vic's daughter in the same way as Jill's daughter had been used? Vic's relenting? Keith and the others not wanting to relent and bringing about their own deaths?

12. Did the film exploit sex & violence and brutality or did it adequately communicate these as reality of this kind of criminal world? The exploration of motivations, greed, the types of character involved in this kind of world?

13. The final achievement of Jim, the sense of pride, a future?

14. Comment on the film's attention to technical detail, structure and plot for full audience involvement and understanding of plot and themes?

SQUADRA VOLANTE

Italy, 1974, 100 minutes, Colour.
Tomas Milian, Gastone Moschin.
Directed by Stelvio Massi.

Squadra Volante is an Italian police action thriller. As with so many genres, the Italians imitated the Americans and game them their own particular flavour (most especially, the spaghetti westerns and the spaghetti
horror).

The film's basic murder, fraud and the investigation plot would be the popular ingredient of any police film or television drama. The parallels, however, with American police films are quite evident - with the Italians giving an authentic atmosphere of the city of Milan. a glimpse of police forces and their investigations as well as the ordinary trappings of Italian life and Italian criminals. The parallels with the Charles Bronson and Clint Eastwood dramas are obvious.

Thomas Milian portrays the scruffy undercover detective. The parallels with Al Pacino's Serpico are also obvious. He is tough, seemingly ruthless, finally solving his problems - but not without betrayals. Conventional material but an interesting enough example of Italians imitating and giving their own particular style to American film styles.

S.P.Y.S.

UK, 1974, 100 Minutes, Colour.
Elliot Gould, Donald Sutherland, Zouzou, Joss Ackland, Kenneth Griffith.
Directed by Irvin Kershner.

During the 1970s comedies became more sophisticated and offbeat. But the greater the rate of experimentation, the greater the risk of the ingredients not gelling and of failure, which is the main problem with this film. The comic talents of Elliot Gould and Donald Sutherland are not in doubt and the farcical spoof of international espionage (who can trust whom?) is a good topic for comedy. But, by and large, it all fails to come together, so that the most one can manage is a mild smile or a sporadic laugh (not even a-guffaw). Considering what went into the film, a disappointing comedy effort.

1. The significance and tone of the title from its spelling? The analogies with M.A.S.H.? Did it live up to these expectations?

2. Was this a successful comedy? How did it use typical comic ingredients, farcical plot, exaggerated situations, odd characters? How well did it use the spy genre and the parody of international espionage? The satire on the individuals, styles, the audience itself? What were the best features of the comedy? What were the worst? Critics said that it was heavy and tired. Do you agree? Why?

3. How attractive were the main two actors? The way that they interacted together for comedy? The Goon style comedy? The personalities and situations? How much did the film rely for its success on its leads?

4. How successful were the situations on paper, in execution in the film, e.g. the bombings, the street sequences, the hidden office, the dog with the contact lens and the examination, the wedding at the end etc.?

5. What did the film presuppose in audiences about spying? Everybody spying on everybody else? Attitudes towards the British, Americans, Russians, Chinese, French? The various styles of spying from following, bugging, bombs etc.? The various meetings for planning? The example of bargaining for the Russian gymnast and his conditions for leaving etc.? How well did the film use its atmosphere for spying for its comedy?

6. Death made appearances quite frequently. Comment on the various styles of death, the tone that the film took, the possibility of mistakes for death, computer errors? Was the point well made?

7. The comedy with the anarchists? The portrayal of them as persons and their style of life? How real were they, how well satirised? The atmosphere for love and sexuality? The jokes about this? The irony of communal living? Their relationship with money and lawlessness? At the end?

8. What point was the film making about money - deals, ideals and principles, realities?

9. How satisfactory was the ending? Did it show imagination or a lack of it? Death and explosions and comedy?

10. Was the finale satisfying - the two heroes walking along, "side by side"? Did this have any significance or was it just a way of ending the film? How did it typify the film's meaning and success?