PANDORA AND THE FLYING DUTCHMAN

UK, 1950, 122 Minutes, Colour.
Ava Gardner, James Mason, Nigel Patrick, Sheila Sim.
Directed by Albert Lewin.

Pandora and the Flying Dutchman is a fantasy taking the old theme of the Dutchman who could never rest and his encounter with a beautiful woman. Written and directed by Albert Lewin, who had adapted such classics as Wilde's The Picture of Dorian Grey and the Private Affairs of Bel Ami by Maupassant, the film is very literary in its approach, elegant and slow moving. Ava Gardner is an obvious choice for the woman. James Mason is effective as the elusive Dutchman. Nigel Patrick, by way of contrast, presents the eager young man of the 20th century. The film is colourful, interesting, but is not as moving as it might be.

1. Was this an entertaining film? Why? Story, colourful locations, fantasy?

2. How obvious was the fable? Why? Was the film attractive as a fantasy fable? Why?

3. How well did it put into modern situations the old myths of Pandora and the Flying Dutchman? Pandora opens a box out of curiosity and trouble comes out and overwhelms her. The Flying Dutchman has murdered out of jealousy and is condemned to run the world to find someone who will sacrifice herself for him and liberate him. How well were these translated into modern settings, cinematically?

4. Was the flashback technique helpful for this film? Why? Was our curiosity aroused? How suitable for the film was the narrative style in Geoffrey's words? He told not only the story but made comments on it and also indicated to the audience the nature of the fantasy. was this suitable or overdone?

5. Who was the central character Pandora or Hendrick? Why? What kind of person was Pandora ? in herself, in her career, as rich and as a playgirl? How did she embody the myth of Pandora in her behaviour? Her relationship with Stephen? The demands of her sacrifice? Her love for Stephen, her love for Hendrick? The fact that the bullfighter was jealous for her love? Was she a capricious person? Was she an attractive and lovable person? why?

6. How interesting a character was Hendrick? How did the film create an atmosphere of mystery about him? His sudden appearance, the mysterious yacht, his painting, the fact that he had no crew? what was his response to seeing Pandora? His realisation of his love for her? The realisation that she could liberate him? What was the dramatic impact of his translating and reading the story of the Dutchman to Geoffrey? What impact did this have on the audience as regards the fable and the fantasy? Why did he then realise that his love for Pandora meant that she must not sacrifice herself for him? How hurtful was this for both of them? How glad was he when she came back to him? Was the sacrifice worth the love and the love worth the sacrifice? Was there a fatalism about their deaths and the destruction of the yacht? Did James Mason give a credible performance as the Dutchman of centuries gone by ? in particular details which indicated his knowledge, his not dying?

7. How did Stephen contrast with Hendrick? How normal was he, how callow? The nature of his love for Pandora? His reaction to the sacrifice of his car? (What were your reactions?) The fact that Pandora saw him a taking back the sacrifice? Was he at all jealous?

8. The contribution of Geoffrey to the film? Besides being a commentator, his interest in antiquities? Piecing together puzzles? His ability to believe in fantasy? The importance of Janet as a foil for Pandora, her love for Stephen? Was she an important character or just important for background? Why?

9. What was the importance of the sequences with the bullfighter? Did they fit in well with the rest of the film? His jealousy and love for Pandora? His murderous attack? The sequences in the arena and the build-up with the absence of Hendrick? His shock to see Hendrick? The poetic justice of his death? How dramatic was this for the finale of the film?

10. Since this was a fable, what points were being made? What morals were being drawn? Did they come across well within the cinematic conventions of the film?

THE PALM BEACH STORY

US, 1942, 88 minutes, Black and white.
Claudette Colbert, Joel Mc Crea, Rudy Vallee, Mary Astor, Robert Warwick, Torben Meyer, Jimmy Conlin, William Demarest, Chester Conklin, Franklin Pangborn.
Directed by Preston Sturges.

The Palm Beach Story is one of several screwball comedies written and directed by Preston Sturges in the early '40s. Other successes include The Lady Eve, Miracle of Morgan's Creek, Hail the Conquering Hero.

The film is in the tradition of the '30s screwball comedies, madcap heroines, solid heroes, mixed identities, marital mix ups. The film is farcical, witty and carried along with verve by the stars, especially Claudette Colbert and Rudy Vallee.

The film has all the ingredients of popular comedy of the time.

1. The work of Preston Sturges, comedy, wit and humour, satire? The traditions of screwball comedy?

2. Black and white photography, New York, the hotel., the train, the boat, Florida? musical score?

3. The devices of farce, mistaken identities, the chase comedy? Marital mix-ups?

4. The farcical introduction, the wedding, the twins, the frantic pace, the questions?

5. Jerry and her marriage, lack of money, Tom and his inventions, the millionaire from Texas and his giving them money, her charm, paying the bills, Tom's reaction, her decision to separate, sneaking away, the taxi, the train and the gentleman helping, the party on the train. the carriage taken off, the encounter in the sleeping car, her talk with Hansekker, his wealth, the boat, his sister, Tom's arrival, the pretence, the dinners, the flirting, true love prevailing ? and the irony of the twins for the wedding?

6. Tom as earnest, his inventions, lack of money. his anger with Jerry, his decision to follow her after meeting the Texan, Jerry leaving the train, his meeting her, pretending to be her brother, the ending and the truth?

7. Hansekker: rich, the mix ups in the sleeping car, talk, love, his sister?

8. His sister and her divorces, wealth, sophistication?

9. The Texan and his wife. Franklin Pangborn as the hotel assistant? The Texan and his money, age, charmed?

10. The travellers and revellers on the train?

11. Verbal humour, situation? American style?. Marriage, love, money and success?

PALE RIDER

US, 1985, 116 minutes, Colour.
Clint Eastwood, Michael Moriarty, Carrie Snodgress, Sidney Penny, Christopher Penn, Richard Dysart, Richard Kiel.
Directed by Clint Eastwood.

Pale Rider brought a renewed interest in the western in the mid '80s. It had been almost absent from the screen since the mid '70s with such films as Eastwood's The Outlaw Josey Wales and Andrew V. McLaglen's The Last Hard Men. After Pale Rider came Lawrence Kasdan's Silverado.

By the time of Pale Rider, Clint Eastwood had become a recognised actor and director. He presented Pale Rider at the Cannes Film Festival. It is in the vein of his early Italian westerns, A Fistful of Dollars etc.; but it is very much in the vein of his two westerns, High Plains Drifter and The Outlaw Josey Wales.

While the western settings are recognisable, the central characters in these films seem to be endowed with more than human powers, in some ways Christ-figures (but with their search for vengeance, Satan-figures). There is explicit religious reference in all these films. The pale rider is riding the pale horse of the Book of the Apocalypse ? and his name is Death. He even comes as the answer to a prayer and ascends to the mountains after completing his mission.

The film re-creates the atmosphere of the mines of the 19th. century in California, the enclosed communities, the strugglers and the exploiters. The film is very similar in structure to Shane and westerns where the stranger comes into the town, is attached to the family, receives the loyalty of the youngster, achieves the vengeance and leaves.

The film is beautifully photographed, has an exciting opening sequence of riders, but, because of the familiarity of High Plains Drifter and Josey Wales, does not have quite the dramatic impact of these other films. However, it is distinctively a Clint Eastwood western.

1. The status of westerns in the '80s? The lack of audience interest? Traditions, the renewal of the western, continuity of treatment and themes?

2. Clint Eastwood and his image, his films as actor and director? 20 years of portraying the individual, the avenger, the loner western hero? With biblical overtones? A critic referred to it as A Revivalist Western? appropriate?

3. The location photography, the use of Panavision, the opening, the settlement, the mines, the riders coming towards the settlement? The atmosphere of the mining communities? The spectacle of hydraulic mining? Explosions? The town? The dark interiors, with a sense of the realism and lack of lighting of the times? The choreography of the action? musical score,
songs, hymns?

4. The biblical background, a devout people? The 'Our Father' and its religious sentiments with its realistic contrasts? The saying of Grace, prayer? The reading from the Book of the Apocalypse, the pale horse and its rider whose name was Death? Eastwood as the preacher, the collar, his comments about sin and sinners? His coming as an answer to prayer, a miracle, ascending finally to the mountains? His appearance, the mortal wounds in his back, the comments that people thought he was dead? The reformed gunfighter? The man of vengeance with the right to defend? A blend of Christ- and Satan-figure?

5. The situation, California, the gold rush, the prospectors, the miners, the small people and their community and rights, life, self defence, claims, IOUs, oppressed? The riders and their destruction? The disheartenment? The need for a saviour figure?

6. The initial focus on Hull Barrett. Sarah and Megan? Their experiences? The destruction of the settlement? Hull and his defending people? His going to the town despite warnings? His being beaten? Sarah and Megan and the absent husband and father? The desperate situation, Megan's prayer, Hull saved. Sarah hospitable and loving?

7. Clint Eastwood as the preacher? His expected presence, manner of speaking, acting, style? The arrival, taking the bat, beating the attackers. his control, saving Hull? Sarah’s suspicion of him as a gunfighter? His washing and revealing his wounds? His being seen as the preacher and the change of attitude? His decision to help with the work. the breaking of the rock? Club and his attack and his defence? Josh and his brashness? The preacher uniting the people and giving them hope? Their not moving away? His visit to Lahood in the town, the refusal to make deals? Conveying the message to the miners yet supporting them? Sarah and her friendship. the bond between the two? Megan and her growing infatuation, her being hurt and feeling spurned? His decision to go to get his guns? Saving Megan from Josh and the attempted rape? Isolating Hull from the gunfight? Exploding the hydraulic mines? The confrontation with Stockburn and his company, stalking the killers, defeating them? The confrontation with Lahood? The farewell and his ascent to the mountains with his name being cried out? Interesting character? one dimensional? Type? The U.S. mythical hero? The stranger who changes the way of life of the town?

8. Hull as a good man, battered. working. saved by the preacher. splitting the rock. devoted to Sarah, to Megan? His leadership? Defending the preacher? His being left by the preacher. yet his going into town, saving the preacher by shooting Lahood? His future especially with Sarah and Megan?

9. Sarah and her life, devout, hard working, loving her daughter, devoted to Hull, suspicious of the preacher then welcoming him, in love with the preacher, realising that he would leave, prepared to settle with Hull?

10. Megan and her age, experience, the death of her dog in the initial raid, the importance of her prayer, the godly sentiments as well as her reaction to God? The preacher as answer to her prayers, her infatuation, support, love, advances, disappointment? Her going to the mine, Josh and his attack and the attempted rape? The preacher's rescuing her? Her missing the farewell, her cry to the mountains?

11. Lahood and his presumption, wealth, the visit to Sacramento, the arrival back by train, his principles. deals, his henchmen and their raids, harassment of the settlers. his pride in his son? The hydraulic mining and its ruining the countryside? Discussions with the preacher? His hiring Stockburn and his men? His watching their defeat from his window? His being killed by Hull? Josh and his arrogance. the confrontation with the preacher, his hold over the men, control of the mine, the attack on Megan and the preacher wounding his hand, moving in his father's footsteps? Club and his size. the attack on the preacher, defending him later?

12. The western henchmen, their ride, the bashing, being bashed, some being killed, others in fear, their deaths?

13. Stockburn as the western mercenary, the henchmen and their coats, stances, using their wits, failing? The triumph of the individual?

14. The members of the prospectors' community, their gold strikes, Spider and his getting the gold, his joy, going to town, his drinking, being shot? The grief of his sons?

15. The contrast with the townspeople ? the couple in the shop and their willingness to help despite their helplessness, the doctor, the teacher? Fears and the control of Lahood and his men?

16. A picture of 19th. century American society? The American heritage? The American West and its conventions, myths? Political and religious allegory for the 80s?

THE PAJAMA GAME

US, 1957, 101 minutes, Colour.
Doris Day, John Raitt, Eddie Foy Jnr., Reta Shaw. Carol Haney.
Directed by Stanley Donen.

The Pajama Game is a very enjoyable and, still surprisingly fresh, musical comedy. John Raitt comes from the Broadway production but the film has the verve and vitality of Doris Day in a significant period of her career. She had just made Love Me Or Leave Me and The Man Who Knew Too Much and was moving into dramatic films as well as sophisticated sex comedies as Pillow Talk. The film has an enjoyable supporting cast led by Eddie Foy Jnr. The music is bright and the lyrics bouncy and the songs enjoyable staged with choreography by Bob
Fosse.

Production and direction are by George Abbott and Stanley Donen who collaborated on Damn Yankees a year later. Donen had made his mark with Gene Kelly in the classics On The Town and Singin' In The Rain. He made outstanding musicals like Seven Brides For Seven Brothers and Funny Face and was to make a wide range of films into the '80s. The background of industry and unions, while romanticised, gives the film something of an anchor in reality. A good example of the American musical, satisfactorily translated to screen.

1. Popularity of musicals? Especially in the '50s? The Broadway musical and its aura? The adaptation for the screen - songs, choreography, cast?

2. The conventions of the musical comedy: characters, antagonisms and romance, song and dance routines? Simplification of issues while highlighting focal points? The expected behaviour, the happy ending? How acceptable were the conventions here?

3. Colour photography, the atmosphere of the factory,, the floor, the offices? Babe's home? The picnic? The meetings? A blend of the real and the stylised?

4. The contribution of the musical score? The songs and their revelation of character? Atmosphere? Placement? The style of the choreography? for the factory workers, for Vernon and Mabel, for Gladys at the picnic and for Steam Heat? The Steam Heat number? The exuberance of the picnic? Babe and her fellow workers? The slow motion scene in the factory? Bob Fosse's style of choreography as it developed over the decades, seen in its beginnings here? The verve of the songs? John Raitt's singing style and capacity for putting the songs across? Doris Day's exuberance? The duets, the range of styles of the songs? The factory song and the Seven and a half Cents; Babe's song: I'm Not At All In Love, I'll Never Be Jealous Again; This Is My Once A Year Day; Small Talk; There Once Was A Man Who Loved A Woman; Steam Heat; Hey There; Hernando's Hideaway?

5. The delineation of character: Babe at work. friends, falling in love with Sid, the picnic, caught on the side of the workers and support of Sid, relationship with her father, Sid's visits, her action in the factory jamming the machines, being fired, the demonstration, Hernando's Hideaway and warning Gladys, the success of the strike, her giving in at the end? Doris Day's vitality?

6. Sid and his serious approach to his work, ambitious, severe, the encounter with the Grievance Committee, his advice to the head of the factory, love for Babe, the picnic, the clashes, firing her, visits to her home, his examination of the books, getting the key from Gladys, Hernando's Hideaway, remedying the situation, giving in?

7. Vernon and his role in the factory, taking himself seriously, the seven and a half Cents? The love for Gladys? His suspicions? Mabel and the song I'll Never Be Jealous Again? Dancing with Mabel? Throwing the knives, especially at the picnic? His being caught with his trousers down? Wanting the workers to speed up and their slowing down? Chasing Gladys through the factory with the knives? Hernando's Hideaway? The comic type and relating it to factory work?

8. Gladys and her type, coping with Vernon's jealousy, dance at the picnic, Steam Heat, outing with Sid and giving him the key, Hernando's Hideaway?

9. The factory characters, the girls on the floor and their teasing of Babe, the men, romance? Mabel and he role in the office? The boss and his anxieties, his speech to the workers, giving in?

10. The background of factories and production, conditions, the Grievance Committee, questions of profits? Supervisors, strikes? The campaign for rights ?

11. The background of unions and the right to strike, workers' support, winning?

12. An enjoyable piece of Americana? Social issues, character, song-and-dance? An example of the potential of the American musical?

PAINT YOUR WAGON

US, 1969, 164 minutes, Colour.
Lee Marvin, Clint Eastwood, Jean Seberg, Harve Presnell, Ray Walston.
Directed by Joshua Logan.

Paint Your Wagon is Joshua Logan's film version of Lerner and Loewe's musical of the 50s. It took almost twenty years to put on the screen. Other well known Lerner and Loewe musicals are My Fair Lady, Brigadoon, Camelot, The Little Prince. Paint Your Wagon is very popular. It suffered the effects of Joshua Logan's very heavy-handed approach to musicals and this tended to swamp the effective performances of Lee Marvin. Jean Seberg and unexpected singing of Clint Eastwood as well as the beautiful photography and spectacular scenery. Paint Your Wagon and its success probably stands on its fine score and songs.

However, the theme is that of the West and it was a strange phenomenon to find people going to see the film where the hero was a hard drinking vagrant who blind drunk, bought a Morman's wife at an auction, then set up house and with his working partner formed a home triple. The hero invents a scheme for getting rich at his neighbours expense - and for comic relief introduced an innocent young man to wine, women and song. And the language... however this didn't seem to worry the general audience who at the same time were complaining bitterly about the vulgar realism of some of the more serious films. Paint Your Wagon highlights the inconsistencies of Hollywood as well as the inconsistencies of the popular response to films.

1. Was this an enjoyable musical comedy?

2. Was this something more than an ordinary musical comedy?

3. The credit sequences showed pioneer scenes? was this an important theme in the film?

4. The film showed the gold towns of California and the frontier life in great detail. Was this shown visually well? Was it shown in a convincing way? How?

5. Comment on the value and impact of the colour photography?

6. Did the songs contribute to the theme of the film and did they fit in well to the development of the film? Eg. the theme song, Paint Your Wagon, and the credits? Alisa? They Call The Wind Maria? Wandering Star? Talk to the Trees? No Name City? Gold Fever? Elizabeth's Song? And the various songs sung e.g. when the men were preparing for the arrival of the women, Ben's wedding?

7. What kind of man was Ben Rumson? Was he typical of the frontier man? Was he a good man? What values did he stand for? His explanation of himself to Pardner? Was he a wandering star? The way he related to Pardner. his love for Elizabeth, his love for the freedom of the frontier life? His decision
to leave at the end? Why? Was this the best for all?

8. Pardner: as a person, was Clint Eastwood convincing? In his singing? Pardner as a farmer and as a farming type? His admiration for Ben, his helping of Ben? The growth of his love for Elizabeth and his trying to do the proper thing? His being changed by the gold town? His final decision to stay? Was this the best decision?

9. Elizabeth: as a person? Her Mormon background, her being auctioned, her contract with Ben, her wanting a house, her establishing of the household? Her falling in love with Pardner? The triple arrangement at home ? what impression did this make on the audience? Was it justified according to frontier law? Her bout of respectability when the family turned up? The final decisions?

10. The other characters, typical frontier people? The gamblers the store owners, the saloon keepers, the prostitutes? The miners? The lack of women on the frontier? The farming people, their propriety. the attitudes of their son?

11. The Mormons, were they presented credibly? Your reaction to the auctioning of Elizabeth?

12. What value of law, order and respectability were held on these frontiers? What else was possible?

13. Was the parson credible ? as a parson, in his mission, in his singing?

14. Was the film too bawdy, for a family entertainment? Why?

15. Did the film uphold genuine values ? or with its bawdiness and respectability did it try to have the best of both worlds?

16. Even though this was only a musical comedy, did it give some insight into the background of last century's American history?

THE PAINTED HILLS

US, 1951, 70 minutes, Colour.
Paul Kelly, Ann Doran.
Directed by Harold F. Kress.

The Painted Hills was one of several features of the late '40s which capitalised on the popularity of Lassie. After Lassie Come Home and its various sequels (Son of Lassie, Courage of Lassie, Challenge to Lassie), M.G.M. made such entertainments as The Hills of Home, The Sun Comes Up.

This film has a brief running time. It is set in the goldfields of the 1870s. The story is quite strong, a variation on the lust for gold. The hero is killed and there is a rather cruel villain. However, the film is still geared for the family audience with Lassie as Shep and a boy as the central character.

Quite effective of its kind and a strong film for family audiences.

1. The popularity of Lassie? Lassie in the original films of the '40s? Subsequent films and television series? The continued appeal of the dog, the collie., relating to humans, fidelity?

2. Production values: location photography, the atmosphere of the mountains and mines of the 1870s, the western town? The use of the scenery? Effective for the plot? Dramatic musical score?

3. Audience familiarity with mining stories, the frontier, the cruelty of the West? The pioneers and their difficulties? The fidelity of dog companions? How well were these themes used?

4. The basic situation of the search for gold, lust for gold, cruelty and murder? Vengeance? The importance of Preacher Pete and his comments about gold and its value for eternal life, with Scripture quotations?

5. The portrait of Jonathan? the old man, the enthusiast, his work, friendship with Tommy and his mother and father, distressed at the father's death. the partnership with Taylor, wanting to console Tommy and giving him Shep, Shep's sensing that Jonathan was sick? Jonathan's shrewdness in summing up Taylor? The friendship with Preacher Pete and saving him from Taylor? His plan for the ownership of the find and claim? The sadness of his death and Shep's reaction?

6. Tommy ? his grief for his father, the gift of Shep relationship with his mother, taking Shep out to Jonathan, working with him, distrust of Taylor, the confrontation, trying to persuade Preacher Pete of the truth?

7. Taylor and his presence in the town, friendship with Martha, seemingly nice ? but suspicious? His going out with Jonathan? His being affected by the gold, hiding the gold bags, thinking that people were hiding in the night, his violent reaction to Preacher Pete, using his gun and Jonathan taunting him saying that he was too weak to use it, his plan for the killing of Jonathan and his executing it, his lies to Tommy, the confrontation with Shep, out in the snow, the gun frozen to his hand, Shep pushing him over the cliff ? poetic justice?

8. Lassie as Shep? A story of friendship and fidelity, working with Jonathan, friendship with Tommy, work at the mine, distress at Jonathan's death, the confrontation with Taylor, the seemingly human wreaking of vengeance and causing Taylor's death?

9. Preacher Pete - the Scripture quotations, the counterbalance to the greed for gold?

10. Themes of pioneering, hardships, the gold fever, the changing of human nature and bringing out weaknesses and cruelty? Themes of the dog as a human's best friend?

PAID IN FULL

US, 1950, 105 minutes, Black and white.
Lizabeth Scott, Diana Lynn, Robert Cummings, Eve Arden, Ray Collins, Frank Mc Hugh, Stanley Ridges, Louis Jean Heydt.
Directed by William Dieterle.

Paid in Full is a lavish melodramatic, soap operatic romancer of 1950, Hal Wallis style production for Paramount. It has Paramount stars of the period, a Dean Martin song with a Victor Young score. Direction is by William Dieterle, who made many biographies at Warner Bros. in the '20s and '40s and moved to melodramas in the '50s.

The plot focuses on material popular in later decades for social minded telemovies. Two sisters love the same man with dire results, complicated by the fact that they have difficulty in having children. The film opens tantalisingly with Lizabeth Scott about to give birth to a daughter and there follow flashbacks ... The film is high minded melodramatic entertainment of its period.

1. Popular entertainment? In its time? For later decades? Perennial themes?

2. Paramount production values: black and white photography, affluent atmosphere, romantic atmosphere, the world of fashion and business? The romantic score? Dean Martin's singing?

3. The focus on Jane ? her arrival at the hospital, her giving birth, the danger of her own life, her secretiveness, her desire to give her life for the baby? The flashbacks and the audience being tantalised? Jane and her work, Bill's proposal and the irony that it was for Nancy? Her love for Bill? Her bringing up Nancy and caring for her? Spoiling her? The advice given by Tommy and Tommy's capacity for listening, giving advice? The build up to the wedding? Jane's behaviour at the wedding? Her giving herself to her work? Her devotion to Bill, helping his career, steadily working with him despite the gossip? Her concern for Nancy? Pregnancy and the discussions with the doctor? Her own mother having died in childbirth, her caution? Nancy's erratic behaviour after the birth of the child? The decoration of the nursery? Nancy's hostility? Suspicion? Not inviting her, to the party? Jane's outings with Bill, at Ben's Restaurant, the romantic dance? The break up? Jane not marrying Bill? The outing, staying the night, Nancy's attack, the accidental death of Deborah and its repercussions? Jane's marrying Bill in Mexico, the pregnancy, her going away, her bequeathing her child to reconcile Bill and Nancy? A romantic portrait of a noble hearted heroine?

4. The contrast with Nancy, spoilt and selfish, dresses and fashion, boyfriends, accepting Bill, her lack of awareness of marriage,' selfishness, the ceremony, the honeymoon and the encounter with the little girl, returning to the city, her ambitions, boredom? Her examining the models as a customer in the shop? Hearing gossip about Jane and Bill? Her pregnancy? Wanting the baby for herself? The home movies and her jealous reaction against bill? Pampering the baby? The divorce proceedings? Separation, catching Jane and Bill, the death of Deborah, her undergoing psychoanalysis, breaking through her difficulties, the final reconciliation? Credible?

5. Bill and his work, Jane's love for him and his lack of awareness of it, love for Nancy, the proposal, the wedding, the honeymoon, his ambitions and work with Jane, the social life, leaving Nancy alone, the pregnancy, the birth of the child and Nancy keeping the baby to herself, the home movies and his being hurt, hearing from a friend about the divorce proceedings, the outing with Jane, defending her honour in the restaurant, the marriage, the news of her dying, the final reconciliation?

6. Eve Arden's sardonic comic style as Tommy, her work, comments about men, helpful for Jane, telling the truth? Enjoyable comic relief?

7. The picture of the department store, fashions, the models, the workers, gossip, advertising campaigns?

8. The doctor friend and his knowledge of the family, his interrogating Nancy about the reasons for having a child, his dissatisfaction with her? Support of Jane? Support at the funeral?

9. The focus on marriage, understanding the commitment, ceremony and superficiality, honeymoons and romance, genuine friendship and affection, loyal support? Family, babies, possessive mothers ousting fathers from affection for the children? The speeches about marriage and the quality of commitment and love?

10. The credibility of the basic plot, Jane's devotion to Bill, having the child and bequeathing it to her sister and brother in law despite the cost of her life?

11. Popular material of the time? 'A woman's picture'? Noble ideals presented in the lush soap opera style?

 

 

 

 

PAGAN LOVE SONG

US, 1950, 76 minutes, Colour.
Esther Williams, Howard Keel, Rita Moreno, Minna Gombell.
Directed by Robert Alton.

Pagan Love Song is one of several concocted froth musical comedies for Esther Williams in the late '40s and early '50s - enjoyable as any other. However, she has a chance to swim in spectacular style only twice. Howard Keel, at the beginning of his career, is quite an engaging hero. A very young Rita Moreno is in the supporting cast. The film has overtones of South Pacific paradises with the presentation of Tahiti and its fulfilment of the American dream. However, there are some bright songs by Arthur Freed, the producer, and Herb Nacio Brown. The film seems very contrived by the standards of later decades ? and throws light on the expectations of popular entertainment of the '40s and '50s, somewhat similar to the TV specials of later times.

1. The standard of M.G.M. musicals in the '40s and '50s - glossy production, frothy styles, technical expertise? The appeal to the widest popular audience of the times? Impact in later times?

2. The tradition of American musical comedy? The blend of fantasy and reality? The ingredients of the love story, the struggle and clash, the subplots, the comic touches - American sentiment?

3. The popular of the Esther Williams swimming musical comedy? The incorporation of water ballet sequences into this film?

4. The contribution of the songs? Arthur Freed as producer, composer? Howard Keel at the beginning of his career? The incorporation of the songs into the plot? The Pagan Love Song, The House of Singing Bamboo, the songs with the children, Hap and his riding the bicycle etc.?

5. The presentation of Tahiti as the Pacific paradise, the easy way of life, slow moving society? Multiracial? Mind with the American background and Tahitian? The brother and sister and their attitudes towards life? The children, the customs? Swimming, dancing, feast, coconut-gathering, copra work? The comic touches of Tahitian life - especially the breaking of the bath so often?

6. Hap as the 'typical American'? His arrival, patronising the Tahitians, the discovery of his inheritance, his wanting to laze in the South Seas, his accepting the children, attracted’ towards Mind, the embarrassment of the party and his wearing the wrong clothes, his work, anger with the seeming failure of the crop? His devotion to the children? His being tricked towards reconciliation with Mimi? Mimi and her role on the island, the dream of leaving, her relationship with Tahitian society and the old western world style in garden parties etc.? Her swimming, the lyrical outdoor sequences with Hap? With the children?

7. The building up of the romance, Mimi's initial deception, the clash over the copra crop? The brother and sister reconciling Mind and Hap?

8. The contrived style of these musical comedies, their catering to popular tastes of the time the perennial enjoyment value and values presented? The American tradition?

 

PADRE PADRONE

Italy, 1977, 101 Minutes, Colour.
Omero Antonutti, Saverio Marconi, Marcella Michelangeli, Fabrizio Forte.
Directed by Paolo and Vittorio Taviani.

Padre Padrone is a film sponsored by Italian radio and television. It was a great success at the Cannes film festival in 1978, winning major prizes and the Jury prize. It is an overwhelming portrait of a peasant boy growing up in the isolation of Sardinia and illiteracy and the cultural and emotional conflicts of emerging from his family and environment into the modern world. It traces the story of Gavino Ledda from a shepherd boy in the hills to military service to study and his becoming a linguist. It is a fine story of human achievement as well as a well documented story of culture and the patterns of life in remote Italy.

1. The overall impact of this film as social comment, plot and biography, entertainment? A combination of these? The prizes that the film won, why merited?

2. The making of the film by Italian television companies? National backing? The impact for an Italian audience, non-Italians? For a television audience? The honesty of Italians in presenting themselves and aspects of society, characters, strengths and difficulties? A portrait of Sardegna?

3. A portrait of post-war Italy? Would Sardegna be special or not? The long traditions and isolation of Sardegna? Its landscapes, isolated towns, separation from the mainland, Italian origins, bonds? A hard way of life? Primitive? Backgrounds of religion, superstition? The hard and violent background? Loneliness? A landscape and a society to be escaped from by the younger generation? Traces of a 19th century world? Sardegna where another world wets the 20th century? How convincingly were these themes presented?

4. The visual impact of Sardegna itself, the town, houses, school, the mountains, the herds, the loneliness? The importance of the sights and especially the sounds of the countryside? How did the Italian Army and training contrast with this world? A visual contrast of old and new worlds?

5. The contribution of the musical score, the traditional melodies and the way these were presented as background, within the plot? The loyalty to the traditional songs? Their satirical use by the young men? The Strauss waltzes and their contribution? The classics and their influence on a young man in Italy, returning to Sardegna and the contrast with local music?

6. Comment on the use of sound in the film. the cries and the whispers, the children and the voicing of their thoughts, the songs and their interweaving, the animals speaking eg. the sheep, the scenes of sexuality and the murmurs, sounds and cries, the chatter and the cries and whispers during the death sequence, on the return to the island? The creative use of sound as giving a deeper sense of what was happening, what people were feeling, the harmony of men and nature etc.?

7. The significance of the title of the film: indication of traditions, the complications of family relationships, the role of father, the role of son? Indication of hard life and hardship?

8. The framework of the real Gavino? His impact as a person, the meaning of his life as he understood it, his autobiography? The introduction of his father and his going into the school? The reprisal of this at the end? The effect of this framework of the father-master? The character of the father as revealed in his seeking his son, his speech to his son, the fear of Gavino and his wetting himself, the teacher and her refusal to let him go, the boys and their reaction to Gavino's leaving, their fears, the significance of their monologues? His return home to his mother and his mother laughing? Her laugh throughout the film? The situating of Gavino in his place, hardship, relationship with father and mother?

9. The first quarter of the film showing his training to be a shepherd? The transition from school and the possibility of learning and using his brains to the isolation of the mountains, the being by himself, conquering his fears, learning nature and experiencing it?

10. The importance of Gavino's leaving his home ? his mother washing him and dressing him, her love and her not wanting him to go yet the traditions of the family? The long road to the mountains? The nature of the advice that he received, learning to hear the various sounds and identifying them ? the way the screenplay did this by making the audience hear and see? His running away and being beaten? The experience with the snake, his father chasing him, hiding from his father, the talking and the thrashing?

11. What was the relationship between father and son as this stage? His sullenness and attitude towards his father, his father's emphasis on using his brain? Why the making of children work so hard? Poverty, survival, tradition? The autobiographical music illustrating this? The other boys being shepherds? The effect of this on a small boy and his growing up, his personality?

12. The emphasis on sexuality ? the boys alone, masturbation, bestiality? The comic showing of sexuality all over the mountainside ? in nature. Gavino's parents, couples and families? The earthy reality of this, the humour,, the use of sounds?

13. The transition of Gavino to the age of twenty? So many years working in the mountains, the focus on the accordion and the young men playing it,, his wanting it and the being awakened to musical sounds ? the music of Strauss in the hills of Sardegna? His following them, trading? His being deceived? Cutting his lip for this father's sake? The joy of experiencing music? The indication of the possibilities for Gavino's life?

14. Illustration of the way of life in the mountains with Sebastiano and his smoking the cigar inside his mouth. his fear of vendetta. the nature of the feud, the false reconciliation and the shearing, the suddenness of his death and its brutality? The irony of his smoking his cigar properly? The significance of death in Sardegna, his being laid out? His will and his wealth? Gavino's father getting the grove for him? The ambitions of each of the family? The irony of the revenge death for helping Gavino? The working of the groves, the seasons, the harsh weather, the failure of the crop, the cold and the drinking of the frozen milk? The significance of the death scene and the sounds and people's reaction?

15. The portrayal of the boys leaving ? the processes the attitudes, the singing.. urinating, defiance? Gavino and his decision? His father's tricking him and the family laughing?

16. The importance of selling the property. the disposition of the money? The effect on the family? How well were the personalities of the family drawn ?mother and father in their middle-age,, the other children and their dependence on the family, Gavino within this context?

17. The change of tone in the film with his going into the Army, the 20th century world, the comments on his dialect? Fear, the cutting of the lip? The amount of learning to be done? Relating with people? Pisa and the tour? The radio and his skill in making it work? His capacity for communication.. study, the scene at the beach his letter? The awakening that the Army education gave him?

18. How had he changed on his return? His quality of study. culture? His slavery for his father. his illness, cold? His decision to study and confront his father? The violence of the two and the ability to kill? The symbolism of the sequence with the radio and his father's destruction of it? His father's incomprehension? His decision not to leave because that would be defeat? The patriarchal system and his decision to confront it? The picture of him within the town?

19. What was the quality of his achievement? His study, degree, study of language? His return and not letting his father win? The finale and the repetition of the beginning and the visualizing of what he had achieved?

20. How particularly Italian was the film in its content and themes? How universal in terms of family, tradition, study, the generations? Patriarchal systems? The status of family, relationships and dependence? The role of fear and control? Destiny, freedom? Achievement and potential? The nature of self-assertion and rebellion? The significance of Gavino's victory and its symbolism of 20th century struggles?

THE PAD (AND HOW TO USE IT)

US, 1967, 89 minutes, Colour.
Brian Bedford, Julie Somers, James Farentino.
Directed by Brian G. Hutton.

The Pad is a small comedy, developed from one half of Peter Shaffer's comedy, The Private Ear and The Public Eye. This is The Private Ear. The Public Eye was filmed in 1971. with Mia Farrow, Topol and Michael Jayston as Follow Me, and directed by Carol Reed.

The Pad is a slight comedy about shyness and brashness in the approach to women and would be of interest to adolescents with something of the same problems. Brian Bedford is convincing as the shy bachelor who would like to be game enough to meet women. James Farentino is adequately pushy.

Brian G. Hutton later moved into such loud films as Where Eagles Dare, Kelly's Heroes and X,Y and Zee. A gentle comedy on a theme worth considering.

1. Peter Shaffer's comedy was called The Private Ear (and was half of a double bill along with The Public Eye). Did The Pad make a successful alternative title?

2. The original was a one act play and a simple unpretentious piece of comedy pathos. Did the film retain these qualities?

3. What kind of man was Bob Hammond? Was he typical of many shy bachelors? How much did the film reveal about him as a person? E.g., his dream, music, home, work, friendships, shyness?

4. Why was he so shy?

5. How did he contrast with Ted? Did you like Ted? How typical was he?

6. What was the effect of the crosscutting between Bob at the concert and Ted at Whisky A-Go-Go? and with Lavinia?

7. Why did Bob rely on Ted?

8. Did you like Doreen? How ordinary and typical a girl was she ? did you think at first she was just like Bob? Why? What did you think of her as you learned more about her at the dinner?

9. Why did Ted help with the dinner? Did he really want to win Doreen over from Bob?

10. How much truth was spoken in the conversation between Ted and Doreen? What did the audience learn about them? In the fight between Bob and Ted? Was Bob right about Ted despising him and not knowing what friendship was?

11. Why did Bob make a fool of himself trying to kiss Doreen? Why did the two spend so much time apologising? Why couldn't they communicate?

12. Was there any hope that their friendship could grow, insofar as Bob gave Doreen the firm's phone number (or could Ted win Doreen)?

13. How sorry for Bob did you feel?

14. What was the point of making this film? The comedy was slight and the ending was sombre. Did it give insight into the insecurities and longing for relationships of ordinary people?