VAMPIRE CIRCUS

UK, 1971, 87 minutes, Colour.
Adrienne Corri, Thorley Walters, John Moulder Brown, Lawrence Payne, Lynne Frederick, Elizabeth Seal, Anthony Higgins.
Directed by Robert Young.

Vampire Circus is a Hammer horror film which has received very good comments in after years. It came after the development of the Dracula and Frankenstein features with Christopher Lee and Peter Cushing in the late 1950s and throughout the 1960s. By the early 70s, the time of Vampire Circus, the Dracula series was moving towards its end with The Satanic Rites of Dracula and Dracula AD1972.

This is a vampire film but has a difference. A count has been ruthless with the village people who then rebel against him. A plague descends upon them and they are in need of help from the outside for medical resources. They are cut off from the outside - until a circus, a circus of night, arrives. The villagers welcome the circus and its exotic characters. However, the circus itself is quite sinister and wreaks havocon the villagers.

The film has a strong cast including Adrienne Corri who had appeared the year before as the victim in Stanley Kubrik's A Clockwork Orange. Anthony Higgins was at the beginning of his career as was Lynn Frederick. John Moulder Brown who had appeared in Deep End and King, Queen, Knave was significant at this moment - but he made a lot of films outside the United Kingdom and then had a career in television.

1. Was this just another Vampire film? Why? What made it different?

2. What was the impact of the initial innocent sequence of Anne and the little girl contrasting with the Count's vampirism, as well as the town's staking of the Count? (Why did they not kill Anne?) Did this help audience identification with the townspeople?

3. Why the continued fascination with Vampirism, even in our own day? What insights into human fear and evil do vampire stories offer?

4. How did the plague situation add to the meaning of the film - the isolated village left to its own resources, fears, lack of reality because cut-off; superstition and the curse?

5. Were the principal characters well-drawn and interesting?

6. The impact of the circus - coming from nowhere, morale-booster for the village, yet menace - animals, dwarf, gypsy woman etc.?

7. The filming of the circus - dance, acrobatics, birds – the ethereal world of beauty and unreality, yet evil beneath - the device of Evil and the panther, of the Mirror of Truth?

8. How frightening was the terror - Rosa, Evil, the animals mauling escapees, Dora's arrival, the death of the boys, of the Mayor?

9. Was the final climax effective or much like other films of the genre?

10. What is the value of this kind of film?

THE VALLEY OF DECISION

US, 1944, 118 minutes, Black and white.
Greer Garson, Gregory Peck, Donald Crisp, Lionel Barrymore, Preston Foster, Gladys Cooper, Jessica Tandy, Dan Duryea, Marsha Hunt, Reginald Owen, Marshall Thompson.
Directed by Tay Garnett.

The Valley of Decision is a very well made soap opera of the forties. MGM made this kind of film giving them fine black and white production values which contributed to strong atmosphere The casting was strong. It was based on a very popular novel my Marcia Davenport.

It is a period piece set in Pittsburgh of the 1970s and the beginnings of the steel industry in America, a portrait of the 'two families, one wealthy and one in service. Mary Rafferty, the daughter of an iron miner, enters into this way of life and has an effect on it. The behaviour of some of the people is dignified, even though there are alcoholic sons, ambitions, marriage and divorces. These are suggested in the very dignified manner of the forties.

The films is a Greer Garson vehicle and she is very good as Mary. The young Gregory Peck is also quite striking in the central role of Paul Scott, the wealthy son who travels to England and learns the ways of unions and fights for more just treatment of workers. The cast is quite imposing with Donald Crisp and Gladys Cooper as the Scots and Lionel Barrymore as Pat Rafferty. Jessica Tandy, who appeared more in theatre in these decades, has an unsympathetic role. Directed by Tay Garnett who was about to make The Postman Always Rings Twice.

1. The quality of this long film as entertainment a piece of Americana. American history, human melodrama? The combination of these themes into popular entertainment?

2. The adaptation of a best selling popular novel to the screen? The style of the treatment, the narrative. the complexity of the characters, the social and historical themes and background? The technical flair of M.G.M. in the forties: black and white photography, costumes and settings, musical score, finesse?

3. The meaning of the title, the indication of themes and the serious tone of this story?

4. The contribution of the narrative technique - from the part of Paul, from Mary? The two different social settings? Engaging audience sympathies in their listening to these narratives? The sympathy primarily with Mary?

5. The recreation of Pittsburgh in the 1870s? The explanation of the American heritage and pioneers, the mills, the importance of steel and the development of techniques of steel? comparison with European and German production? Pioneering families, their wealth, their growing status? The contrast with the workers and their homes, poverty? The background of industry and unions? How well did this film blend these various atmospheres to take the audience back convincingly to those times?

6. The portrait of the Scott family, the background, the heritage? William Scott as a successful pioneer? Clarissa Scott as a gracious lady? The presentation of the family and its place in Pittsburgh society, manners, servants, style? The danger of affluence, snobbery? The wastrels of the next generation?

7. The contrast with the Raffertys and their poverty? Pat Rafferty and his being crippled, his hostility? His daughters and their poverty and his reaction to Mary’s going into service especially with the Scotts? The contrast of William Scott and Pat Rafferty and their places in Pittsburgh history and industry? The intertwining of their lives and of their deaths? The contrast with the next generation, the intertwining of the lives of Paul and Mary, their growing apart before coming together? The ironies of the hatred of one generation on the love of the next?

8. Mary as the central character? Greer Garson's impact? The strengths of Mary's character, her home life, relationship with her father especially in view of his later rejections and curses? Her ambitions and hopes to be a maid? Her waiting and discovering the nature of the family (and the audience doing this with her?), the initial dinner and her announcing it with Paul's help. her coping with the younger children especially Connie? Mrs Scott and her graciousness and the bond between the two? Mr Scott and his later influence, in bringing her back for Paul? The encounters with Paul and the growing love? Her being part of the family especially with the advice to Connie The strengths of character, her work, her support? The trip and her watching over Connie? Her enthusing and encouraging Paul and the wills especially with her story about Robert Bruce and the development of the steel?

9. Paul and Gregory Peck's style? His family background, his work in the mills, trip to England? The egalitarian tone of his experience with the workers? The strength of his experience and loyalty to the mills? His encounter with Pat Rafferty and experiencing his hostility? His work with Jim Brennan? The bonds with Mary and growing in love with her?

10. How well portrayed was the love story? Strengths, delicacy? The failure and its repercussions? Mary and the background of her going to England, Paul's letters. her being summoned home and the future opening up only to be dashed by the background of hatred?

11. The change of tone in the film with Mary's return, the troubles? The build-up to union confrontation - Jim Brennan and his role, violent death? William Scott’s promise to listen to Paul? The irresponsibility of his other sons in calling in the strike-breakers and the drinking and the message not being delivered? The sons being responsible for their father's death? Mary's decision to avoid Paul? The two daughters opening the shop with Mrs Scott's help?

12. Louise always in the background, the contrast with Mary? Her snobbery? Self-seeking? The funeral sequence and the two hands joined and the lead-in to the ten years of their marriage? Paul and his presence - his father taking him to the mills, his mother's self-centred attitudes? The scenes of hostility between the two?

13. Mrs Scott and her regrets, her visits to Mary, the last visit and the explanation of the will? Her illness and Mary's presence in the house, her death and the irony of her talking to Paul and Louise announcing it harshly? The decisions about the will, the family discussion and the selfishness, Mary and her influence especially on Connie? Ensuring her future? The ending and the significance of the title?

14. The portrait of the younger generation, spoilt lives and irresponsibility? Connie’s marriage and her fortune in getting a duke but a good husband? The businessman and his moving away from Pittsburgh? The wastrel son and his drinking?

15. The contrast with the second generation of Raffertys: and their hard work? Jim Brennan as an example of the hard working generation?

16. How interesting were the presentation of the union troubles, the strike-breakers etc., the conditions for agreement between Scott and the workers?

17. The sadness and joys in family life, the generations? The discreet presentation of the harshness of the times?

18. The impact of the film in the forties, new? The continued interest in human and social themes?

VINCENT

Australia, 1987, 100 minutes, Colour.
John Hurt.
Directed by Paul Cox.

Vincent is a film about Vincent Van Gogh. It was a project dear to Paul Cox for some years before he was finally able to make the film. It is an appreciation of Van Gogh as a man, as an artist, his search and despair.

Paul Cox was born in Holland and therefore has a right to this interpretation of Van Gogh for a world audience. He returned to Europe to shoot location photography in Holland and France. He also re-creates some 19th century scenes: a town street, a tavern, the sequence of Van Gogh's burial. However, the only words in the film (and there are many) come from Vincent's letters to his younger brother Theo. They are spoken with strong interpretation by British actor John Hurt.

The film combines the locations of Van Gogh's life with his words so that the audience is looking at the landscapes that he saw, understanding him through his own words, and then appreciating his artistic achievement in interpreting and presenting those landscapes, objects, people. There are many self-portraits. There is a background of classical music, Cox uses his regular slow pans of nature to create atmosphere. There are many of Cox's grainy 8mm, home movie-style segments in order to create a subjective atmosphere about Vincent. The film is an appreciation as well as an invitation to the audience to perceive Van Gogh's world.

1. The popularity of Van Gogh as an artist? audience knowledge of his life? (The 50s film, Lust for Life, by Vincente Minnelli with Kirk Douglas) Van Gogh as a person, his context and environment, his artistic achievement?

2 Paul Cox and his film-making, style, his Dutch background?

3. The use of Vincent's letters to Theo, as providing information, audience empathy with Van Gogh and his life and character, appreciating his artistic talent, his decline, depression and death? The background of his family, relationships, his religious obsessions and his understanding of God? The choice of John Hurt to read the letters? His interpretation?

4. Holland and its landscapes? Paris? The South of France and the change of light? The importance of colour and light? The classical score and its creating atmosphere?

5. Re-creation of the 19th century: the street scene, the tavern, the house, Van Gogh's death?

6. The initial information given about Vincent Van Gogh to familiarise the audience with him as a person, with his times? The information given throughout the film to build up something of his biography?

7. Seeing things through his eyes: the camera being the eyes of Vincent? The audience-subjectively appreciating the landscapes that
he saw, understanding their effect on him, shapes, colours? The use of sketches and paintings throughout the film?

8. The quality and style of Van Gogh's paintings, sketches? His lack of professional training? The quality of his eye, skill?

9. Vincent' s character: his own view, self-assessment, self-portraits? The Dutch background, his famaily, his relationship with Theo, the continued letters? Theo being younger and dying soon after him? Their being buried side by side? The religious' questions? His wanting to be a pastor and a preacher? The letter with the effect of his first sermon? His continual probing of the nature of God, understanding the world as created? His training as a minister? His growing interest in art, compulsion to paint? It being his life? The continued need tor money - and his selling only one painting in his lifetime? Relationships and his love for his cousin? Her mouthing the word 'Never'? His going to the brothels, his concern about his sexuality? The pregnant prostitute and her kindness towards him? His understanding her, painting her? His letters and his references to his sexuality, his going to the brothels? His appreciation of women and his painting them? His painting of the doctor and his depression? The cinematic ways of indicating his decline and madness? The background to his slicing off his ear? His growing loneliness, doubts? The move to madness and death?

10. The significance of the self –portraits? The portrait of the doctor?

11. The devices that Cox uses to help us appreciate Vincent’s decline and share his awareness of his depressed state and madness?

12. The subjective shots, the grainy home movie style and the insertions into the text and texture of the film?

13. The achievement of presenting a film about Vincent Van Gogh? His achievement and audience appreciation, the influence of
The impressionists, his distinctive style?

14. An overall contemplation of Van Gogh, the musical mood, the panning sequences for the motif of the train and the journey
throughout the film, the comparisons between nature and paintings? Art?

THE VULTURE

UK/Canada/US, 1967, 91 minutes, Colour.
Robert Hutton, Akim Tamiroff, Broderick Crawford, Diane Clare, Philip Friend, Patrick Holt.
Directed by Lawrence Huntingdon.

The Vulture is an odd, rather quiet horror science fiction. It is a Canadian/British co-production.

The film deals with the occult and science - memories of an abuse of justice in the 18th century when a man wss buried alive with a vulture. His German descendant returns to England (with an extraordinarv cellar full of contemporary scientific equipment) and fails in his attempts to transform the dead man to life - with the result that the mad scientist ultimatelv finishes up as a combination human vulture. He spends the film terrorising the descendents of the family who buried his ancestor alive.

There are the expected horrors (though not strongly visually presented). There is also the police obtuseness. There is the vicar who has a parchment with the story and who becomes involved in helping to unravel the case.

Akim Tamiroff is the mad scientist who is the vulture – a film at the end of his career. Broderick Crawford is one of the victims. Robert Hutton is a rather craggy nuclear scientist who becomes involved in solving the case.

Routine material, of interest to film buffs of the horror genre - but strong on talk, not so strong on psvchological credibility or even spectacular horror effects.

VOYAGER

US, 1991, 117 minutes, Colour.
Sam Shepard, Julie Delpy, Barbara Sukowa, Debora Lee- Furness.
Directed by Volker Schloendorff.

Voyager is an Everyman story, based on a novel by Max Frisch, Homo Faber, it has been adapted' for the screen by historian screen writer Rudi Wurlitzer (Pat Garret and Billy the Kid, Two Land Blacktop, Candy Mountain) and director Volker Schlondorff (Circle of Deceit, Death of a Salesman, A Handmaid’s Tale).

The story is set in the mid the 50s, an engineer looking back at events in his own life, relationships in Zurich of the 1930s, his decision to go to work in Baghdad rather than marrying his pregnant girlfriend, her marriage and alleged abortion. By a series of coincidences - the screen play exploring luck, chance, providence - he encounters his own daughter and falls in love with her. The secret is evident to the audience. The audience is waiting to see what will happen to the Everyman figure as he explores more of the meaning of his life and fate and chance. He is serious -minded, sometimes ponderous. Playwright-actor Sam Shepherd is the Everyman character. Barbara Sukowa is Hannah. There is a range of settings from Mexico to France, Italy and Greece - Europe's beauty as well as it ruins. The film is a serious blend of psychological drama as well as eternal themes.

1. Impact of the drama? Characters? Dilemmas? Psychological drama? The Everyman figure? The title?

2. The title of the original novel: Homo Faber? Voyager? The making of the central character, American rather than Swiss?

3. The range of settings: Venezuela and Mexico? New York? France and Paris, Italy and Orvieto, Rome, Athens and the Greek countryside? The flashbacks to Zurich? The musical score? The colours for the various periods?

4. The structure: The monochrome scene in flashbacks to Venezuela and the voyager’s journey? The muted colour flashbacks within the story to Zurich? The different shades of Walter’s mind?

5. Athens and the farewell to Hannah, Waters comments, as a character, his style and manner, voice over? His anguish?

6. The memories of Venezuela, at the airport, his nervousness, Hank and his reminding him of someone? Not wanting to talk, hiding in the toilet, his eyes and the collapse? The airport staff searching for him, hurried to the plane? On the plane, flirting with the hostess? The flight, talking with Hencke? The engines blowing out? The preparation for the crash, his calculation where they would land? Nonchalant - unconscious? The crash landing, out in the desert, sleeping, the personnel and their treatment of the people? Discussions with Hencke? Rousing memories of the past?

7. Themes of chance and providence, fate? Joachim’s brother? Their discussions, the memories – Hannah, the relationship, the friendship with Joakim? The child, marriage, his wanting to go to Baghdad to work, the question of the abortion, the wedding? His relationships, decisions, opportunities? His decision to go to New York, sudden decision to stay, the drive through the countryside and the village, finding Joakim hanged? Its effect?

8. Walter and his memories? The beginning of a new voyage? Writing the letter to Ivy, wanting to break off with her, arrival back, her being present, the relationship, Ivy not believing in the break, his trying to explain it to her? His wandering the streets?

9. The decision to go to France by boat, the voyage, people, the routines of life on the boat? His meeting with Elizabeth and calling her Sabeth? Kurt? The dance, dancing with her, talking? The growing infatuation? Her serious response? His talk of proposal? Museums and art? The fascination - and the separation on arrival?

10. Walter and his lecture in Paris, the scope? People’s response? At the meetings, the plans? His sudden decision to go the Louvre, looking for Sabeth? Looking, at the art and being reminded of her? Her hiding and watching him, the comparisons with the art and the beauty? Their meeting, the rneal? Declaration of love? His concern about her hitchhiking? His return, the hiring of the car? The drive, the intensity - and his eyes? Going to the hotel, her coming to his room? The affair? The next day, breakfast and leaving the hotel? His not being able to share with her enthusiasm for Europe and its beauty? Her love of art and antiquities? The visit to Orvieto, Rome and the picnic in the ruins? The deepening of the relationship? Going to Greece and the natural beauty of Greece?

11. The postcard and his realisation of the truth? His probing of his memories? Hannah and her presence, his puzzle about the child and the abortion? His reaction and Sabeth noticing it? Kurt? His trying to cope, the puzzle? In the countryside, the snake and her being bitten, her fall? His desperate rescue, carrying her, the cart, the truck, searching for the hospital in Athens?

12. Walter coming to consciousness, Hannah's presence? The tension, concern about Sabeth? Talking with Hannah, going home, skirting the truth, awkward questions, lies? His trying to cope? Hannah, and her severity, the interrogation? Weeping during the night? Not talking,, her visiting the hospital? Her being forbidding to speak to Sabeth? His rushing to the hospital? Seeing Sabeth only at a distance? The effect on
Sabeth of the accident, tk-ie recovery frox the snake bite, walking in the garden?
Hannah protecting her daughter? The death and the head injury?

13. Hannah as a character, the past, her relationships, decisions, the marriage? The news of the divorce, her remarriage? Her successes in archaeologist? Her keeping the secret of the child? A strong woman, protective, her grief? The news of Joakim’'s death and her anger?

14. Walter and his going to the airport, the anger with Hannah, the reconciliation? Leaving her, left with his story sitting at the airport? His future?

15. The human dimensions? Psychological dimensions? Existential meanings in life? Chance and providence? The focus on the Everyman, mid-life crisis, search for meaning?

THE VIRGIN OF LIVERPOOL

UK, 2003, 90 minutes, Colour.
Ricky Tomlinson, Imelda Staunton, Paul Barber, Johnny Vegas.
Directed by Lee Donaldson.

The Virgin of Liverpool is a knockabout British comedy set, obviously, in Liverpool itself. It received very little release in its time – although it stars the ever popular Ricky Tomlinson (The Royle Family and many of Ken Loach films including Riff Raff) as well as Imelda Staunton (Vera Drake). Comedian Johnny Vegas also has a featured role as does Paul Barber who was one of the troupe in The Full Monty.

The film shows ordinary life in Liverpool, amongst an ordinary family - farcical aspects, serious aspects, aspects of pathos. Grandma sees a vision of a statue of Mary weeping. She is supported by her granddaughter, Joanne. However, not everybody agrees with this – and there is a great deal of discussion, comedy, questions about apparitions, the nature of faith. It has to be said that the parish priest, Father Keane, is very little credit to the priesthood.

The film is in the tradition of British television comedies - but with a stronger cast and trying to deal with some serious issues within the farce and comedy.

1. The appeal of the film? The comic touches? For people from Liverpool, UK, outside? The language, the accents, the local references, the humour?

2. The city of Liverpool, visually, the buildings, streets, cathedrals, churches, the river - a character in the film? The characters very much at home in Liverpool?

3. The range of songs, the old-fashioned songs, the singalongs? Capturing the mood of the humour?

4. The nature of the humour, serious, ordinary people, street-wise, the religious jokes - and the blend of superstition and faith? The danger for borderline jokes for people who take religion very seriously?

5. The title, other weeping statues around the world, the reaction, church, people, publicity, pilgrims, the exploitation of the phenomenon, stigmata etc? Faith?

6. The visual jokes - with the borderline touch? The verbal humour, the farce, knockabout, ironic?

7. The background of the Liverpool buses, Frank and Winston and their driving, Cecil and his changing the schedules, going from numbers to colours, the maps, his serious speeches, their confusion, the chaos on the road and the roundabout, the arguments, his keeping in contact by phone and feeling frustrated? His pursuing the buses, especially in the police car? Giving the people the sack?

8. The family, the focus on the street, its ordinariness, the nosy neighbours and Sylv telling them off and arguing? Catholicism, going to church?

9. The parish priest, with his biretta in the pulpit, droning on, cigarettes and drinks, having lunch with the clergy - and Joanna pushing him into his beer? His lackadaisical attitude, tanning himself in the confessional, reading magazines and eating sweets, not listening, Joanna confronting him in his home, offering the sweets and ignoring her? The contrast when he saw an opportunity to exploit the statue and get it back in the church?

10. The focus on the statue itself, the title of the film, the story about the grandma seeing it weep, Joanna and her devotion to her grandmother, seeing the statue being tossed out? Her friendship with Wesley, their plan, rescuing it from the garbage? Her attempts to find a place for it, the humour, the seriousness? Having it in the house? The reaction of each member of the family, Doreen and her husband? Seeing it as dominating, intrusive? Steven and his bringing home the girls for sex, the masturbation sequence? Taking it to the shop, Doreen putting the sponge so that it would weep? Weeping in the house, the pilgrims, the nuns from France, the gospel singers and the charismatic touch, the woman with the stigmata, Winston and his selling sausages on the road? The inspectors coming from Tax and the City of Liverpool to complain about breaches of regulations, health regulations? Frank and his trying to get rid of the statue, giving it to his boozy friend, leaving it on the bus, taking it into the S & M room? Its going into the river, Sylv diving in to rescue it, Frank diving in to rescue her, the helicopter rescue? Joanna and her seeking advice, putting it on her grandmother's grave? The final weeping of the statue - for the happy and religious ending?

11. Joanna and her age, genuine, care, her grandmother, her friendship with Wesley, her letter to the paper, the weeping statue, its going to church, the revelation of the sponge? Her being upset with the family, her finally running away, getting advice, coming back? On her grandmother's grave?

12. Frank, his exasperation at work, tension with Sylv, getting the sack? Having to stay at home, his jealousy of the manager of the bingo club and the background of Sylv standing him up and marrying Frank? His jealousy talk with his friends? Antagonism towards the statue - yet reverence? Finally getting rid of it?

13. Sylv, her devotion to Frank, to the children? Going to bingo, having to fill in and sing? Her offering to do the cleaning jobs? Her success in Cabaret, going to Sheffield? Her making her own decisions, standing up against Frank? Her relationship with Doreen, sharing things? The disgust at Steven's behaviour, her reverence? Coming back, Joanna missing, her grief? The statue gone, diving into the water, swimming? Being rescued? The reconciliation - and her tears at the grave?

14. Steven, puberty, not wanting the statue, mocking his brother and sister? His preoccupation with sex, bringing the girls home, their superstitious reaction and screaming when seeing the statue? The masturbation? The magazine and hiding it behind the dartboard and the sister seeing it?

15. Doreen, support, at bingo? Getting the Viagra for her husband and the jokes in the church? His knocking the statue over and revealing the truth? Her putting in the sponge to get more customers?

16. The slob, bingo, drunk, messing things up, dancing and singing in the bus? Having drinks with Frank? His ambitions to call numbers (and some of them coming up on screen)?

17. The bingo manager, his liking for Sylv, Frank's jealousy, the confrontation, Frank punching him? Offering the Sylv the job in Cabaret? The range of clients and the joy of the singalong?

18. Wesley and his grandfather, the Rastafarians in Liverpool, inconsistencies, pot-smoking? A happy life, selling the sausages outside the front gate - and the final joke about his being colour-blind?

19. The total effect of this kind of knockabout comedy with human warmth and raising questions of piety, devotion, faith?

VENDREDI SOIR

France, 2002, 90 minutes, Colour.
Valerie Le Mercier, Vincent Lindon.
Directed by Claire Dennis

Friday Night is a drama by director Claire Denis. She began with Chocolat, set in Africa, returned to France and made some interesting films including Nenette and Boni and Beau Travail. However, her films then became more and more abstract, including Friday night.

The film is fairly straightforward in its plot, treats its characters in a very cerebral rather than emotional way. A man and a woman meet and spend the night together. Something is known about the woman, about to move in with her boyfriend. However, the man is quite anonymous. Some commentators say that this is merely a sexual fantasy by the woman. Sex, no strings attached. While the performances and film-making have some merit, the film is particularly French in its schematic presentation of human behaviour and interactions. It is more than a touch abstract.

1. A portrait of relationships, casual relationships, sexuality and love? One night stands - and the influence for the future?

2. The Paris settings, the vistas in the opening credits, Paris by night, the apartments, the blocked streets? A particular area of suburban Paris for these characters? The musical score and its atmosphere, the songs, especially in the car?

3. The focus on the time, Friday night, moving into Saturday morning?

4. The cinematic style, photography, impressionism, glimpses of the characters, of the streets, the different camera styles, clarity, blur, the devices used in editing for illustrating the relationship?

5. The portrait of the young woman: packing, moving in with her boyfriend, throwing things out (and the landlady and her son putting out the garbage and taking the lamp stand etc.)? Her tiredness, going out for the meal? Caught in the traffic, listening to the music, her growing exasperation? Hearing about giving lifts to people and her offer, its being rejected? The man getting into the car for the lift? The waiting, her going to telephone, finding out that the dinner appointment was cancelled? Going back, not finding the car, Jean and his finding her? His reversing, getting out of the traffic, her beginning to panic and wanting to get out? Their getting out together, the attraction, kissing, going to a hotel, the room? The detail and atmosphere of the lovemaking? The meal and the other people in the restaurant? Going back to their room, the lovemaking, the young woman having to think over what she was doing? Her trying to wake Jean? Her hurrying back home to be there when the carriers came? The motives for her evening, the effect on her, her future with her boyfriend?

6. Jean, his getting in the car, his friendliness towards the woman? Finding her after she panicked? Driving backwards, getting them out of the traffic, the attraction to the woman, the lovemaking, going to the hotel the payment? In the room, at the meal? His warmth towards her, the night together, his not waking up and her leaving him?

7. The incidental characters: the people trapped in the traffic, the screaming group and the discussions about insurance? The young man who refused the life? The hotel clerk and his giving cheap rates because of the strike but not being taken up on it? The guests in the restaurant? The waiters? The woman's friend and the phone call and her talking with her with the baby? Part of the ordinary background of a Friday night?

8. The importance of the night, typical of lonely people in Paris, people passing, embracing, lovemaking, the effect on themselves and their future? The director's feminine and feminist point of view on the characters and the events?

VANISHED

US, 1971, 196 minutes, Colour.
Richard Widmark, Skye Aubrey, Tom Bosley, James Farentino, Larry Hagman, Murray Hamilton, Arthur Hill, Robert Hooks, E.G. Marshall, Eleanor Parker, William Shatner, Robert Young, Stephen Mc Nally, Sheree North.
Directed by Buzz Kulik.

Vanished was the first American telemovie to be shown in two parts – a preface to the era of the miniseries.

The film was made during the Nixon era and considering the history of that administration in the subsequent years with Watergate and the resignation of President Nixon in 1974, the film is interesting as a political perspective on that period. There are similarities to the John Frankenheimer film of the 1960s, Seven Days in May, with its nuclear themes and the role of the president of the United States.

In this film, a presidential adviser disappears. A secretary, played by James Farentino, decides to get to the bottom of the issue. However, he uncovers all kinds of secrets on Capitol Hill from blackmailing nuclear scientists, to interfering politicians, to arrogant southern senators, to homosexual relationships, all geared to affect national security.

The film is very well cast, has a lot of Hollywood stars who were to make the transition into television and telemovies in the 1970s, including Richard Widmark as the president, Eleanor Parker, Robert Young, Stephen Mc Nally and Sheree North.

The film was directed by Buzz Kulik. He was a veteran television director and moved into making quite a number of films in the 1960s including Warning Shot, Sergeant Ryker, Villa Rides and Riot. He made A Storm in Summer for television in 1970 and continued making telemovies right throughout the 1970s and into the 1980s where he also made a number of miniseries including Sidney Sheldon's Rage of Angels and Jeffrey Archer's Kane and Abel.

1. The significance of the title? Enticement of the audience? An enjoyable television movie? What did it want to communicate to its audience? Comment on its length, the insertion of commercials? Was it able to sustain its suspense over the long period? Audience concentration, initial clues, participating in the resolution? The value of this kind of political suspense drama on television?

2. Why audience interest in the plot and the themes: the ramifica¬tions of American politics and politicians, the communist threat, American-Russian? relationships, peace and the threats to peace, espionage, extremism of both right and left? Audience interest in a puzzle and a mystery? How good were the ingredients? How successfully put together?

3. Could the audience identify with the characters and with the situation? with the President? How could the audience enter into the film and its complicated intrigue?

4. The central presence of the President? What kind of person was he, strengths and weaknesses as a man and as a President? The visualizing of his personal style? The explanation and exploration of his policies? The importance of secrecy, the atmosphere of trust? His relationship with Greer, the irony throughout Greer's disappearance, the end? His dependence on Culligan, the fact that he could not tell him all the truth? His relationship with Sue? With Ingram? American judgment on him, his colleague's judgment on his, his own integrity? The way that he coped with various pressures The ultimate vindication? Good, presidential behaviour?

5. Audience interest in Greer? Was sufficient shown of his charac¬ter before his disappearance? Strengths and weaknesses of character? Home background, money issuest the framing of him, themes of loyalty? The melodrama of his disappearance? His reputation and people's reaction? Comment on the varying reactions, public opinion, the Press? The ultimate significance of his work? What had he achieved by the end? Personally, for America, international relationships?

6. How credible vas the character of Culligan? His work as a secretary, the trust the President had in him, the fact that he could not know everything, the human side? His involvement in the puzzle? Relationship with Jill? The picturing of the various techniques for work, his reactions under pressure, loyalty to the President? Was he a good example of the American public servant?

7. The role of women in the film: Sue and her contribution, Jill and the tests?

8. The background of the C.I.A., Ingram and his self-righteousness, the backing of his decisions? His politicking and diplomacy? His pressures? The vindication?

9. The importance of the Senator Grannon scenes? The complications of politics and diplomacy? Senator Grannon's background, human interest, pressures for those he represented, political and business interests? The film's comment on the values behind him?

10. The portrayal of the army, loyalty, contribution, Palfrey and his role?

11. The significance of Storm, the introduction of black themes, the sailing and the contribution to the drama?

12. The introduction of science and questions of modern science and polities? The character of Freitag? His speculations, character, contribution?

13. The world of the Press as represented by Paulick? How sympathetically were the Press presented? How critically? The role of communication, leaks, pressures?

14. The international flavour of the film? How realistic and authentic in its presentation of international crises?

15. The optimistic tone of the film towards peace? A positive contribution via entertainment media for world peace?

VERA CRUZ

US, 1954, 95 minutes, Colour.
Gary Cooper, Burt Lancaster, Denise Darcel, Sara Montiel, Ernest Borgnine, Cesar Romero, Charles Bronson, Jack Elam, George Macready.
Directed by Robert Aldrich.

Vera Cruz is an adventure film made by Robert Aldrich. He was at the beginning of his career in the fifties. From then on he was to make a striking body of film work over several decades ranging from the melodramatics of 'The Big Knife' to the horror of 'Whatever Happened to Baby Jane' and 'Hush Hush Sweet Charlotte' to the vigorous melodramas of 'The Legend of Lylah Clare' and 'The Killing of Sister George' as well as the violent films like 'The Dirty Dozen' and 'Choir Boys'. Aldrich's films are very strong and quite distinctive.

Burt Lancaster was to work with Aldrich in 'Apache', 'Ulzana's Raid' and 'Twilight’s Last Gleaming'. Aldrich brings a colourful vigor to this Mexican adventure, filming beautifully on location. The contrast between Gary Cooper and Burt Lancaster as two potential heroes of the West is quite well done. Ordinary material but presented vigorously and entertainingly.


1. How entertaining a colourful adventure, history? The atmosphere of Mexico, of the American West? Entertainment at a popular level?

2. The use of Mexican locations and colour, vide screen, costume melodrama, musical score with the atmosphere of Mexico? How authentic was the presentation of the film?

3. Audience familiarity with the Mexican situation in the mid-19th century: the intervention of France in Mexico's affairs, the role of Maximilian as Emperor, the revolution under Juarez? The American adventurers going to Mexico to join either side for money? The atmosphere of justice and injustice, nationalism, rights? Audience interest in and response to this aspect of American history?

4. The structure of the film focusing on the two men and their en¬counter? The ironies of their initial encounter - with the horse, the pursuit of Mexican soldiers, gun-fighting? The move to help one another in their mercenary work? The masculine cowboy macho image? The developing rivalry even in their friendship? Their work together especially in their decisions to accompany the Countess, in their discovery of the gold, in warding off the ambush? The inevitability of their clash especially in terms of greed and heroism? On the death of the other? How veil did the film present a study in contrasts?

5. Gary Cooper's style and personality as Ben Trane? The loner, strength, age? The background of the Civil War and its loss? The incident with the horse and meeting Erin? The motivation for his action? Nina and her later reappearance? Erin's belief in Maximilian's cause? His skill in escorting the coach? The fascination with the Countess? The way that he was able to handle Erin's men right from the beginning in the saloon and throughout the journey? His skill in the fighting? Was it inevitable that he should win? A portrait of the loner American hero of the West?

6. The contrast with Burt Lancaster's vigorous Erin? His smile, flashing teeth, acrobatics? Stealing the horse, skill with the gun? Friendship with Trane and saving him from his men? The adventurer and his motivation for joining the Emperor's mission? His eagerness for the gold? Fascination with the Countess? Control over his men, skill in the fighting and the ambush? The motivation of greed and his becoming the villain? How inevitable vas his death?

7. The portrait of Erin's men - the cross-section of adventurers in Mexico? Their suspicions of Trane, eagerness for a fight, greed? The masculine image of the men of the West?

8. The Marquis and the Mexican Grandee? His control over tbftnen, his designs on the gold, relationship with the Countess? His work
with the Emperor Maximilian? How well presented was Maximilian and the justice of his presence in Mexico? His scheming to get the gold transported?

9. The Countess and her fascination and charm? The revelation of her greed and her plotting? The elegance of her presence at Court, the irony of her not getting the gold and being left alone at the end?

10. The presentation of the Juaristas? General Aguilar and his control over the men? The justice of the cause, the oppression by Maximilian and the French, the need for revolution? The ambushes, the fighting? The help of the gold? The device of having Nina present to get the gold? The irony that Trane would accede to Nina's request and help the revolutionaries?

11.The importance of the action sequences punctuating the plot? the gun challenges with the two heroes, the fights amongst Erin's men, the Mexican ambushes, the battles, the final gun-fight?

12. The traditional values of right and wrong, good and evil in the Vest? Mexico and justice? The cowboys, the adventurers, their moti¬vations, purpose of their lives, heroism and evil?

THE VALIANT

UK, 1962, 90 minutes, Black and white.
John Mills, Ettore Manni, Roberto Risso, Robert Shaw, Liam Redmond, Ralph Michael, John Meillon, Patrick Barr, Laurence Naismith.
Directed by Roy Ward Baker.

The Valiant is a little-seen British war film – based on an Italian play. The focus is on two Italians who mine a British ship in a harbour – with the British then capturing them and trying to find out what their mission was. The film is less of an action film than a dramatic confrontation.

John Mills is the captain of the ship with Robert Shaw as his lieutenant. There is a good supporting British cast which also includes John Meillon.

The film was directed by Roy Ward Baker who had a long career in British film-making starting in the late 40s with The October Man with John Mills. He had a brief time making Hollywood films: The House in the Square, Inferno, Don’t Bother to Knock with Marilyn Monroe. However, he returned to England and made interesting films in the late 50s including A Night to Remember and The One That Got Away. However, his career was mainly in television.

1. Was this an interesting film, suspenseful?

2. Was it obvious that the film was based on a play? How did the film rely on gaining audience interest? The romantic structure of the Valiant, the Italians, the on-shore decisions? Was the film a successful cinematic presentation of a play?

3. The impact of the war background? The danger of war in 1941? The impact of war in 1961? The impact of World War II and such issues now? Where are the differences, why?

4. Did the film explore major war issues? The role of sabotage, the role of the battle ships, the nature of enmity and hostility, the rules of war, prisoners of war, silence under threat, the nature of threats, the reality of decisions about life and death, obeying orders, not thinking but obeying superior officers, etc? Were the issues presented clearly, well?

5. The function of the captain? Could audiences identify with him? His need to be shrewd and quick? The possibility of cruelty as regards the prisoners’ wounds?
The weight of decisions about the ship and the men? Did he act correctly?

6. How well did the film balance the roles of the Italians and the British? The initial Italians sequences? The use of Italian dialogue? The ordinariness of the Italian sailors, their mission, talk about the baby, their being shot, the heroism of their silence, their talking with one another? How did this compare with the usual film presentation of the British on a similar kind of mission? How well was the similarity pointed during the film?

7. The character of Field; his work in the ship, the background of his Italian wife, his becoming involved in the interrogation, the conflict of personal warmth and the war effort, his decision to stay aboard? Was he a real character or a figure for the drama?

8. The importance of the sailors on the watch, the humor, their ordinariness, their not knowing what was going on, the balance between them and the Italian sailors?

9. The portrayal of the Admiral and the on-shore decisions?

10. The visualising of the 'abandon ship’ and the impact of this? Was this the only thing to do?

11. The importance of incidental characters for atmosphere and character conflict; the medical orderly, the padre, the commander?

12. How successful was the device of the Captain overhearing the Italian convers¬ation? Was this too contrived or was it worked in effectively?

13. The effectiveness of the deception of the Italian reconnaissance planes? The effectiveness in the war effort?

14. Was this an interesting and effective war film? An ordinary one? A minor film?