VALDEZ IS COMING

US, 1971, 90 minutes, Colour.
Burt Lancaster, Susan Clark, Frank Silvera, Jon Cypher, Richard Jordan, Barton Heyman, Hector Elizondo.
Directed by Edwin Sherin.

Valdez is Coming is considered one of the best movies of the 1970s. It is clearly in the tradition of Sergio Leone’s Man Without a Name westerns and was filmed also in Spain.

Burt Lancaster portrays a scout of Mexican descent who becomes a sheriff. When he is commissioned by a landowner to kill an Apache, he then asks for compensation for the widow. The land baron then sets his thugs onto Valdez, they put him on a cross, beat him – and he is released by another gunslinger, played by Richard Jordan in his first film. There is a pursuit of Valdez by the land baron’s thugs – and Valdez takes his mistress as a hostage. She is played by Susan Clark.

The film is something of a revenge western – but is caught up in issues of racism, brutality, lynch law mentality, the greed of land barons. It was directed by Edwin Sherin, noted television and Emmy award-winning director of Law and Order, his first feature film. He followed it up with the exploration of post-Vietnam trauma in My Old Man’s Place.

1. The impact of the film? Its strong reputation? A film of the 60s and 70s? The tradition of the spaghetti western? Given American treatment? Location photography in Spain?

2. The situations, the lawless west, the landowners, the role of the sheriff? The musical score?

3. Burt Lancaster as Valdez, his presence, his history as a hunter, hunting the Indians? His attitude towards the past – regrets? His role as a sheriff, little to do? Tanner, the commission, the death of the Indian, his concern about the widow? The setting up of a situation?

4. The race issues, Apaches, Hispanic Americans, being despised? The arrogance of the white landowners? Of the gunfighters?

5. Issues of power, the land, authority, a law unto themselves, lawlessness, bullying? The impact of deaths?

6. Valdez in himself, his age, work, attitudes, especially towards race? Doing Tanner’s bidding? Regrets? The death of the Apache? Concern about the widow? Asking Tanner for a meeting, for help? Tanner’s response? Gay’s reaction? Humiliating Valdez, making him suffer? His being freed? Vengeance? From the cross to vengeance? Taking Gay as hostage from Tanner?

7. The supporting western characters? The Indians, the gunfighters, life in the town, henchmen and thugs?

8. How typical a westerner was Tanner with his arrogance and wealth? His attitude towards Gay? His resentment towards her, love? The dramatic impact of Valdez’s capturing and taking her? The revel¬ation that she was a murderess?

9. The character of El Segundo and his men pursuing Valdez? His vengeance, his admiration for Valdez, the reasons for his not killing him?

10. The ambiguity in the character of Davis? His hysterical sharp-shooting at the beginning, his loudmouthed attitudes towards Valdez, his watching him carrying the cross, the irony of his letting him loose, the love—hate, admiration and disgust, his being captured and spared, bearing the message to Valdez, his refusing to shoot him? A credible if ambiguous western character?

11. The ambiguity in the character of Gay? A potential heroine, her experience with Valdez, attracting Davis's attention, her decision to remain with Valdez, to get the money from Tanner, the fact that she had killed her husband?

12. The impact of Valdez shooting so many men? The response to the violence of the film?

13. The irony of his capture, the potential for a showdown and its lack of realization, the peaceful solution and its impact?

14. The film's use of conventions in chase, shootouts and violence? Its criticism of these conventions? The human values that this film stood for?

VALENTINA

Spain, 1982, 85 minutes, Colour.
Anthony Quinn, Jorge Sanz, Paloma Gomez.
Directed by Antonio J. Betancor.

Valentina is a delightful Spanish film - focusing on children and giving insight into their world. With an opening, focusing on the aftermath of the Civil War and an atmosphere of tragedy and sadness, the film goes back to 1911: a pleasant provincial town, elegant family life, a Catholicism taken for granted. The film focuses on Pepe and his memoirs of his growing up, especially his relationship with Valentina. The world is that of innocence and of 11 and 12-year-old children. The lead cast is excellent - and Anthony Quinn does a pleasant guest role as a benign parish priest. The film led to a television series for Spanish television. There is an attractive musical score by Riz Ortolani.

1. An attractive and charming film? The atmosphere of Spain? For Spanish audiences, overseas audiences? Its being shown at film festivals? The television style of the film?

2. The Spanish film industry: production, television films? The use of archive footage for the atmosphere of 1939? The recreation of 1911, costumes and decor, towns, landscapes? The glowing colour photography? Roz Ortolani's score - background, for emotional response?

3. The impact of 1939: the background of the Civil War, the concentration camps, prisoners, suffering and death? The narrator and his encounter with Pepe Garces? The impact the man made, the ideals? His memoir? The importance of the visit to Valentina - the dedication of the film, the atmosphere of a
true story?

4. The narrator's visit to Valentina - audience curiosity about her? The knowledge of what had happened to Pepe? The significance of the memoir - for the narrator, for Valentina, for the audience?

5. An attractive film about children? The title focus on Valentina - in herself, a young girl, attractive, sharing life with Pepe, fun , the families, innocent love, an ideal, inspiration? The pain of Pepe's separation from Valentina? The beginning of the sadness and ultimate tragedy of his life?

6. Audience response to Pepe? An attractive young boy, in himself, his place in the family? The elegant family with its focus on manners? Meals? The study and Father Joaquin? Pepe's knowledge but his assignment failures? The strictness of his father, the beatings? His stoic attitude, tears? His defiance towards his father? His love for his mother and aunt? Their bringing meals after the beatings? His sisters and the ordinary fights between children? The visits of Valentina - his dressing up, going to meet her, sharing, the signals done on the roof - and his father worried about his dancing on the roof? The gang of boys, the shanghai and firing the stones, the shotgun and the court scene? Pepe's getting into trouble - young boys' trouble? The religious background, going to Mass - and his reading the prayers, and laughing with Valentina? Father Joaquin and the friendship, working hard? His own father with his harshness, reaction to his poetry? The importance of Pepe's reciting his poetry and dedicating it to Valentina? His running away, welcomed in Valentina's home? The killing of the pigeons and the angry reactions? The return home? The visit to the castle, the tunnels? The experience of the ancestors? The document translated by Father Joaquin: saints, poets, heroes? Pepe's experience of the ghost in the caverns? His improving in his study, the experience

7. Anthony Quinn's genial Father Joaquin: old, rough, the scholar, the tutor, celebration of Mass, rebukes in the sacristy, the sharing of the experience of the eclipse, the visit to the castle, translating the Latin, the experience of the caves? A warm picture of a humane priest?

8. Pepe's family: severity, good manners, the girls? The reaction about the eclipse, to Pepe as a poet? To his running away? The ancestors? The visualising of the ghosts?

9. The comparison with Valentina's family and Pepe's being at home there? The mistake of killing the pigeons? The reconciliation with the visit of the families to the castle?

10. The customs of the time, style of life, home, school, church? Affluent Spaniards - homes, cars etc.?

11. The impact on the audience - warmth, hope. regrets?

LA VACHE ET LE PRISONNIER (THE COW AND I)

France, 1959, 111 minutes, Black and White.
Fernandel, Rene Harvard, Albert Remy.
Directed by Henri Verneuil.

La Vache et le Prisonniere (The Cow and I) is a star vehicle for engaging French comedian, Fernandel. He appeared in many French films but achieved universal popularity with the Don Camillo series in the '50s. He did not appear in many English-speaking films - though he co-starred at this time with Bob Hope in Paris Holiday.

The film is a French version of the prisoner of war films, so popular in Britain in the '50s. It has a comic and ironic touch with Fernandel as a prisoner of war, a rather daring of homely war escape attempt with its consequent dangers - and a rather sad ending with the reimprisonment of the escapee. Screenplay was co-written by the director Henri Verneuil, who was to make a number of action films in the '60s and '70s, both in France and internationally: The Sicilian Clan, Guns for St. Sebastian, The Burglars.

1. An interesting and entertaining war film? The French background? European sensibility? The film as a comic-serious vehicle for Fernandel?

2. The European locations, atmosphere of Europe during World War Two? Black and white photography? Musical score?

3. The popularity of prisoner of war films in the '50s? The memories of World War Two? The tributes? The quality of this film in itself? In comparison with others of the genre?

4. How plausible was the plot? The portrait of prisoners of war? The camps? German farms and French worker prisoners? The use of the cow as a way of escaping? The adventures during the escape? Dangers, narrow escapes? The sad irony of the ending?

5. Fernandel presence and personality as Charles Bailly? French background? His work on the German farm? The relationship with the Germans? The guards? The other French prisoners? The lifestyle on the farm? His relationship with Marguerite - and the plausible farm-work as a cover for the escape? His cultivating the ease of company with Marguerite? Allaying suspicions of observers? The beginning of the escape, the walk, time, the encounters with German soldiers, with other escapers, disguises, language? The manoeuvres, the bombing raid? Marguerite and her part throughout the escape? The encounter with the bull? The finale and his walk to freedom? His tension throughout? Anxiety, good humour? The farewell to Marguerite at Stuttgart? The voyage to France under the train? The frontier pursuit? The irony of his getting into the wrong train and the return to imprisonment? A presentation of an interesting personality? An engaging hero?

6. The range of supporting cast - from French prisoners to German farmhands, to escaping prisoners to German soldiery? The credibility of the supporting cast for the action?

7. The focus on the cow? The personality of the cow - with the name? The friendship with Bailly? Participation in the adventures? Dangers? Easy acceptance by people of the French farmer walking the cow? The farewell?

8. The portrait of the French and their experiences during the war? The contrast with the Germans?

9. Themes of imprisonment, the drive for freedom and escape? The risking of life? The nature of the dangers?

10. A tribute to the French? A memoir of the spirit of resistance and imprisonment in World War Two?

THE VERY THOUGHT OF YOU

US, 1944, 98 minutes, Black and white.
Dennis Morgan, Eleanor Parker, Dane Clark, Hope Emerson, Beulah Bondi.
Directed by Delmer Daves.

The Very Thought of You, like many of the films of the 40s, took its name from a popular song. This is a piece of romantic war propaganda, with Warner Bros. stars Dennis Morgan and the emerging, Eleanor Parker. The film treats an American family, Americans away at war, the absences, service in action, the hopes that the war7 would end and a new America emerge. Other films of the period on this theme include Since You Went Away, I'll Be Seeing You. The film was written and directed by Delmer Daves, writer of some war propaganda material of this period but who moved into westerns (with Broken Arrow) in the 50s and made a number of very popular romantic melodramas like A Summer Place in the 60s.

1. Entertaining war propaganda? Romantic drama? A film of the 40s? In retrospect?

2. Black and white photography, Warner Bros. production, the settings, the stars, the musical score?

3. The title, the romantic song, the atmosphere of absences in Hawaii?

4. David and his friend, service in the Aleutians, the return to California, leave. friends? David and his meeting Janet? Going out together, visiting the home, the family clashes? The romance, the wedding? Janet pregnant? Overseas service - and his return? David as the all American hero, in active service. his relationships. friendships? The hope for the future?

5. Janet, the home town girl, with her family, clashes with her sisters, her mother and father? Meeting David on the bus, remembering him? Going out? Courtship, the marriage, pregnancy, his absence? Family resolution of differences? A future?

6. Dane Clark as the buddy, the typical American friend? Supporting David. to Pasadena, the girl friend? His attitude towards life, romance, marriage? The war? His girl friend, friendship with Janet, the romance, marriage?

7. The background of the family? The father and his being genial but strict? The mother and her hostility towards outsiders? The older sister and the clashes? The younger sister and her support? The picture of family life, at home, meals, visitors? The reconciliation? The birth of the baby?

8. Popular American ingredients of war propaganda?

VENETIAN BIRD

UK, 1952, 95 minutes, Black and white.
Richard Todd, Eva Bartok, John Gregson, George Colouris, Sidney James, Walter Rilla.
Directed by Ralph Thomas.

Venetian Bird is a neat thriller of the early 50s. Victor Canning, popular novelist of the time, adapted his thriller for the screen. In--retrospect, it resembles the plot of the Third Man with Venice instead of Vienna and a partisan called Renzo Uccello (Italian for Bird) as the Harry Lime equivalent. Richard Todd is a private detective looking for Uccello - and being led in false directions for a variety of political and financial reasons. The film has an interesting supporting cast, many of the British cast sporting Italian accents for the film, especially John Gregson as the villain, Sid James and Miles Malleson.

The film was made on location in Venice and takes advantage of the scenery and the buildings - a great bonus for enjoying the film. It was directed by Ralph Thomas, better known, perhaps, for his comedies like The Doctor series and for dramas and melodramas like The Thirty Nine Steps, A Tale of Two Cities.

1. Interesting and entertaining thriller? Mystery?

2. The Venetians settings, authentic, the piazzas, the buildings, canals? The glass blowing factories? Towns outside Venice? The score by Nino Rota?

3. The title, the reference to Uccello?

4. Edward Mercer, Richard Todd's clipped British style? His war background? Private detective? Arrival in Venice, contacts, people being wary? The man coming to give him information and his being bashed? His murder? False name? Mercer and the help from Rosa, memories of the war? From Bernardo? Going to the gallery, the encounter with Adrianna? With the Count? The false information? The murder victim, the police chief and the interrogation? Mercer following through and going to seek Uccello's burial place, the hotel, the sculptor? His coming to the end of his search? Suspicions the toughs following him? The encounters with Adrianna, falling in love with her, her telling him the truth? His visit to the gallery, overhearing the Count and Uccello? The danger with the little girl coming into the room? His going to the glass factory and being taken by Uccello? The set-up for the assassination, his being unconscious, the rifle- with him? Adrianna's denial? The police chief and the interrogation
His escape? Help by Rosa and Bernardo? His finally going out, the confrontation with Uccello? On the roofs of Venice? Uccello's death? His vindication?

5. Renzo Uccello as a Harry lime character? War hero? Criminal? Covering his tracks and the false death? His talent and his designs? Marriage to Adrianna? On hirer to the Count as an assassin? The irony of the audience seeing him as the genial camera man? As the police follower and informer? The truth, his commission? Taking Mercer, the set-up, his escape? The final confrontation, the truth for Adrianna? The pursuit and his death?

6. Adrianna, her lies, her attraction to Mercer? Love for Uccello? Trying to preserve him? Not knowing the truth? The encounters with Mercer - his believing her, her later lying? Planning to leave with Uccello, the discovery of the truth?

7. The Count, sinister, fascist? In league with the police chief? The plans for the assassination of and take-over? The gallery, the lies, Adrianna? The clashes with Mercer? The assassination and its success? Longo and his part in the plan - foiled by the little girl?

8. The police chief, interrogation, exasperation, confrontations with Mercer? The pursuit?

9. Rosa and her war record, relationship with Bernardo - and his helping with the safe place?

10. The little girl, friendship with Mercer, giving him information? Playing in the gallery? Foiling the framing of Mercer?

11. The gallery of Italian characters, police, the sculptor in the village? Authentic atmosphere?

12. The atmosphere of Italy post-war, government, Cue de tar, revolutions? Political assassinations,? The pictures of the crowd and their angers?

13. The popular type of thriller from the early 50s?

VAMPIRE'S KISS

US, 1988, 99 minutes, Colour.
Nicolas Cage, Jennifer Beals, Maria Conchito Alonso, Elizabeth Ashley, Kasi Lemmons.
Directed by Robert Bierman.

Vampire's Kiss is an oddball vampire film about a New York yuppy who may have become a vampire or who may imagine that he is a vampire (and acts, disastrously, accordingly). It has its moments of humour, but Nicolas Cage's performance is highly exaggerated - over the top. Maria Alonzo Conchita is his secretary, Jennifer Beals is the mysterious vampire, Elizabeth Ashley his psychoanalyst. A might-have-been comedy satire.

1. Popularity of vampire films? This film a variation on a theme?

2. New York city, day and night, the way of life, the apartments, psychologists' offices, trendy New York? Musical score?

3. Peter as the single yuppy, his relationship with Jackie, the bat in his apartment, his racing out, his meeting of Rachel, the sexual encounter, the bite, his becoming a vampire?

4. Peter at work, the publishing business, his anger directed towards Alva, walking out on Jackie at the gallery, the phone call pleading and his not turning up? The repercussions at work and his continued attacks on Alva?

5. The discussions with the psychiatrist: reality, fantasy? His final imagining the interview, her suggesting a relationship with Sharon?

6. His going mad: buying the teeth and using the plastic teeth, the destruction of his room, sleeping under the couch, going to the Tunnel nightclub, biting the woman on the couch, the fight with Rachel and her boyfriend, his talking to himself, finally getting a stake? Alva's brother and his killing Peter?

7. Alva, her trying to please Peter, doing the work, getting hassled, the attack in the lift, going home, her mother's concern, her brother? Staking out Peter and killing him?

8. The New York lifestyle, the satire about vampires in this context? The point?

VOYAGE OF THE DAMNED

UK, 1974, 176 minutes, Colour.
Faye Dunaway, Max von Sydow, Oskar Werner, Malcolm Mc Dowell, James Mason, Orson Welles, Katharine Ross, Ben Gazzara, Lee Grant, Sam Wanamaker, Julie Harris, Lynne Frederick, Victor Spinetti.
Directed by Stuart Rosenberg.

Filmed quite straightforwardly (or unimaginatively, if the film is disliked),this is the ship of fools, a Nazi propaganda ship with 937 Jews wandering from Hamburg to Havana, experiencing the hostility and timidity of international powers in 1939. An enormous star cast generally does get a chance to get dramatic grips with character, especially Max von Sydow as the captain. However, expected sequences of shipboard life and routine abound. The sombre theme, memories of the war and many moving sequences, a song at a ball listened to with desperate nostalgia, Victor Spinetti outstanding as a refugee in Cuba pleading for visas, make for a cumulative impact.

1 . An interesting and entertaining film? Critics were not kind to the film - why? Its popular appeal?

2. The contribution of so many stars - presence, style, personalities? Ease of identification of the characters with brief performances? The film in the trend of disasters in the '70s? The interest in the '70s in Nazi Germany, persecution of the Jews? How well did the screenplay incorporate these themes?

3. The structure of the voyage and its cumulative effect and the need for somewhere to land? The build-up to the Jews being allowed to go on the ship, the arrival and farewell, the details of the voyage? The significance of the Cuba interlude? The interplay of Morris Troper's attempts to get permission for the passengers to land? The build-up to the rejection by so many countries? The title? The impact of the final statements in the aftermath of the deaths of so many of the passengers in concentration camps?

4. The effect of the opening with the elaboration of the Gestapo plans, the ship and propaganda? The ploy to tackle the conscience of the world and gain support for Nazi Germany with anti-Semitism? The passengers being duped? The Captain and Gestapo suspicions of him and his not being in on the plot?

5. The Captain and his stances, a just man, his courtesy to his passengers? His assistant and loyalty? Schiendick and his being planted by the Gestapo? The Captain's criticism of him, putting him in his place? The Captain and the issues of the Jews and public opinion? Dr. Kreisler and the confrontation? His plans for getting his passengers ashore? His behaviour at Cuba and his being tied by officialdom? The pleas to the various countries, especially the United States? His final plan to wreck the ship? The final cheering of he passengers in support of him? How well delineated a character, audience sympathy with him and his stances?

6. The elaborate presentation of the boarding of the ship, the atmosphere of Hamburg? The cross-section of people, classes? The crew and staff of the ship? The wharf, loading, farewells?

7. Schiendick and his behaviour on the ship? His attitude towards his superiors, taunting people, his being put in his place? The films and the songs and the Jewish reaction? Anger against him? His contacts in Cuba, his not being allowed ashore? The various Gestapo agents especially those operating in Cuba, and their attempts to contact Schiendick? The Cuban police and their ineffectiveness?

8. The focus on the Kreislers? Their background, wealth, Dr. Kreisler as surgeon, his relationship with his wife? Denise and her aristocratic attitudes? Their personal relationship, clashes, arguments? The doctor and his weakness, his stances in support of the passengers, gaining strength?

9. The focus on the Rosens - Rosen as a lawyer, his being disbarred, suffering in Germany? The intensity of his personality? His violent outbreaks? The suicide attempt, his ultimate success? The support of his wife, her grief? His daughter and her relationship with Max? Their love, suicide pact? Mrs. Rosen and her grief, her shaving of her hair? Facing a future without her family?

10. The focus on the Hausers? Steerage, the bond between husband and wife, the lower class, the sense of family? Sentiment? The irony of their daughter Mira and her prostitute life in Havana, her contacts with officialdom, her helping the doctor to regain his children? Her boarding the ship, offering the wealth to her parents. their rejection of her? The pain of the family and the rejection?

11. The portrait of Professor Weiler, his illness, dignity, the support of his wife and her presence at his death? The doctor's attendance?

12. Cuba in the 1930s - a haven. corruption? The agent of the line and his actions. the Gestapo agents and their taking over? The Ministry of Propaganda and the liaisons with Germany? The Ministry of Immigration? The Cuban mentality, corruption, sexual intrigue? The President and the decisions he had to make, expediency? The Minister of State and his influence over the Minister of Immigration and pressurising him? The portrait of the various Cabinet Ministers? The influence of the merchant? Jose Estedes, his way of life? Morris Troper and his attempts to land the Jews in Havana?

13. Audience emotional involvement with Dr. Strauss? His farewell of his wife at Hamburg, his concern about his children, his own personal sadness? His going ashore in Cuba. the documents and their seeming worthlessness. the discussion with the industrialist, the reference to Mira and his pleading with her, the interview with the minister and his pressurising the Minister of Immigration? The joy of having his children with him?

14. The glimpses of so many other characters - in the first class, in the steerage -e.g. Alice Feinchild?

15. Aaron and Joseph. as teachers, in prison, their heads shaven, persecution? Their behaviour and suspicions, their anger, leading the revolution against the Captain? Their being pacified? The initial glimpse of their being brutalised in Hamburg and audience sympathy?

16. How well did the film build up an atmosphere of the doomed voyage with the details of ship life - the meals, games, films, the elaborate dance, the singing of the song about Vienna, insults, joy?

17. The background of Troper and his attempts to get permission for the Jews to land, Cuba, Belgium, his ultimate success?

18. The title of the film coming to fulfilment in Cuba - rejection, the wandering Jews, tension, the continual building of hopes and their being dashed? The final success?

19. The film as reminding audiences of grim aspects of the 20th century, of anti-Semitism, of Germany between the wars, of Nazism and its prejudices, cruelty? The world and its responsibility? The repercussions of this kind of tension and persecution?

THE VOYAGE

Italy, 1975, 92 minutes, Colour.
Richard Burton, Sophia Loren, Ian Bannen.
Directed by Vittorio de Sica.

The Voyage was Vittorio de Sica's last film. It is beautiful to look at, almost too beautiful in its glowing photography, its meticulous and detailed construction of the early 1900's sets, costumes and decor. It is Italian nostalgia, romanticising a leisured past so that its theme of rigidity of traditions and their hurtful moulding of people's lives is partially obscured. Again, the characters move, somewhat trance-like, through this world, accepting the impositions on their lives. Sophia Loren, regally beautiful, is at home in this nostalgic love story atmosphere, Richard Burton less so. The film is graceful and atmospheric which will limit its appeal to those who are fond of romance.

1. How entertaining and appealing a film? Its main impact?

2. Its status as Vittorio de Sica’s last film? The film as Italian? Appealing to Italians, to universal audiences?

3. The historic aspects of the film? The use of colour and the glowing photography for the past? The ample use of locations and sets: homes, piazzas.. churches? The atmosphere of the first decade of the century? The use of music and background themes for mood and characters?

4. The quality of creating the early nineteenth century atmosphere? Its look, Sicily? The isolation, the way of society, manners? Modes of acting, clothes, vehicles? A formal age?

5. The picture of society and society's impact on individuals? The style, the control of people's lives and wills? The differences in classes and expected behaviour? The role of wealth, authority, family? The external pressures on morals and behaviour? How well did the film portray these tensions for individuals? Did it make any judgement on such pressures?

6. The contrast of the people's feelings with the pressures of society? Feelings and conforming to marriage, love, bringing up a family, proper behaviour? The differing roles of men and women in such a society? Was it necessarily Italian?

7. The freedom for men, the constraint for women? The nature of arranged marriages and their effect on people's lives? The reality of true love? The initial atmosphere and setting for the will? The atmosphere of death and its repetition throughout the film? The people presented and their manner? The influence of wealth, death?

8. The presentation of Cesare and Antonio? Their role and understanding of their family, status in society, Antonio's marriage, the formalities of proposal, the elaborate wedding? The picture of family life, country estates, birth of children and difficulties?

9. The contrast in character between the two brothers? Adriana in this setting? The initial portrayal of her at home, at work, the influence of her mother? Preparation for Cesare's call? The disappointment? Her reasons for submitting to the marriage? Its effect on her whole life?

10. Cesare and his role in the family? His absences, business, his way of life as a wealthy man, his relationship to his mistress?

11. The contrast with Antonio as a more simple man? The happiness that he had and his having to tell himself about his luck? His relationship with Adriana and his son? The importance of the car? The sequence of his driving and his death? The impact of his death as exemplified in the funeral scene?

12. The portrait of Adriana and her son? Growing up in Sicilian society? Adriana living solely for her son? The dramatic change because of her illness? The beginning of the voyage in going to Palermo? The rebuke of the doctors and the diagnosis?

14. The visit to Naples and the confirmation of the illness? The impulse at the railway station to go on the voyage? The effect on Adriana and Cesare? The freedom, forgetting home and bonds?

15. The significance of the voyage in terms of love, fulfilment? The effect on each? The desire for Cesare to marry? The background of the scandal in Sicily?

16. How well presented was the dram of Adriana's death? The telephone call, Cesare's absence, Adriana's suffering? The impact of the death?

17. The film was based on a novella. Did the film correspond to this style? Its entertainment value, the impact in exploring human values?

VOLTATI EUGENIO

Carol Andre, Bernard Blier, Francesco Bonelli.
Italy, 1978, 105 minutes, Colour.
Directed by Luigi Commencini.

Voltati Eugenio is a perceptive social drama by director Luigi Comencini. The focus is on a young boy and his being rejected by parents and his family. The irony of the film is that the adult characters justify their attitudes towards Eugenio and are oblivious of their self-centredness. The film also attacks people who get caught up in humanitarian causes and neglect the basic human relationships. This is brought to a bitter conclusion as the central characters look at a newborn calf while Eugenio walks off into an uncertain future.

The film shows Italian society of the '70s and changing moral attitudes. The parents could have been sympathetic characters - in themselves they are attractive. However, they neglect their son and pursue their own careers selfishly. The grandparent generation is well-intentioned but ineffectual. The acting is very good and there are excellent supporting roles - especially a young boy as Eugenio's friend. The film was made around the same time as the American Kramer vs. Kramer, which would be an interesting comparison.

1. An interesting drama? Well observed? Appropriate critique of human nature, society? The Italian setting and impact for Italian audiences? Its universal message?

2. The atmosphere of authenticity in the Italian setting: the city of Rome, the countryside. homes and farms, apartments and shops, roads and airports? Audiences identifying with the characters and their situations? The film's attention to detail in characterisation and--- situation? The style of the musical score - the insertion of the child's song with its ironic lyrics?

3. The structure of the film: the basic situation for Eugenio and his being dumped on the road? The flashbacks from the various characters building up the story of Eugenio's childhood and rejection? The build-up to the final confrontation? The dramatic impact of this parallel structure?

4. The sympathies and viewpoint of the film-makers? Their concern for the child? The comment on the adult generation? The causes of the '60s and '70s? Causes vs. human beings? The pathos of the ending?

5. The introduction to Eugenio: his taunting Moustachio with the radio? His unwillingness to go to England? The suggestion of his relationship with his father? Grandparents? His confronting Moustachio and daring him? His being dropped on the roadside? His growing bewilderment? Disappearance? His reappearance at the end? His being the centre of attention and then being ignored? The irony of the final comments of the adults looking at the calf and its cuteness, the point of adults being monsters eating animals and the comment on their treatment of Eugenio? With so much insight into what had happened in his life up to this point?

6. The film's comment on children and their place in the family, love of parents, their not being wanted, parents' inability to cope, the self-centredness of parents and the victimisation of children? The possibilities for children to grow and develop? The shrewdness of the child in seeing when he is dumped? Hurt children? The repercussions for the future?

7. The focus on Giancarlo and Fernanda? Seeing them in their search for Eugenio? Their memories? Their justifying themselves in their memories? The audience critical of them? The marriage and Moustachio warning them that they were fools? The early years and their self-preoccupation as in the train ride? Argument, storming off the train, abandoning Eugenio? The phone calls and the grandparents looking after him? The break-up? Their being preoccupied with their work and causes? Fernanda and her marching in feminist demonstrations? Her overseas work? Her stating to Eugenio that work comes first? Giancarlo and his jobs, relationship with Ailena? His comment on biological needs and Eugenic being a burden? Did the parents love their child at all?

8. The role of the grandparents in looking after Eugenio? Fernanda's parents and the farm, their care and concern, their inability to relate to Eugenio? Their participation in the search? Their seeing Eugenio on the street with Guerrino and their discovering Giancarlo with Milena? Their presence at the farm and concern about the calf at the end?

9. The contrast with Giancarlo's mother and her wealth, her preoccupation with playing cards, the admiral who escorted her? The pathos of the old farmer and Eugenio's visit - his watching television, the difficulty in recognising him? Imminent death?

10. The character of Giancarlo: seeing him search for Eugenio, his memories? Taking Eugenio to England? The background of his having him at home, sharing in his work, the bedroom sequences with Eugenio interrupting? The friendship with Guerrino? The clash with the impatient 6lient? The liaison with Milena and his talking frankly to Eugenio? Pressurising him to go to Spain? Giancarlo's work on the television sets? His self-centredness, his asthma and his smoking?

11. The contrast with Fernanda and her feminism, her pretending to stay the night, the offer of overseas work, the phone calls, the holiday in Spain, her not meeting Eugenio, the bullfight? Pampering him on holidays but otherwise neglecting him?

12. Milena and her liaison with Giancarlo, her walking into the apartment, her disregard for Eugenio?

13. Moustachio and his giving Eugenio a lift, abandoning him on the road, searching for him? His role in friendship with Eugenio's parents? His urging Eugenio to run off at the end?

14. The film's themes of social causes and reform versus selfishness and lack of concern for individuals?

15. Guerrino and his friendship with Eugenio, the greens and the stale bread, the discussion about looking after the animals, selling handkerchiefs on the road? Helping in the search for Eugenio?

16. The insight of the film into human nature, feeling, hurt? Family, marriage? The film's pessimistic comment on contemporary society?

THE VOICE OF THE WATER

Netherlands, 1966, 90 minutes, Colour.
Directed by Bert Haanstra.

The Voice of the Water is a celebrated documentary by noted Dutch filmmaker Bert Haanstra. It has a considerable reputation for its technical achievement as well as for its portrait of Holland and the Dutch people.

It was three years in the making, with a great deal of local photography, taking advantage of seasons, of moods, of weather. There is an emphasis on realism as well as the beauty of Holland and the place of water - the North Sea, the rivers and canals and the low-lying land - always the potential victim of water.

The importance of the editing for pace and drama is notable. There are many expert collage effects - enticing an audience into a mood and experience of the land, its people and the water rather than mere observation of them. Nevertheless it has strong documentary realism. In fact, the film could be called a portrait of land and people.

There is a focus on the land and the fact that it is low-lying, that Holland is a small country, of the importance of the dikes against the sea, saving the reclaimed land, protecting the rivers. There is a bit of a tourist touch with the film - some cliches although an ironic tone towards travelogue.

The main character is the water and the Dutch people are seen in relationship with it. The water as surrounding, the land withstanding it. The people mastering it e.g. swimming, fishing, races and storms, rescues, trade. There is a blend of delight, beauty. There is a focus on sport. However, the film has some very dramatic sequences highlighting the destruction of the '50s and the growing pollution.

Haanstra has made an excellent documentary - but has made a film significant for his national industry.