VOICES

US, 1979, 107 minutes, Colour.
Michael Ontkean, Amy Irving, Alex Rocco, Barry Miller, Herbert Berghof, Viveca Lindfors.
Directed by Robert Markowitz.

Voices is a very attractive love story, stronger and more credible than usual. A New Jersey three generation, all male family is interestingly sketched and tensions explored. One son, Drew (Michael Ontkean) dreams of being a singer and works for it - he also falls in love with a deaf girl (very attractively played by Amy Irving). Their falling in love and facing very real communication difficulties are presented sympathetically and with force (especially by the girl's mother, Viveca Lindfors). The film highlights the silent handicap of deafness in a moving way for its hearing audience and, in the context of the love story, makes it emotionally memorable. A superior soap opera romance.

1. An appealing and satisfying romance? The background of soap opera and love stories, stories of handicap and audience sympathy? How well did the film combine these conventions for satisfying entertainment?

2. Audience identification with the Rothman family, with Drew, with Rosemarie? An emotional involvement with the personalities, the issues? The film as a vehicle for emotional learning?

3. The importance of the Jersey background, the comparison with New York? The home, poverty and wealth, shops, clubs? The ordinary family life of the Rothmans? The comparison with the world of Rosemarie Lemon - the school for the deaf, the dance and entertainment world? The film's presenting an ordinary and authentic world which people could understand and identify with?

4. The importance of the musical background, Drew's songs and their being interspersed throughout the film? The lyrics and their reference to the love story, their relevance - insight? Dance and its importance, dance to music listened to? The importance of silence and the film's use of silence to communicate the realities for deaf people?

5. The interest in the story of the Rothman family? As representing an American family, typical? The three generations in themselves and in comparison? The various images of America? The influence of each generation on the other?

6. The portrait of Nathan Rothman - his European origins., a gentle old man, his work, his relationship with Frank and his disapproval of him, his love for his grandsons? His dedication to his work, his supporting with money, with advice? His getting old and the boys' response to him? The happiness together, the regrets and sadness? A persuasive picture of old age?

7. Frank Rothman and his eagerness to succeed, his comparisons with his father, his attitudes towards his sons, loving them and sparring with them continually? The loss of his wife, his inability to have a steady job, his gambling and the initial contacts, his racing tip and spending all the money, making the family indebted to gangsters? His being bashed? His disappointment with himself, in the eyes of his father, in the eyes of his sons? His hardness on them especially Drew? The bonds of unity in the family despite disappointment and exasperation?

8. Raymond Rothman and his being a small-time thug around the district, his holding up cars and taking money from the drivers, school? The gang that he was with, his smoking, drugs, money? The bashing for not being able to pay up? Drew and his acting as a father to Raymond, criticising him, going out to defend him?

9. The opening and the talk behind the credits, the male talk, the breakfast situation, getting up to face the day, the talk about work, money, sex? The family and the evening across the water from the New York skyline, exasperation and love? The happiness of the family together at the end?

10. The character of Drew painted within this context? His place within the family, relationships, his work and the dry cleaning, driving? The various contacts and shops? His sense of responsibility? His ambitions about singing, practising? His making the record. taking it to the manager and arguing with him, his singing in the club, the sleazy aspect of the club and his helping the topless dancer? The encounter with the negro financier of the new club and taking the job? How well did the film establish his character, his background, his attitudes towards life, his hopes?

11. The glimpse of Rosemarie, his following her, the humour of the encounter with her, the bus, the train? The nature of the attraction? His talks with Raymond? His rediscovering her, the discovery that she was deaf? The effect on her, the audience? His attempts to communicate with her, his visit to her home - words, lip-reading, sounds? The devices in her home e.g. the light for the telephone and the door? His attraction towards her but balking, the failure of the various meetings, his continued hope? Her hopes, disappointments?

12. The significance of her mother's visit, the encounter with Drew? Her mother's criticism, wanting to help her daughter? Rosemarie’s defiance of her mother and disappointing her?

13. The effect of meeting Rosemarie on Drew, his books for learning sign language, his practising (and the family's apprehensions and jokes about his being deaf, talking loudly)? His visiting Rosemarie at home, taking her out? The build-up of communication between them? The rain and his bringing her home, her seeing the family, especially the grandfather, the contrast with her own background?

14. How well did the film build up the reality of Drew and Rosemarie trying to communicate, exasperation, hopes? Seeing her at work and her ability, her capacity for mime?

15. Drew's pushing her for the dancing audition, her reliance on him, the irony of his being late because of his father being bashed, her mistakes and the audience feeling the intensity of the difficulties for her and her trying to dance, Drew's arrival, his push, her success? The attitude of the people holding the audition?

16. Drew and Rosemarie building up their love, the family supporting them, the possibility of a future?

17. Drew's success in singing, the family at the club, a future for him? The interspersing of the sequences of his lovemaking with Rosemarie? The future for them together?

18. The value of the film as a contemporary love story, a portrait of people, the feeling and sentiment, the issues of the handicap of the deaf?

VOGUES OF 1938

US, 1937, 108 minutes, Colour.
Joan Bennett, Walter Baxter, Helen Vinson, Mischa Auer, Alan Mowbray, Jerome Cowan, Alma Kruger, Marjorie Gateson, Penny Singleton, Hedda Hopper.
Directed by Irving Cummings.

Vogues of 1938 is a minor musical - especially in comparison with musicals of the time e.g. the M.G.M. productions like The Great Ziegfeld, Fox productions such as those with Tyrone Power and Alice Faye, In Old Chicago, Rose of Washington Square. The film, with its world of chic affluence in New York in the late '30s is reminiscent of Roberta - though again pales in comparison. The film has a very conventional plot focusing on Warner Baxter as the owner of a fashion shop in New York and penniless heiress jilting a rich husband (Alan Mowbray) and becoming a model. Baxter's wife leaves him at the end, leaving the way for happy romance with heroine Joan Bennett.

The emphasis is on fashion show and the staging of musical comedy. It is very much in the atmosphere of 42nd. Street, where a seemingly penniless Baxter is able to stage a most lavish musical comedy fashion show at a moment's notice in his shop building. Direction by Irving Cummings is fairly basic: Many obvious establishing shots, short sequences with long fade-outs. There seems to be an emphasis on the obvious.

Production was by Walter Wanger for his wife Joan Bennett. Screenplay was by Bella and Samuel Spewak (authors of My Three Angels and other successful plays). The film has one fine song: That Old Feeling.(A comparison with the Australian production, Ken Hall's Dad and Dave Come to Town, with its atmosphere of fashion shops and Hollywood style fashion show, favours the Australian product of 1938.)

VIVEMENT DIMANCHE (CONFIDENTIALLY YOURS)

France, 1982, 111 minutes, Black and white.
Fanny Ardant, Jean- Louis Trintignant.
Directed by Francois Truffaut.

Vivement Dimanche is a film by Francois Truffaut. Its reception in the English-speaking world was decidedly cool, quite unusual for a film by Truffaut, who had become an ideal for so many film-makers in his leading role in the new wave of French directors from the late 50s (with such films as The 400 Blows, The Mississippi Mermaid, The Bride Wore Black, Shoot the Pianist, Jules and Jim).

This is a parody of a murder mystery and murder investigation, set in a small town. One of the suspects is the town's estate agent. Truffaut is paying tribute to Hitchcock films as well as the many screwball comedies of the 30s. Fanny Ardant and Jean- Louis Trintignant are the central characters who are the screwball couple, French style. The film is based on the novel The Long Saturday night by Charles Williams (whose stories formed the basis of such films as Dead Calm).

1. The significance of the title? The French title - Will Sunday Come Quickly? The title of the original American novel, The Long Saturday Night?

2. The work of Francois Truffaut? His love of films? His delight in homage to old styles? The Gallic and light touch? Sophisticated treatment? This film within his canon of films - and the light touch compared with serious portrayals of human nature?

3. The tradition of the American film noir? Of screwball heroines with their wisecracks and intrepid adventures in the '30s? The type of Nancy Drew, Detective? Hitchcock's influence on Truffaut? In suspense, touches. homage sequences? Truffaut's choice of Kubrick's Paths of Glory to be the film screening at the cinema?

4. Black and white photography. mood. effect? Focusing on the plot and moral issues? Light and darkness, shadow? Mood and the musical score?

5. The opening and the hunting sequences. stalking in suspicion, killing? Was the audience meant to assume that Vercell had done the murders? The transition to his wife's death. the information given, the visual impression of her death?

6. Vercell and his relationship with Barbara? Their work together? Tension? The fire? (And the ad and the blonde Christine?) Christine's phone call? Atmosphere?

7. The focus on Vercell, his arrest, questioning, suspicion? Attitude of the audience? His returning to his office, hiding, coping? Directing the detection from behind? His puzzle, the mystery in the situation? His reliance on his lawyer? Going out - fight the priest? Barbara and the bond with her, setting up the situation with the police, tricking the lawyer? The happy ending? The portrait of a harassed man?

8. Fanny Ardant as Barbara? Her presence? A credible secretary? The brunette (the contrast with the Hitchcock blonde)? Fire, coping, the play and the photographer, her costume - Robin Hood style and the humour of her having to wear it throughout the film? Her detective's overcoat? A woman of action - in comparison with the boss cooped up in his office? Her turning into an action matinee heroine? Her ingenuity, her derring-do? Taking the car, going to the hotel, searching rooms? The bed and the private eye? Tearing her sleeve, the agency and the build-up? Her returning to the office? The priest's visit? The priest at the flat and the fight with him? The irony of his relationship? The visit to Paula and the theatre? To the Red Angel? The interrogation of Louison? Her impersonating the prostitute? Her going into danger? The deaths? Sex. betrayal? The visit to the lawyer? The secret panel in the wall? A truly intrepid heroine - with humour?

9. The lawyer and his suave manner, advice to Vercell, his being tricked, the telephone booth situation with its melodrama -and his shooting himself? Relationship with Christine, hold over Paula, betrayed by her, Louison and the murder?

10. Paula and Louison - sleazy atmosphere, the cinema, the nightclub, the phones? Their violent deaths?

11. The explanation of the set-up - blackmail, money, murder? Christine in this context? A portrait of social corruption?

12. A Truffaut entertainment - images of the world, crime, detection?

VIVA ITALIA

Italy, 1978, 115 minutes, Colour.
Alberto Sordi, Ugo Tognazzi, Vittorio Gassman, Ornella Muti.
Directed by Mario Monicelli, Ettore Scola, Dino Risi.

Viva Italia is an entertaining film satirising Italians and their way of life in the '70s. It is an unusual kind of film insofar as it is a series of sketches. Most of these are very well done in themselves - but the overall effect of the collection and their juxtaposition is strange. It is satisfying in its way, but one wants more of several of them. They move very quickly also from one to the other. Three directors are responsible: Mario Monicelli, a director of light satiric comedies; Dino Risi, a director of more sardonic commentaries on Italian way of life; Ettore Scola. a director with a more gentle touch, e.g. A Special Day and We All Loved One Another So Much.

The film was also a showcase for three prominent Italian actors: Vittorio Gassman who is excellent, especially as a cardinal; Alberto Sordi who excels in three very different roles; Ugo Tognazzi who has less spectacular roles than the former two actors. Quite a deal is said quite sarcastically as well as partly affectionately about the Italian people. However, there are strong attacks on government, the church, the wealthy. There are some insights also of a more universal nature - children and their putting parents into old age homes, and an excellent cigarette ad-looking episode which ultimately turns into a terrorist manoeuvre. For those who enjoy Italian films.

1. The impact of the satiric comment on Italy, the Italians, Italian institutions? How much affection in the satire? How critical?

2. The reputation of the stars and the directors, their particular skills, their contribution to the tone of the film? 3. The quality of the stories - the brevity, the variety of themes, the juxtaposition of each story with the other, the overall effect of the collection?

4. The stories in themselves:

(a) Fiorella and her being a popular singer, her husband and his urging the people on, his using his wife and the sexual innuendo, her loss of voice, his dominating her with contracts and further engagements while seeming to protect her? A comment on marital relationships?

(b) The radical priest and his urging his parish council to social reform? The validity of this presentation of the priest? The ordinary people and their fighting, the priest's exasperation? The cardinal and his arrival, his assistant? The contrast in dress and the discussions about the cassock? The cardinal and his gracious listening, his interfering, his innuendo, his abusing the people? His moving to the pulpit and haranguing them? His reverting to the status quo and the anger of the priest, his comment about the cardinal conning the congregation? The cardinal urging them to sing hymns and the people all succumbing to ring the bell, play the organ etc.? His final blessing and leaving them exactly as they were before? The use and abuse of religion? How telling the criticism?

(c) The skill of Vittorio Gassman in presenting the distraught husband wanting his kidnapped wife back? The television personnel and their leaving? The ironic touch in talking about the telephone and showing that it was broken - and leaving the episode at that?

(d) The wealthy driver and the wealthy class in Rome, their discussion about religion, connections with the Pope, the schism of Archbishop Lefebvre? The man who was run over and the driver actually taking him into the car (and the comment about his blood)? The driver and his incessant talk, his self-revelation and his arrogance, superficiality? His lack of regard? A satirical comment on affluence - the connection between religion and sexuality, the focus on orgies in his discussion? The satire on care for people, the reaction of the various hospitals - the hospital that was full with the Dutch tourists, the nun refusing emergencies after 11 o'clock, the two men playing cards who wouldn't help, the military hospital who would only take men on active service? The irony of the driver bringing the victim back to where he started? The film's comment on the wealthy, human callousness?

(e) The satire in the discussion by the producer about pornographic film? The discussion about nudity and sexuality? The monkey? The presentation of the actor and actress and their rationalising the film and the five days' work? The double irony when it emerged they were talking of their Lolita-type daughter? The comment on the Italian film industry, double talk?

(f) The story of the son taking his mother for an outing? Its seeming reasonableness? The very gradual build-up of the tension between son and mother? The lack of outings, the mother as an imposition, the tour around Row, her ice cream sundae? The ride in the country and the gradual ominous revelation that she was being taken to an old people's home? The satirical tour through the hone itself? The people singing, painting, sleeping, complaining? The nuns and their harsh discipline? Hitting the people? The full revelation that the mother was to be dumped there? The persuasive double talk about it being a hotel and the son's making a favourable comment on every disadvantage in the place? The irony of the mother actually deciding to stay? The phone call to Patricia? The case in the back of the car? The mother seeing through the son and farewelling him? The universal comment about family relationships and the aged?

(g) The farcical sequence in the restaurant - the fashionable group wanting the special meal? The fight and its dramatisation in the kitchen? The group finding the meal tasty? The homosexual overtones of the two cooks fighting and making up?

(h) The cigarette commercial style and romantic story of the hostess, her swimming, the suave man at the poolside, their interaction, dancing, smoking, the night together? The point of the cigarette commercial style and its glamour? The farewell at the airport? The heavy irony with the information about the exploding plane? The jolt at the end of this story?

(i) The transition from the smooth story to the funeral - the background of the theatre and the affection for the comic routines, the Italians' attitude towards death, the oratory at the graveside - and the straight man's comments on his comic companion? The starting of the routines, the farcical weeping and the changing to laughing, the song and dance routines at the cemetery - a celebration of Italy's resilience?

5. The framework of the film: the range of couples dancing at the beginning, an image of the panorama of Italian people? The range of attitudes shown and expressed throughout the film? The finale with its humour and optimism? Did the film justify its title?

VISITING HOURS

Canada, 1982, 99 minutes, Colour.
Michael Ironside, Lee Grant, Linda Purl, William Shatner.
Directed by Jean- Claude Lord.

Visiting Hours is one of many multiple-murder horror thrillers, of the early '80s. This is a Canadian production (from the producers of David Cronenberg's Scanners and The Brood). Lee Grant is strong as the television journalist. Linda Purl is an attractive heroine and Michael Ironside (who appeared to such villainous effect in Scanners) is suitably menacing as the mad murderer.

The film uses the conventions of this kind of thriller, offers a great deal of shock and gore. No better, no worse than many of its kind.

1. The popularity of this kind of violent melodrama? Multiple murders? Social problems and madness? A serious melodrama? Exploitive?

2. American cities, television, airing of social issues? The products of disturbed homes and consequent violence? The world of the hospital - as a location for this kind of thriller? Editing, pace, shocks? Musical score?

3. The basic theme of disturbed homes? The television discussion about battered wives? Sheila Munroe and her children? Colt Hawker and his background? Violence?

4. Deborah Ballin and her work, skills, the attack by Hawker? In hospital? Sheila and her friendship? Gary and his backing? Hawker's presence in the hospital, lurking and menacing? The confrontation in the hospital and Deborah's breaking out from her non-violence to kill Hawker?

5. Hawker and his physical presence, menace, the attack on Deborah, his apartment, the photographs, violent images, his attack on Sheila, his presence in the hospital, the violent struggle and his death?

6. Sheila and his work at the hospital, friendship with Deborah, the menace to her own life and her children, the friendship with Lisa, her going home, the attack by Hawker?

7. Lisa and her work as a prostitute? Presence at the clinic, her being assaulted by Colt, her going to his apartment, wrecking it? Her warning to Sheila?

8. The background of the television stations? Cary and his work, backing for Deborah? The importance of topical television? its sparking off crises?

9. The emphasis on incident, violence, melodrama? Exploration of background issues - or not?

VIRIDIANA

Spain, 1961, 91 minutes, Black and White.
Silvia Pinal, Francisco Rabal, Fernando Rey, Margarita Lozano, Victoria Zinny.
Directed by Luis Bunuel.

Viridiana is considered a masterpiece of Luis Bunuel. Made in the early 60's, it has a certain shock value on its first release, though now it is well accepted. Bunuel, an exile from his native Spain, critical of what happened in Spain under the Franco regime, bitter towards both Church and State, often
explores and visualizes his questions and his hatred.

Viridiana is a nun novice who is required to go home to care for her uncle. Her uncle seduces her. Viridiana reacts in strange ways and becomes a victim both of her uncle and of the household in which she finds herself. There are many striking aspects of this exploration - the critique of the nobility in Viridiana's uncle, the questioning about motivation and religious purity in Viridiana herself, a comment on the poor in the household. There is also a famous sequence when the beggars invade the uncle's household and hold a kind of orgy which is visually presented like a 'Last Supper' sequence. Viridiana is a most interesting film and its themes are well worth exploring. It also bears close relationship to Bunuel's later film Tristana. Fernando Rey portrays the uncle in both films.

1. What was the main audience response to this film? Its response to the plot and characters? To the style of the film? To its themes of society and the individual?

2. The film is considered a masterpiece. Why? Was the film satisfying in itself? The blending of the fanatic and the cinematic? An appropriate and depth exploration of persons and society?

3. Comment on the quality of the black and white photography? The situations and backgrounds? The use of editing?

4. How much of the film was symbolic? The character of Viridiana, her behaviour? The particular details of the skipping rope, the tree, the beggars in the backwood etc? How real were the events meant to be? How well did the film blend symbolism and realism?

5. What insight into society did the film offer? Viridiana's social back~ ground, her place in the convent? Her being sent home to her Uncle? Don Jamie and his household? The housekeeper in relationship to Don Jamie and the house? The nephew and his girlfriend emphasizing the modern atmosphere? The beggars and their background? This particular house and its people as an allegory of the wider world?

6. How well was the character of Viridiana explored? As an ordinary girl, her religiosity and piety? Her being sent home? The effect of being sent home? Good but unreal? The effect of Don Jamie's wounding of her pride? The sexuality? The sleep-walking scene and its significance? Her being dressed in the bridal clothes? Her welcoming of the beggars? Serving of them? Her praying while the house was being renovated? The clash of personality and style with the nephew? The effect of the pessimism on her? The awakening of her sensuality? Liberating or not? Her final decisions? What future did she have? How much was good and how much was bad in her? What did she symbolize about the good person in the world?

7. What did Don Jamie represent? Social decay? Morality? His memories of his wife? The effect of the sleep-walking? His ravishing Viridiana's pride? His relationship to the house-keeper? The irony of his death with the skipping rope?

8. The character of the nephew,, callous, modern, destroying yet saving? His relationship with his mistress, the house-keeper, Viridiana? What response did he draw from her? Did she see him as he was or did she romanticise him?

9. The impact of the beggars in the film? Virdiana's romantic idea of poverty? Her kindness and their gross greediness? Their exploring of the house? The banquet behind her back? The mock da Vinci, Handel’s Halleluja Chorus? The callousness of greed, running away, the rape? How romantic was Viridiana's view of these beggars and her service of them?

10. The effect of all this, especially the rape and the death on Viridiana? Her disillusionment?

11. The dramatic impact of the ending with the menage a trois? The rock-and-roll song?

THE VIRGINIAN

US, 1929, 95 minutes, Black and white.
Gary Cooper, Walter Huston, Richard Arlen, Mary Brian, Chester Conklin, Eugene Pallette.
Directed by Victor Fleming.

The Virginian is an early sound western, made by Paramount in 1929. It was directed by Victor Fleming who was to go on to make many significant films in the '30s including Red Dust and, of course, Gone With the Wind.

The film shows the beginnings of development of the making of sound films, the transition from fixed cameras to mobile cameras and sound engineering. The film has western locations, the open plains, cattle, the western town.

The film is an early vehicle for Gary Cooper - who looks rather stilted (and might be compared unfavourably, at the age of 29, to many actors in later decades who were much more successful in their career at 29). However, he had just appeared in William Wellman's Wings and was to appear in a number of films in the '30s, gaining his first Oscar in 1941 for Sergeant York. He is the Virginian, the typical hero, who has a great bond with his friend Steve (played by Richard Arlen). There are the usual adventures in the town, the attraction of the schoolteacher (Mary Brian) for him. There is an arch villain, Trampas (portrayed by Walter Huston). There are clashes between the Virginian and Trampas' men, the death of Steve, the ultimate confrontation with the death of Trampas. There is a somewhat High Noon showdown.

The film has many of the familiar ingredients of so many westerns to come. It is of historical interest for the late '20s and its influence on the style of the western. (Eugene Pallette appears in an early role, as does comedian Chester
Conklin as Uncle Hughie.) A historical item.

THE VIRGIN SPRING

Sweden, 1960, 85 minutes, Black and white.
Max von Sydow, Birgitta Valberg, Gunnel Lindblom.
Directed by Ingmar Bergman.

The Virgin Spring is one of Ingmar Bergman's most celebrated films. It is based on a mediaeval folk-song and the screenplay is by Ulla Isaksson. As with most of Bergman's films, it was photographed by Sven Nykvist. The film won the Oscar for Best Foreign Film of 1959.

Once again the film has Max von Sydow in a strong commanding role. He is supported by an excellent cast which includes Gunnel Lindblom as the malevolent Ingeri. She was to appear in other Bergman films, including The Silence, and to direct her own films in the '70s and '80s.

Bergman has a religious background, especially from his Lutheran minister father. This film has Christian references and framework. It contrasts Christianity of the Middle Ages with the pagan traditions of Scandinavia - here in the God Odin. The film is full of visual symbols which lead to myriad interpretations, religious, social, psychological. Bergman is at home in the mediaeval world as he showed with the equally impressive, The Seventh Seal.

1. The place of this film in the Ingmar Bergman canon? An achievement of the '50s? In comparison with what went before, especially The Seventh Seal? Signs of films to come? Its quality? International recognition? Oscar?

2. The quality of the black and white photography? The mediaeval atmosphere, sets and decor, light and darkness, shadow - good and evil? The countryside, the houses? Day and night? The emphasis on detail - and the artwork of the middle Ages? The importance of tableau? The religious emblems and their use? The music - and its mediaeval style, religious sense?

3. The importance of light and darkness, black and white, good and evil? Realism, symbolism? Rituals and icons, tableaux? Karin as a wilful and spoilt girl becoming a martyr and saint? Tore, a loving father, an avenger in sacred ritual, remorseful? Ingeri as stepdaughter, jealous, pagan, malevolent, repentant? Themes of food, hospitality, water? Purging fire?

4. The film as a fable of good and evil, sin, death, cruelty, revenge, justice and forgiveness?

5. The darkness of the opening with Ingeri and her appearance, dark hair, worship of Odin? The contrast of the traditional pagan religions with Christianity? Yet the sombreness and emphasis on suffering of Christianity? Pagan rituals and superstitions? Christian rituals - how much superstition? Prayer, processions, pilgrimages, religious services, wax, the ritual birching, the bath? Penance?


6. The portrait of Ingeri: her place in the household, relationship with Tore? Worship of Odin? Dark, hostile? Her putting the toad in Karin's bread? The journey, the clash, the stone, her fighting, remaining, fearful in the forest, watching the rape, doing nothing, hiding in the staircase, the confession, the help? Leading the family to Karin's body? The water and the cleansing? Evil overcome?

7. The contrast Karin: blonde, white, good? The blend of pagan and Christian? The comparison of the pregnant illegitimate stepdaughter with the virginal good daughter? Her being wilful, vain and spoilt? Dutiful in terms of religion yet not devout? Her going at her parents' behest? The clash with Ingeri? Her delight in the forest? Her kindness to the herdsmen? Her becoming their victim, the audience reaction of horror at the attack, the rape and her death? The virgin martyr? The discovery of her body and the virgin spring? The cleansing water of forgiveness - with its biblical overtones?

8. Tore as the patriarch of the household, the Christian father, the mediaeval background of patriarchal rule? His attitudes towards Karin? Sending her on a mission, the food? his hospitality towards the guests? The discovery of the truth as they begin to sell Karin's clothes? The decision for immediate vengeance? The delay - the ritual birching for purification, the washing, the enthronement as a mediaeval judge to execute the murderers? The waiting, the details of the killing, the killing of the boy? His attitude towards Ingeri and her part in the process? The discovery of Karin's body and his prayer, remorse, penance?

9. His wife and her ritual, the dutiful wife of the Middle Ages, the fussing about Karin at length? Waiting for their daughter's return? Her reaction to the herdsmen with the dress? Her presence at their deaths? Her taking the blame?

10. The herdsmen as ordinary men? The importance of the presence of the boy and his participation, watching, guilt by association? Their finding Karin, the manifestation of their evil, the meal, the rape and the violence? The snow and the burial? Going to Tore's house, the meal and his hospitality, selling the clothes, the boy being ill, the screams in the night, the rituals of their deaths?

11. The presence of the monk in the household? A symbol of the Christian religion and its rituals? The May Queen? The comment on the condemnation to Hell of the murderers?

12. The portrayal of the detail of mediaeval life in the household, the servants, meals, the ordinary routines of the day?

13. Beryman's reliance on the detail of the scenes and their impact: the household, the meals, Karin and her dress, the journey, the shared meal with the herdsmen, the rape and murder, the poems, their ritual killings, the final tableau?

14. The psychological aspects of the film: (from the Monthly Film Bulletin review, 1961, p.92): The toad in the bread, the raven cawing from the branch as they set out to look for the girl's body, the father grappling with the single, phallic tree on which he enacts a sort of sexual ritual, the positioning of one of the dead herdsmen as if after crucifixion, the purging by fire of another.

15. Bergman's understanding of human nature? His portrait of society - the mediaeval microcosm? The importance of religion and religious values? The presence and absence of God?

VILLAIN

UK, 1971, 97 minutes, Colour. Panavision.
Richard Burton, Ian Mc Shane, Joss Ackland, James Cossins.
Directed by Michael Tuchner.

Villain is quite an unpleasant film, yet concerns a psychopath typical enough of the spivs spawned by our big cities. The picture of the villain and his cronies, his pressurising and his plans, his confrontations with the police, are part of the world that we read about in the newspapers and then tend to forget exists until we pick up the next edition of the paper. The film is ugly but it presents a real ugliness. Richard Burton does a clever impersonation of an ageing, paunchy, Cockney psychopath we see torturing at the beginning of the film and who has not grown any more likeable by the end of the film as he shouts at the audience, "What are you all looking at?" And we have got to know him and his world rather well. The film doesn't explain the psychopath villain entirely but it gives us an extended look at him. The film is written by the team of Ian Le Frenais and Dick Clements and had a strong British supporting cast.

1. What impact did the title of the film have? Did it adequately sum up the film? Why?

2. Was Vic Dakin the hero of this film or not? What attitude did the film take towards Vic?

3. How did the initial threat and mutilation scene set a tone for the whole film? Was it too bloodthirsty? Did it make you take Vic seriously? Did Vic enjoy the mutilation?

4. Why did Vic's associates follow him round so eagerly and obediently?

5. How did Vic get to the top in his district? How did he take his being top?

6. Were you surprised at his regard for his mother? what did this reveal about him? One of the police remarked that it showed he couldn't be all bad. Was he all bad? Did he have any redeeming characteristics?

7. How did he keep power? How did he use people - e.g. Danny the informer? What was his attitude towards the police?

8. What kind of person was Wolf? Did his kind of life - procurer, pimp, his being bossed round by Vic and politicians, his being used sexually by Vic - disgust you? Did he have any redeeming characteristics?

9. What kind of man was Draycott? How did the morning sequence when he woke up jaded reveal his kind of life? Why was he scared of Vic - note the sequences of his feet in the urinal? What of his fear of exposure and his lies about Vic? How disgusting was he?

10. Were you impressed by the two policemen? As men? Were they sympathetic? Did they do their jobs well? Did they use dirty methods - what of their frightening people, using informers and organising set-ups? What else could they do?

11. was the robbery scene well done? Was it too violent or did it show what this kind of violence really looks and feels like?

12. Why did Vic take on the payroll robbery? Was he too old for this? How much risk was it? How did he persuade Frank Fletcher to cooperate? What of Edgar and his ulcer?

13. Why was Vic so arrogant when arrested? Was he clever in organising an alibi through Wolf and using Draycott?

14. Why was he so affected when his mother died? Why did he need Wolf?

15. Why did the clerk give the information for the robbery? What did he expect to get out of it? What did he get out of it? How did Vic humiliate him?

16. How did Vic overreach himself in falling into the trap with Edgar at the hospital?

17. Why couldn't Wolf follow him all the way?

18. Why did Vic shoot Edgar?

19. Why did Vic think himself indestructible and that he could pay men to keep him free? What was the impact of the ending with his looking at the witnesses? What was the significance of his final shout 'What are you all looking at?" How was this addressed to the audience? What were we looking at and why?

20. Was Vic any more attractive at the end than at the beginning? Was his character explained by the film? What can society do about psychopaths? How forgiving can society be? What rights has a criminal psychopath.

21. How accurate a picture of the gangsters of our cities did the film give? If this is accurate, how serious are our city and gangster problems and the problems of politicians and police?

VILLAGE OF THE DAMNED

UK, 1960, 80 minutes, Black and White.
George Sanders, Barbara Shelley, Michael Gwynne, Martin Stephens, Laurence Naismith, Peter Vaughan.
Directed by Wolf Rilla.

Village of the Damned is a small science fiction film, made in England in the sixties. It is based on a John Wyndham story, "The Midwich Cuckoos". It is an interesting adaptation of Wyndham's story and his themes. The black and white photography, the creation of atmosphere, the suggestion of the unknown are all quite vividly communicated. The film was so effective that a sequel, "Children of the Damned", was produced soon after.

1. Did this film appeal as good science fiction? Why?

2. How well did the pre-credit sequences establish setting and atmosphere: quiet, English, the mysterious blacking-out of the people? How did the film keep audience curiosity roused?

3. Who has the responsibility to avoid panic in such situations? Was this handled well?

4. was the conflict aroused by the mysterious pregnancies well presented?

5. Who were these children? Who was responsible for their conception?

6. How was their mysterious nature visually communicated, their growth and evil?

7. Once they started harming people, did Zellaby have an obligation to stop them? Why was he obsessed with their minds and their capacity to read others' minds? Was it prudent for him to take responsibility for them for a year?

8. What impact did their mesmerising and killing people have on the audience? How much revulsion? why?

9. Did Zellaby do the right thing in destroying them? How successful was the visualising of his thinking on the brick wall?

10. What was the point behind this science-fiction effort? What is the value of films like this?