VIGIL IN THE NIGHT

US, 1940, 96 minutes, Black and white.
Carole Lombard, Anne Shirley, Brian Aherne, Julien Mitchell, Robert Coote, Peter Cushing.
Directed by George Stevens.

Vigil in the Night is based on an A. J. Cronin story. A number of his books were filmed with big budgets and star casts: The Citadel, The Green Years. Cronin was also popular with Dr. Finlay's Casebook on television. This is a very worthy film, full of sentiment and the artificial film styles of the '30s and '40s. Despite this, its earnestness appeals to the audience and the film succeeds despite its soap opera touches.

Director George Stevens made many excellent film vehicles for stars during the '30s and '40s e.g. Katharine Hepburn in Alice Adams. Quality Street; Cary Grant in Gunga Din, Penny Serenade. Stevens also won Oscars for directing A Place in the Sun and Giant. Other films include The Diary of Anne Frank and The Greatest Story Ever Told. Carole Lombard, more at home as a comedienne, eventually succeeds in the very serious central role. Brian Aherne does well with nobility for the hero. There are many classic situations criticising hospital management and hospital care in the early decades of the century. The film has, in soap opera ways, a number of medical ethics questions. It moves on the level of sentiment and sincerity in comparison with so many later soap operas. Alfred Newman's score is particularly romantic and often stringed.

1. An example of soap opera and romance of the '30s and '40s? Impact in its time? Now? The nature of comparisons?

2. The work of George Stevens and his treating soap opera material with style and class? The contribution of the stars - especially Carole Lombard playing against style? Black and white photography, studio work, lighting? The creation of the British atmosphere? The emotional and romantic score?

3. The popularity of A. J. Cronin's stories, his background as a doctor, his critique of hospitals and medicine, questions of medical ethics and moralising? The continued appeal of Cronin's work?

4. The soap opera style and the emphasis on sadness, the succession of tragic events? The culmination in the trial and the epidemic? Themes of courage, conscience, heroics, poetic justice?

5. The initial focus on Lucy and her responsibility for the child's death? Her irresponsibility, not wanting to be a nurse, feeling pressurised by Anne? Her studying for her certificate, marrying ice and taking him from Anne? Her separation from ice and her working in the shady hospital? Irresponsibility and the trial? The intervention of Dr. Prescott? Her second chance and her accepting it? The crisis in the night, the mouth to-mouth resuscitation? Her death and her conscience being freed? The framework of the two vigils in the night?

6. The contrast between Lucy and Anne? Anne and her efficiency, devotion, tiredness. quick acceptance of the blame, love for her sister, the pressures on her to be a nurse, her going away from the hospital, leaving Joe? The interview with the Matron? Friendship with the fellow nurses? Her dedication to her work? Her comment on the Matthew Bowley operation? His rewards? Propositions and her rejection? Mrs. Bowley's reaction? Matron promoting her? Her work with Dr. Prescott and her dedication? A woman of integrity?

7. The background of the hospital: the humour with the fellow nurses under the strict regime, Matron and her severity, Nurse Gregg and her comments from the past? Mr. Bowley and the proposition, the handbag and the money? Dr. Prescott and his appreciation of Anne? The bus accident, Anne's efficiency, Dr. Prescott taking her home and their talk about the future of the hospital? His misjudging her?

8. Anne and her going to London, discovering the story of Lucy in the paper? Going to see Joe and his drinking? The trial and her support of Lucy? Prescott's intervention? The invitation to return because of the epidemic? Her volunteering, taking charge, the nurse's refusing to go for Matron but helping Anne? Her renovating the hospital and giving Bowley the account? The Bowley boy and tending to him? Lucy's saving his life? Lucy's death and Anne's sadness? Joe's arrival and condemnation? Prescott's intervention and the happy future? Carole Lombard playing against comedienne style as serious heroine? The ideal heroine of integrity?

9. Prescott and his ideals, surgery skill, appreciation of Anne, problems of money, abuse of Bowley? His dreams and the humour with the housekeeper rousing on him? His letting Anne go and offering a reference? misjudging her? His trial and the cross-examination of the proprietress? The epidemic and the success of the hospital? Happy ending?

10. The life of the hospital, Matron and her toughness, the lack of money, Bowley's selfishness? Matron relenting and helping Anne and appreciating her? Nurse Gregg helping?

11. Bowley and his meanness, the operation, the gift of the purse, the proposition to Anne, the threat of scandal by Mrs. Bowley. his exasperation with the accounts. the clash with Prescott, his own son and his relenting and helping the hospital?

12. The trial and the scandal?

VIGILANTE FORCE

US, 1975, 89 minutes, Colour.
Kris Kristofferson, Jan- Michael Vincent, Victoria Principal, Bernadette Peters.
Directed by George Armitage.

What seems another violent look at an American town with Jan Michael Vincent shooting his heroic way to order, turns out to be precisely this as an allegory of recent political corruption in the U.S. Kris Kristofferson plays a Vietnam veteran who is employed to police the riff-raff in the town of which he was once the bad boy. He starts cleaning up, but it is soon clear that he intends to clean up as much money and power as he murderously can in the name of law and order. It all looked far-fetched and unmotivated at first - but then one realised that it had all happened at the top.

1. The significance of the title, the emphasis of the title, reference to America? The total impact of the film as a thriller, as a social statement? Audience expectations from the title, social violence? Expectations fulfilled?

2. How could the film be seen as an allegory of the United States in the 70s? The background of Vietnam, the Nixon administration? The vigilante force of this film as paralleling in some way the external respectability and the inner corruption of the Nixon administration? The comment that America after Vietnam and Nixon got the kind of vigilantes and violence that it deserved? How just is this comment? Is this kind of violent allegory a necessary purging for Americans after their experience of corrupt administration? Involvement in war?

3. How well did the film present the small town, the location photography, the atmosphere of the town in its buildings, streets, details of way of life. people in administration? The cracks behind the facade of the town? The potential for corruption,, for violence? The ordinary people? The conventions of the Americana look at the small town? violence and heroics?

4. The background of the town and the way that it was created: the oil wealth, shops, people, the way of life, the potential for greatness, the potential for disaster?

5. The presentation of the administration: the Mayor and his interests,, the Banker, the Police Chief? The particular ways of administration that they represented? External respectability? The use of corruptive violence for surface cleaning up? Their being involved with the inner corruption? The extent of their greed, their downfall and their deaths? The Judgement that the film made on them?

6. How good did the plan seem on paper? How bad a plan was it: for oppression, the enslavement of the people, the exploitation.. exploiting people's weaknesses and needs? The money-making and success of the vigilante force?


7. The film's focus on Aaron: his Vietnamese background, his having been kicked out of the town as a trouble-maker, his inability to hold his job in Los Angeles? Insubordination and irresponsibility? His genial façade, his fascist attitudes? The fact that he was the kind of man sought out by a town administration. the way that he was welcomed? Aaron's use of the law and twisting authority for his own purposes? The solemnity of his being sworn in., the seeming happiness of all? The sudden eruption of violence., the gratuitous violence of his methods? His plan for enriching himself,, his friends? The build-up towards deaths, destroying the administration? Greed? The blackmailing hold over the administration? His clashes with Ben? His relationship with little Dee and her rebelling against him? Audience response to his decision that Linda had to die? Was he a credible character, a symbol of evil? The fact that Kris Kristofferson played the part?

8. The contrast with Ben: ordinary citizen, of the same family as Aaron, the different background, greater stability, the widower, the friendship with Linda? The fact that the town asked him in good faith to persuade his brother to come? The contrast in ways of livelihood, behaviour? The testing of Ben's loyalty? His disillusionment? His suffering through Linda's death? The contrast of good and evil in the two brothers? The violent heroism on the 4th of July? Did the film justify the violence of Ben's manoeuvres against his brother and his force? Was there any other way? The criticism of an America that provides for this kind of violent solving of problems?

9. Linda as heroine, her values in the town, her support of Ben, love for him, her educational work? The contrast with Aaron? Audience revulsion at her death? Her funeral as the occasion for violence?

10. The contribution of little Dee to the film: her brainlessness, humour, her mannerism of knowing everybody, the gangster's moll? Her involvement in Aaron's deals and way of life? Her revulsion and leaving him?

11. Comment on the personalities of Aaron's gang? Their background in Vietnam, their motivation, evil? Their violence?

12. The film presented much spectacular violence. Audience reaction to this, sharing in it, revulsion?

13. The irony of the 4th of July parade and the siege? The violence of the battle? The battle on the 4th of July between the good man and the evil man as a symbol of modern America?

14. How incisive the themes of the individual and society, politics and corruption?

A VIEW FROM THE BRIDGE

France, 1961, 117 minutes, Black and white.
Raf Vallone, Maureen Stapleton, Carol Lawrence, Jean Sorel.
Directed by Sidney Lumet.

A View from the Bridge is the play by Arthur Miller. It is a very serious study of Americanism via migrants and the American dream of migrants as they try to progress in the land of their choice. However, the film is also reminiscent of Greek tragedy as the central character, Eddie, is infatuated with his niece and refuses to face this. His jealousy when one of the migrants falls in love with her knows no bounds and is extraordinarily self-destructive, despite the warnings of his wife and a chorus portrayed by a lawyer. Raf Vallone is very effective in the central role as is Maureen Stapleton as his wife. It is an interesting adaptation from the stage. Sidney Lumet, who adapted so many plays for the screen from The Fugitive Kind to Long Day's Journey Into Night to The Seagull and Equus.

1. The success of this film as a human document? Expectations of an Arthur Miller play, his personal themes, American themes?

2. The reputation of Sidney Lumet and his adaptation of plays to the screen? His particular insights into Miller's characters, environment and themes?

3. The quality of the adaptation from stage to screen? Dialogue, sequences, contrived stagey scenes? Opening out part of the play to the wharf environment? Apartments? Offices, the streets?

4. The photography, music, atmosphere of the New York locations - realism, symbolic locations for the play? The atmosphere?

5. The significance of the title? Indication of themes? The themes of migrants, illegal migrants, poverty, work, social classes, human relationships, family, sexuality and obsession, death and fate?

6. The initial portrayal of the docks and the creation of atmosphere, the men at work, accidents, Eddy and his presence? A portrayal of a way of life giving a tone for the people and their problems?

7. Eddy presented as in control? His skill at his work, his status among the men? His welcome to Marco and Rudolfo? His going home, relationship with Beatrice, his supervising of Cathy's upbringing and education? A migrant patriarch of the family? Expected ways of behaviour with the Italian background, the adaptation to America, head of the household?

8. The introduction of Marco and Rudolfo? Explanations of their background, family relationships, poverty and dreams of success in America? The background of illegal migrants, the attitude of the law, risks? Their arrival, waiting, entering the home? Beatrice and her joy? Audience sympathy for them and their stay in America?

9. The potential for success at the beginning of the film? For hope, human bonds? Indications that all would not succeed, especially in the character of Eddy and his relationship with Cathy?

10. Eddy as a character, his strengths, personality? An Everyman figure? A potential for strength and good? His relationship with Beatrice - the bedroom scene and her reproach about the quality of their marriage? His supervision of Cathy and being over solicitous about her? His self-deception in this regard? His moral standards, conventions, his using these to measure himself and his self-deception?

11. The character of Beatrice, the American woman, middle age, love for Eddy, help for Cathy, her relations? The detail of her life in the apartment -meals, rooms?

12. The contrast with Cathy and the next generation? Italian reactions about her education, going out etc.? Her place in the family? The provocation to Eddy? Why did she not see this, Beatrice seeing it? The potential for conflict?

13. The character of Rudolfo? As a type, young, blond appearance? Eddy and his despising him - the homosexual overtones? The bonds with Cathy? The naive humour of his singing? His American dreams? The importance of the outings, the bonds with Cathy? The irony and tensions of the dancing sequences at home? The provocation to Eddy? Fight and insults? The significance of the boxing sequence and the violent hitting out? The significance of the kiss and what it revealed about Eddy, the fears for Rudolfo. Cathy and her humiliation?

14. The contrast with Rudolfo and Marco at work? Migrants settling in? The making of money, the making of a home? Marco as quiet and settling in? His hopes? The contrast of Rudolfo and Marco. with Eddy?

15. How well did the film build up the tensions, the atmosphere for betrayal? Was it inevitable that Eddy would betray? The talk about hostility towards people who did betray? The irony of Eddy's talking about it so naively?

16. How well did the film build up Eddy's obsession, his manner, his way with Cathy, the violence, the sensuality? The importance of his consulting the lawyer and the lawyer acting as chorus for what was going on? The overtones of Greek tragedy - the hero, sinfulness, fate? The impossibility of moving out?

17. The build-up of clashes and the illustration of motivation? Comment on the way each of the main characters was drawn into this family conflict and obsession? The repercussion of the obsession on each of them?

18. The importance of the visit to the lawyer, the build up to the betrayal and the phone call? The atmosphere in the house, Rudolfo moving upstairs, Cathy's presence? The police and the raid? Marco and his hostility and humiliation of Eddy?

19. The aftermath in the prison, Marco and his vindictive resentment? His being released on bail and his promise but his hatred prevailing? The contrast with Rudolfo and the possibility of a future and marrying Cathy? The contrast for the two men?

20. The build up to the going to the wedding? Cathy, Beatrice and her joy, her hopes? Eddy and his refusal and Beatrice's deciding to stay away?

21. The transition to the street scene and the fight? Marco and his hostility? The patterning of the people in the street during the fight? The tracking,, circling camera? Where did audience sympathies lie? For Marco. for Eddy and what he had brought on himself? The humiliation and the decision to end his life? In realistic terms, symbolic and tragic?

22. A presentation of America,, an aspect of its way of life, migrant backgrounds.. tragedy? The battering of the American dream? The pessimism of the bleak outlook on life?

LA VIE EST UN ROMAN

France, 1983, 111 minutes, Colour.
Vittorio Gassman, Ruggero Raimondi, Geraldine Chaplin, Fanny Ardant, Sabine Azema, Pierre Arditi.
Directed by Alain Resnais.

La Vie Est Un Roman (Life Is A Bed of Roses) was written and directed by celebrated French director Alain Resnais. He made his mark with the experimental Last Year at Marienbad in the '60s. His films include Muriel and Providence. With My Uncle From America, Resnais seemed to be illustrating ideas via visuals. This seems to be the case with the present film - which intercuts several stories from the past, the present and from children's imagination. There is exploration of optimism, experimentation for a kind of spiritual Nirvana, theories of education, the imagination. The film has an interesting cast, Vittorio Gassman from Italy, Geraldine Chaplin, Fanny Ardant and Sabine Azema from France. The central role is taken by opera singer Ruggero Raimondi (Don Giovanni, Carmen). The
film offers delight and puzzle - and is the work of a film-maker enjoying his craft and tantalising his audience.

1. The title? Symbolism? Desire? Quotations? Visualisation of the theme?

2. The work of Alain Resnais: his explorations of meaning, time, place, psychology, education?

3. The visual qualities of the film: 1914 - dawn, the arrival, the model. symbolist work, pastry, decor, costumes? The transition to 1919: elegance., decor, the room with the potions, the cavern? The contrast with 1982. the castle and decor? More ordinary? The forest? The fairytale atmosphere - the stage, artificiality? Editing and cross-cutting for delight? Each time segment commenting on the other?

4. The musical score and its relationship to the various periods? Classical music, jazz? Harmonies both serious and comic? Songs: amour? Elizabeth and the chorus? The effect of the various genres? The musical experience?

5. Amour, harmony, pleasure. the senses, imagination, education? The blend of these themes?

6. The structure: 1914 and its tone, dream, ideal? Complexity, love, betrayal? The model and war? The 1980s and its more mundane visual impression, the conference on imagination? The blend of comedy and reality? The children - talked about, present, reflecting the adults, the fairytale inserts and the children's presence there? 1919 and the quest for torpor, harmony? Myth? The resolution and its failure? The perennial fairy tale?

7. A sense of place, history? Mythical aspects - references to place, time? The changes of the 20th. century? What changes, what remains? The search for Utopia? Eternity on earth? The value of being in a place, being in a time? The myths of control and agelessness?

8. The fairy tale and the children? The dire aspects. the mothers. the song? The son, the rescue, the dragon, the villain and cruelty. the execution of the children, death and happiness? Tales from eternity? Meaning - real or ideal? Myth-making and truth?

9. 1982: the castle and its history, its use as a school. an exclusive school, the proprietor and her liberty speech. her severity, forbidding the model in the building? Looking after the children, the children on holidays - play, their own world, the encounter, swearing? The tomato, Elizabeth's model, singing, tales, freedom, the bond with their father? The final talk - growing up? Knowledge? Education and the imagination, freedom, creativity, imitation, knowledge? Theories and their various protagonists?

10. The group: Monsieur Leroux and his unctuous style, blending, harmony, introductions, smooth? Break-out and ending? The kindergarten - anger, the tomatoes; priest and his style - no schools; Sister and the computer - not God? Science and discipline? The various types?

11. Seriousness and commitment, call and dedication - the bull session? The interrelationships, liaisons and their casual nature, intrigue? Genuine, phony?

12. Elizabeth and her arrival, public school, model awe, hopes, girls and hurt, serious, dream, bull session, the tomato and Fred, eating compulsion, Walter and eating, talk, her being pushed towards Robert, her song and delight, the night - and going to Walter, the ending? Ideals, serious, parents and fiance? Complementing Walter?

13. Robert and his jokes, clowning, games, listening, the son and the tomato, Elizabeth and the walk, appreciation, kiss, sacked, Claudine?

14. Walter and his expertise, arrival and debunking, the relationship with Nora, style, discussions, relationship with Elizabeth, the pizza? Sexual encounter with Nora? The sessions? The finale?

15. Nora and her arrival, international reputation, sweet but swearing, children, the walk, a poseur, thesis, introduction kissing everyone, Claudine and Elizabeth, the bet, control, her bitchiness, relationship with Walter, the end and her disappointment?

16. 1914-19. Michel and his intensity, his summons, the model, Livia? The war and his memories, comments? The options, the dream, the drugs, the cavern and the decor, the attendants? Theories about happiness and harmony? Ritual? The experiment, deaths? His father and clash? Livia and the truth?
Passion, failure, death?

17. Livia and her relationship with Michel, amour, Raoul and their love? Her return, participating in the ritual, her pretence, wanting Raoul, the clash with Michele? Her speech about passion?

18. The intercutting of each of these stories with the other? The cinematic possibilities for exploring ideas and emotions?

VICTORY AT ENTEBBE

US, 1976, 119 minutes, Colour.
Helmut Berger, Theodore Bikel, Burt Lancaster, Linda Blair, Kirk Douglas, Richard Dreyfuss, Julius Harris, Helen Hayes, Anthony Hopkins, Christian Marquand, Elizabeth Taylor, Jessica Walter, Harris Yulin.
Directed by Marvin Chomsky.

Victory at Entebbe was filmed swiftly (colour texture looking it), this film is the valent of a glossy magazine coverage of the events: a keen eye on audience attraction and attention, dramatic statements to highlight issues (not explore them), human elements to ensure involvement. And why not? The opening and the aircraft sequences are in the Airport/disasters vein with Helen Hayes and Co. menaced by Helmut Berger and Co. The Israeli cabinet and military sequences are much better with Burt Lancaster and Anthony Hopkins. The raid itself, led by Richard Dreyfuss, is action/TV style. The screenplay takes the events in day by day documentary style, especially the facts of the raid and casualties.

1. The overall impact of the film and its drama? The fact that it was made so quickly after the events? The impact of the events on the world? The impact on Jewish audiences? The role of Israel in the world in 1976? The role of hijacking and terrorism?

2. How much did the film betray the rapidity of its making? Comment on the techniques, the quality of the filming, the quality of the acting?

3. How well done was the reconstruction of the events, the diary form, the flight and the hijacking, the siege, Israel's discussions and preparations, the carrying out of the commando raid? Comment on the documentary style of the film. Was the fact that there were many stars in it a good factor or was it to the detriment of the impact of the film?

4. What comment on 1976 did the film make? International danger, hijacking and violence, politics and fanaticism, hostility towards Israel, the role of Uganda? Were these issues well explored? With prejudice, with propaganda?

5. The initial build-up, the Athens setting, the commentary on the poor security at Athens, the sense of disaster, an introduction to the various people on the flight? How did it affect audience response in knowing that these people would be hijacked?

6. The building up of suspense, the presentation of the hijackers, their sense of timing, the rapidity of their take-over, the varying techniques? How credible was people's reaction, fear, terror, the girl offering the chocolates, the sense of patriotism on the Israeli part, tough attitudes, compromise, patience? How well did most people cope? A drawing on strength and compassion?

7. World opinion of this hijacking? The impact on Israel and its involvement? Public opinion about hijackings in Israel? The attitude of the Israeli government and Cabinet? The hard line of the older members, the attitude of compromise and negotiation with the younger members? How credible was this? What principles were invoked, how valid were they?

8. The importance of showing some of the parents? How credible were Kirk Douglas and Elizabeth Taylor? The grief, the discussion about compromise, the demonstrations for the Prime Minister, the impassioned plea of the parents to the Prime Minister? Sentiment, sentimentality? A credible sequence to show the humanity within the political and violent situation?

9. The presentation of the hijackers as people? The leader and his German background, fanaticism, ability to take over and command, his fear and tiredness? His appeal to his own humanity? His not wanting to be likened to the Nazis? The girl and her intense violence and fascist approach? Her relish of separating the Jews from the others? The other hijackers and their look, fanaticism, violence? The specifically anti-Israeli approach of the hijackers.

10. How well did the film intersperse Israeli sequences with those in Uganda? The Israeli Cabinet discussions, the personalities of the politicians, the issues and the decisions? Tracing the flight of the hijacked plane? Negotiation? The Minister of Defence and his strong views? The control of the Prime Minister? Presenting these men as humanly as possible? The reprieve in time, the plans for the raid, the issues involved and the personalities and their attitudes? The training and the security? How admirable was this for the audience?

11. The presentation of Uganda, the choice of the hijackers, world opinion of Idi Amin? How well was he presented, accurately, as ludicrous. His style and his speech, his wanting applause, his violence and illogicality?

12. How credible were the people on the plane? The old lady and her calm, her son and his experience of Uganda? What attitudes did they represent? Their Jewish background?

13. The films focus on the young girl, the boy? Their discussion about home, the armed services? The fact that her parents were shown pleading with the Prime Minister? Her confidence? The fact that the boy was shot concerned for her? The disappearance of the old lady and her son's concern?

14. The encounter between the elderly Israeli who had been in the concentration camp and the hijacker? His quiet despair, his verbal attack of the hijackers as being a Nazi? His witnessing the hijacker's death?

15. The presentation of the non-Israelis and the gradual build-up to their release? The effect on those who remained behind?


16. The ordinary people amongst the Israeli captives? The sense of being hostage, the threat to life, the fear? The religious observance of the Sabbath? The ordinary people, the sympathetic couple, the woman who looked after the elderly lady and her heart attack? The Belgians and the old man's betrayal of his Israeli nationhood? His grief and people comforting him?

17. The contrast between the tranquil life in the airport in Uganda, the ease of the hijackers, the hostages playing cards or sleeping? Intercuts with the commando take-off, the Cabinet meeting and the decision, the details of the flight and the preparation of the car?

18. How well presented was the raid? How interestingly, how convincingly?

19. The number of deaths? The futility of the hostages killed? The leader of the Israeli commandos? How well had he been known throughout the film, his attitudes? The pathos of his death? The fact that so many Ugandan soldiers were killed? The assassination of the hijackers?

20. The sense to freedom when the hostages ran out of the building, into the plane, the sense of exhilaration in the flight away from Uganda?

21. World opinion to these events? Presentation of endurance? Achievement? The insights into human nature and behaviour?

THE VICTORS

UK, 1963, 175 minutes, Black and white.
George Hamilton, George Peppard, Eli Wallach, Vincent Edwards, Rosanna Schiaffino, James Mitchum, Maurice Ronet, Jeanne Moreau, Romy Schneider, Michael Callan, Peter Fonda, Melina Mercouri, Senta Berger, Elke Sommer, Albert Finney.
Directed by Carl Foreman.

The Victors is a grim spectacle about World War 11. It was made in the early 60's at the time of the heightening of nuclear fear. It is a retrospect on the ugliness of war and has a grim determination to persuade its audiences that war is horrible. Filmed in Europe in grim black and white photography, it was written and directed by Carl Foreman who is more noted as a producer and as a screenplay writer, e.g. "Born Free" and "Young Winston". It used many of the up and coming actors of Hollywood at the time, for example George Peppard. It also used many of the continental leading ladies of the time from Jean Moreau to Elke Sommer and Senta Berger. The film is episodic and ranges over the involvement of Americans in Europe. The Victors is an ironic title and this is borne out especially in the senseless final fight between two soldiers in the dark streets of Berlin. The film is grim entertainment but is one of those important films about the meaninglessness of war. Saul Bass's collage of actual war footage in the credits importantly sets the tone.

1. what would audiences expect from such a title? Was this the tone of the film? Was this a successful war-film? A successful anti-war film? How bitter was the mood behind the making of the film?

2. Was the film an observation of war and an observation of what happens with some moral comment, or was it an exploration of the effects of war on individuals and on peoples? Both? For what audience was this film made? For a specialist audience who is anti-war? For the general audiences to stir them on the issue of war?

3. Comment on the use of black and white photography, Panavision, the selection of incidents, the overall impact of the film in its techniques? How did this atmosphere give meaning to the themes of the film?

4. How authentic did the events in this film seem? How authentic were the persons portrayed? Did this seem to be a picture of a real war or was it a contrived film of war? How was this evident in the techniques? In the selection of incident?

5. What was the value of focusing attention on a small unit and seeing its progress through the war and through Europe? Did this serve as a microcosm of the war? Or did this small unit and its individuals seem too isolated from the rest? Or does this happen in war?

6. How valuable was the newsreel footage added into the film? Did it add to the air of authenticity? How was it used for moral judgements about the war? e.g. Shirley Temple's wedding? Was patriotism being attacked in this presentation of newsreel material or was it being used to jolt consciences?

7. What was the overall impression of men in war? How much heroism? How much ordinariness? The cruelty and callous aspects of war? The supportive elements of human comfort in war? The drastic effects that war has on men's lives, making them do things they would never normally do? Was this an important part of the message?

8. How important was it that these men in war made a journey through Europe? The settled beginning in London, progress through Italy, France and the Low Countries? Americans away from home and the effect of these countries on them? The local colour of the countries and the battles fought there? The importance of the Italian people, the French Resistance and their relentless attack etc. What comment on the European war was being made via American soldiers?

9. What insight into men in war, into victors did the character of Craig give? Tough, thoughtful, and N.C.O., his views on war, his helping the men? His encounter with the French woman, its effect on him and on her? Their discussions, the consolation they offered each other? The irony of Craig's face being shot, his hospitalisation? What did he symbolise in war?

10. What point was being made through the character of Chase? The typical Yank, tough, lazy, irresponsible? Gaining responsibility in the war situation, the encounter with Magda and the challenge and the temptation to change, his shrewdness, yet his integrity in returning to war, his being wounded? What was symbolised in this character?

11. What point was being made bout men in war through the character of Trower: a solemn young man, more thoughtful than the others, the war disrupting his life, his emotional changes, his infatuation with Regina, his delight and his disillusionment, his naivety, the effect of war on him as a victor, in Berlin, the encounter with Helga, her sister, the irony of the pointlessness of his death? What was symbolised through this character about men in war?

12. The portrayal of the women? The film's theme of women in war: the French woman, her culture, her being terrified and seeking consolation; Magda, the good-time girl and the black-market exploiting the war, her power over others: Regina as the ordinary young girl, her violin-playing etc. her going to the bad during the war; the effects of war on the two girls in Berlin, Helga, and her love; her sister and the compromises that needed to be made (and the reaction of their parents?) What was being said about war changing peoples' loves in the portrayal of these women? Were these sequences real or melodramatic?

13. How heavy was the irony in the pointless death? Two men who did not understand each other? Two victors destroying themselves? The ultimate effect of war? Brutalising men to destruction?

14. What were the basic messages of this film; e.g. Frank Sinatra and the execution,. the white flag and the continued shooting, the Sikh soldier etc.?

15. How valuable is a film like this,, even if it does not present a complete picture? How important is it to provoke consciences and evoke an anti-war mood?

VICE SQUAD

US, 1982, 86 minutes, Colour.
Season Hubley, Gary Swanson, Wings Hauser.
Directed by Gary A. Sherman.

Vice Squad has a sleazy atmosphere and portrays the ugly life by night of cities like Los Angeles as well as the hard work of the Vice Squad. The film focuses on a prostitute, ably played by Season Hubley, and her involvement with a psychotic pimp as well as the Vice Squad. The basic plot of police life as well as the killer pursuing the heroine is the basic staple of television series episodes. The film works well enough on this level - and has all the 'R' certificate material associated with night life. The emphasis is on violence rather than sexuality. Direction is by Gary A. Sherman who made such films as Death Ride and Dead and Buried.

1. The title, audience expectations, police work, crime, night life of the inner cities? The film as entertainment, expose? True to life, sensationalised?

2. Production values: colour photography of Los Angeles at night, the capturing of sleazy atmosphere, the streets, the hotels, the strip joints etc.? The sleaziness of the credits sequences? The title song and its lyrics? The streets, the bus stations, the hotels? Special effects and stunts? The pace of the film?

3. The film's action taking place during the night and ending at dawn? The symbolising of night to day? The ugly vision of the credits - and the life of a Los Angeles at night? The different appearance of the day? The heroine as a princess of the night? Her future? Her last ironic words that the cities and the streets could never be cleaned up?

4. The humane opening: Princess, her daughter, her love for her daughter? The bus station farewell and the transition to prostitute? The importance of the daughter - used as a threat by the police and by Ramrod? The symbol of her buying the doll and its bloodstains at the end? Princess and her story of being on the street - why, the effect on her life? Her independence? Style, dress, walk, make-up etc.? Her personality? Relationship with clients? Friends? The police?

5. The transformation of Princess at the bus station? Her picking the police trying to trap her? The range of clients - the wealthy man in the car, the timid man wanting a spanking, the convention-goer and his brutality, the wealthy man in the coffin, etc.? The strange types? Kinky behaviour? Money? Dangers? The effect of this kind of life on a woman? The sketch of the other prostitutes - on the beat, being busted, at the police station, with the pimps, their friendships, being bashed, etc.?

6. Ramrod and the picture of pimps? Ramrod as a psychotic? His persuading Ginger and then bashing her? His picking up Princess and being trapped? Vicious hatred? The vicious escape, the trail of violence? Getting his handcuffs off, the gay bar, the fat pimp, Mrs. Cruickshank, the taking of the garbage van, brutalising Coco? His capturing Princess and torturing her? The final chase? The eruption of violence? A credible character? Evil?

7. Walsh and the police: police types, lacking personal life, friendship with Princess and Ginger, protecting the prostitutes while threatening them, the set-up to trap Ramrod, his exasperation at the escape, the pursuit and surveillance, the chase. the rescue. the final shooting? Princess' observation that they were both in the same toilet?

8. The sketch of the squad, the office, the pick-ups, the range of personnel, the various covers?

9. The types presented in the Los Angeles night life from the people on the street, the prostitutes, the gay bar. the joints, the managers of the hotels e.g. Mrs. Cruickshank and her Chinese assistant? The clients?

10. Corruption in the streets, sleaziness, sadism? The reality like this?

11. The film similar to television episodes? The psychotic pursuing the heroine? The quality of the production? Its exploration of values - exploiting them or not?

VIBES

US, 1988, 95 minutes, Colour.
Jeff Goldblum, Cyndi Lauper, Julian Sands, Peter Falk, Elizabeth Pena.
Directed by Ken Kwapis.

Vibes is a psychic comedy with Jeff Goldblum and singer Cyndi Lauper as psychics who agree to go to Ecuador to help Peter Falk find a lost city. It's all vaguely and mildly amusing. English Julian Sands has an ambiguous supporting role. However, the Ecuador and Andean scenery is breathtaking. The whole thing is pleasantly inconsequential.

1. Pleasant comedy? Psychics? In the Indiana Jones tradition?

2. New York locations? The opening in Ecuador, the locations of the Andes? The musical score? The final song? Cyndi Lauper's contribution?

3. The strength of the stars and their screen presence, comic styles?

4. The prologue, the tradition of Indiana Jones? South America, mystery and mystic powers? Greed?

5. The introduction to the group, Sylvia and her style and personality, talent? Talking with Louise? The contrast with Nick? Inigo and his tricking the man with the cards? His place in the group? Harrison Steele and his care of the patients? The various styles?

6. Harry, his arrival, taking photos, recruiting Sylvia and Nick, the mission to Ecuador, in Ecuador, his friend in the hospital, their stay at the hotel, ups and downs, comedy, the expedition, Harry urging them on, dying?

7. Sylvia and her talking to Louise, tier skills, in the group, going to Ecuador, the enjoyment of the comic sequences in the hotel, the encounter with the ambassador, Nick saving her life? Going on the trip, their antagonism, falling in love? Harrison Steele turning up and betraying them? Her psychic powers and the ending? Back to normal
?

8. Nick and his ability with touch, his job in dating antiquities, meeting Sylvia, their clashes, going to Ecuador, his resisting her? The woman in the hotel and her death? The expedition, antagonism to Sylvia, falling in love, going into the trance, confronting the villains?

9. Harrison Steele, the pleasant doctor, his using of Inigo, his henchmen, the confrontation in Ecuador, the expedition, their defeat and death?

10. The corny plot, characters and situations? Amusing dialogue and resolution? Pleasantly inconsequential?

VERY IMPORTANT PERSON

UK, 1961, 98 minutes, Black and white.
James Robertson Justice, Stanley Baxter, Leslie Phillips, Eric Sykes, Richard Wattis, Colin Gordon.
Directed by Ken Annakin.

Very Important Person is an entertaining prisoner of war comedy. It came, in the early '60s, at the end of many '40s and '50s tributes to war heroism.

The film is a vehicle for the talent of James Robertson Justice. He played some serious roles, as in Scott of the Antarctic. However, he was best known for bombastic English comedy - especially in the Doctor in the House series. Here he is in good form and supported by Stanley Baxter (also impersonating a German officer) and Leslie Phillips. The direction is by Ken Annakin, who made a number of English comedies and dramas - with Justice in The Sword and The Rose as well as Rob Roy for Walt Disney. In the mid-'60s he moved to Hollywood productions like The Daring Young Men in Their Flying Machines, The Battle of the Bulge and then went on to international filming. He made The Pirate Movie in Australia in 1981.

1. Popular British humour? Enjoyable? Satiric?

2. British production values: black and white photography, the war, the prisoner of war camp? The background of a '60s television show - This Is Your Life? The music hall comedy style, music? Score?

3. British comedians and the style of James Robertson Justice, Stanley Baxter, Leslie Phillips and the supporting cast? Capturing the British sense of humour?

4. The '60s television programme and the This Is Your Life format - popular audiences, the guest, the friends and relations? The irony of the opening and the ending? Like and dislike? The revelation of the warm friendship at the end?

5. James Robertson Justice and his gruff style, intellectual brilliance, his secretary, the mission into Germany, his pomp, the cover and the Navy background, his falling out of the plane, being captured, the first camp and his recital of the routine and not giving any information, the fellow prisoners, the spy? His arrival at the camp, his pomposity, talking to the British officers, his taking over, the humour about his bed? His seeming to be in cahoots with the Germans? The arrival of the spy? His decision to escape, the escape procedure and his being hidden? The clash with the people in the hut? Hiding, his aplomb with the escape? The happy ending? Benign pomposity being humanised?

6. The supporting characters - Leslie Phillips and his cheeky style, in the cell, the music hall act, participation in the escape, the irony of his being a missionary? The contrast with Stanley Baxter and his Scots style, his dislike of the officer, his being an undertaker?

7. Stanley Baxter's humorous style as imitating the German? Being the German officer? The humour of the German officer arriving at the end?

8. The spy infiltrating amongst the prisoners - the touch of reality and memory about the prisoner of war camps?

9. Life in the camps, the parades, escapes, the sports (and the comedy with Erie Sykes), the Swiss visitors, tension, the escape and its success?

10. Affable British humour and a tribute to war heroes?

VAGON FUMADOR (SMOKERS ONLY)

Argentina, 2001, 88 minutes, Colour.
Cecilia Bengolea, Leonardo Brezicki.
Directed by Veronica Chen.

Smokers Only is a brief film, a portrait of two young twenty-pluses in Buenos Aires. The film opens with Reni in the bath, cutting herself and soaking her hand, reminiscing about her encounters with Andres. Andres is a male prostitute, operating in a central park, meeting clients in the foyer of a bank. Reni watches him, they start talking together, they spend the night with each other. She is fascinated by the night life of the city, he is only alive in this particular scene.

Writer-director Veronica Chen shows the city in all the variety of its night life, especially the sordid after-dark aspects. The two central characters move into sexual adventures. However, they admit that this is not life's fulfilment. Reni plays with a band but they want to get rid of her. With her friendship with Andres, she begins to focus on what she really wants and is prepared to leave the city. Meanwhile, Andres, still working with clients, enjoys the company of Reni, discusses a whole range of issues and the meaning of his life.

1. An Argentinian perspective on 20-year-olds in the city? The director's sympathy for her characters, their situations, their struggles, their being victims of society, yet their hopefulness?

2. The title, Reni in the smoking carriage of the train? The lifestyle of the characters - and the risks that they took?

3. Buenos Aires as one of the characters of the film, the city at night, the streets, the shops, the central parks? The traffic? The musical score, the songs, especially with the band?

4. The portrait of Reni: in the bath, cutting her hand, watching Andres with the male clients, discussions with him, walking around the city, spending the night with him, going to the central park, being picked up with him, the client, her walking out? The discussions about the meaning of her life? Her being ousted from the band, losing energy, not having time to rehearse? Her finally leaving the city?

5. Andres, seeing him at work with the clients, the discussions with Reni, showing her the city, discussing his exhilaration of the night life, being paid for sexual favours, his clients, the strippers, in the cars? The client who picked them both up? His taking Reni's money? His being satisfied with his life, yet finding in the relationship with Reni, especially the discussions, his having to admit that there were deeper things possible for himself?

6. The band, their performances, wanting Reni out?

7. The range of clients, the pick-ups, the behaviour, public places, houses? Prostitution in Buenos Aires?

8. The film and its visual styles, avant garde techniques? The realism with the blend of the interpretation of the lives of Reni and Andres?