THE LIFT

Netherlands, 1983, 99 minutes, Colour.
Hubbe Stapel, Willeke van Ammelrooy, Josine van Dalsum.
Directed by Dick Maas.

The Lift was a box office success in its home country, Holland. It is quite a good thriller - the touch of Stephen King style horror. The focus of the horror is the central lift of three in a new building. The camera-work suggests the menace of the lift until we see it in gruesome action. The plot becomes complicated because it is not only mechanical development that is threatening but technological and computer experimentation. The ultimate villain is a protoplasm computer gone berserk.

The characters are very well-drawn, the atmosphere well-set and there are excellent suspense effects. Perhaps there are some limitations in the ultimate explanation - with a touch of the ludicrous. However, all in all the film works very well. The central character of the workman who has to face the difficulty without being a superman is very well portrayed by Hubbe Stapel. The film was taken up for international release (unfortunately dubbed) and stands well beside its American counterparts.

1. An exciting suspense thriller? Popular horror? The touches of science-fiction and science-fantasy?

2. Production values? Authentic Dutch atmosphere? The focus on technology, computer technology? Ordinary and extraordinary? Silicone chips? Protoplasm computers? The colour photography and the detail of the lift and its workings? The importance of editing and pace: shock, surprise, build-up to climax? Pace and mood, suspense? The interweaving of domestic story with the confrontation with the lift? The writer-director's musical score and use of sounds (in the John Carpenter vein)?

3. Audience awareness of horror conventions? How well were they used here, transcended?

4. The theme of malevolent nature, malevolent machines? Mystery? The human coping with the mysterious, confronting it, experiencing danger, success? The value of the ultimate explanations?

5. The lift itself: in the centre, its appearance, a smooth modern lift, the audience getting to see its comfort and its workings, seeing the prototype in the factory? Its smoothness, sound? The mechanical detail, the electronic detail? The air-conditioning and the smothering of the drunks and their girlfriends? The luring of the blind man to fall into the shaft - after a false start? The decapitation of the guard? The little girl's doll being crushed in the doors? The janitor being taken in and killed, the chair crushed with Felix holding it? Its taunting people, playing with them? The lift with its personality? The final vengeful killing of the inventor?

6. The explanations of technology and their developments? Human error? The effect of human error on technology? Electronics, the professor and his explanation of chips, protoplasmic chips? The empty technological box? The protean gone berserk? its violent re programming? Its being shot at by Croon? Its getting revenge on him by hanging him?

7. The world of the multinationals, Holland, America, Japan? Power? Chips and brains? The background of the deals, the links with Japan and the Rising Sun? Cover-ups because of American business deals? The proprietors of the building, of the lift firm, of the Rising Sun? meetings, laboratories? Croon and his experiments? The personalities of the authority figures - Croon as sinister, the manager of the apartment block and his carrying on with his colleague's wife etc.?

8. The mood of the opening, the businessmen on the town, the girls, the lift and their asphyxiation? The atmosphere of the other deaths? The growing sinister atmosphere? The city, the factories? The contrast with Felix's home life? With the magazine offices?

9. Felix as central character: seeing him at home, his black eye and his alleged flirting, his love for his wife, a pleasant man, his friendship with his children, talking with them, fixing up the ambulance siren? The growing complications of his work? His study at home? His training and understanding of technology? His being baffled by the computer development? The encounter with the reporter? Her help? His wife's suspicion? The clashes? The effect on the children? His wife leaving and taking the bottle tops? Her phone call? Felix pursuing his goal, his detection work, his skills with the lift, the final victory? The rescue by the reporter? (The irony of audience expectations in their not having an affair?)

10. Felix at work, his worry, study, spending time, his conscientiousness? His fellow workers and their involvement? His visit to the asylum and trying to probe the mystery, the reaction of the insane worker with the mess on the wall? The reporter and her questions? Her intrusion, the drive with Felix, their working together, discussion with the professor, the visit to Croon and her masquerading as a worker? Clashes? The importance of Felix being sacked? Taking his own initiatives? Going to the lift, the chair, climbing the shaft, the discoveries, the lightning, the cable breaking, the various mechanisms threatening Felix, the suspense and his being saved by the reporter?

11. The film's comment on reporters, sensational magazine stories, pushiness?

12. The visit to the asylum and its effect? The friend taking over Felix's job? The quick delineation and effectiveness of these minor characters?

13. The detail of horror touches, themes? A satisfying Dutch production? Comparisons with American models - successfully?

THE LIFE OF BRIAN

UK, 1979, 94 minutes, Colour.
Graham Chapman, John Cleese, Eric Idle, Terry Gilliam, Terry Jones, Michael Palin, Spike Milligan.
Directed by Terry Jones.

The Monty Python group satirize the biblical and the Roman epic film and take hilarious shots at terrorists, unionists and committees, feminists. They also send up jingoistic Christians and the mindless following of Christ. However, Brian's life echoes that of Jesus in many episodes and incidents (and doubtless some my be offended), but Jesus is respected and the film is not blasphemous (as some have feared). One's taste for Python comedy will determine how hilarious the film will be the actors take several parts each and John Cleese and Michael Palin are outstanding. The satire serves to remind us how over-seriousness leads to eccentric pomposity - personal, social, political and religious.

1. The appeal of Monty Python comedy? British background and style? The animation, the absurdity and Goon traditions? Content - wide-ranging, social, ideological? The broad humour, parody, verbal and visual humour? The popularity during the '70s?

2. The film as a parody of Roman and biblical epics? Point of view, style? Mockery of the extravaganza? The devices for the costume epics and the way these were ridiculed? Audience presuppositions about biblical and Roman epics? The film clashing with these, mocking them?

3. The attitude of the film towards the Gospel? Towards Christ? How irreverent? The respect to Christ as a person? The way that he was visualised? The attitude towards Christianity, towards divisions amongst Christians? To organised religion? The presupposing of audience knowledge about the Gospels, Jesus' life, the words of the message of Jesus? The way these were presented, parodied? To what effect?

4. The importance of the visuals? colour photography, editing? The indication of the Roman style epic with Pontius Pilate's palace, the colosseum at Jerusalem etc.? The contrast with Jerusalem and the terrorists? The landscapes of Palestine? The jokes about the landscapes? The contribution of verbal humour and its contemporary references, the one-liners? The contribution of the score - the title song and the humorous mock-heroic lyrics about Brian? The echoes of James Bond themes? The parody of biblical music? The final song and its being placed at the crucifixion? For the final credits? An attitude for the audience going out from the film?

5. The basic farcical humour, timeless? For example the haggling sequence. the pronunciation of Roger and Sampson by Pilate, the roughhouse brawl humour, language? The interruption of the flow by the parody of Star Wars? the point of the insertion? The relevance to the '70s? The incongruity?

6. The particular humour? the focus on the Jews and their beliefs, attitudes towards the Romans, oppressed people? The Romans as oppressors with their arrogant way of life? The religious and political factions? The unions, the terrorists and revolutionaries? The feminists? Religious types, followers, Pharisees? Snobbery?

7. The humour of the credits with the Roman style but the Python's iconoclastic smashing even to the shooting of the angel? The opening of the film with the Magi and the tone given - reverent and irreverent? The focus on the Sermon on the Mount, on Christ but his being left to focus on his listeners? The mood created for appreciation of the rest of the film? Laughing humour, smiling humour?

8. The Sermon on the Mount and the contrast with the fight over big noses? Men and women fighting? Ordinary people and abuse, smart comments? The parody of the Beatitudes? How was this kind of parody used later as regards the lilies of the field and the birds of the air? The cure of the leper and his complaint about his livelihood?

9. The transition to the stoning? the comment on women, John Cleese as the centurion and acting like a schoolteacher, the women and their buying the stones, lowering their voices, bombarding the centurion? The old man accused of blasphemy? John Cleese's style and the echoes of a teacher - the Latin lesson to Brian painting the graffiti, accusing the old man in the house of being a silly person and a weirdo, his smacking Brian in front of Pilate? The strong arrogant type - also seen in his portrayal of Reg, of the follower of Brian as Messiah?

10. The humour of the revolutionaries - their meetings and union rules, parliamentary procedure? Discussions about Stan's being a woman and his right to have babies? Matthias' house and the way that the revolutionaries hid from the Romans? The sequence at the colosseum - Brian and his selling, the ugliness of the picking up of the pieces from the arena, the runner outdoing the huge gladiator who had a heart attack? The Liberation Front discussing at the colosseum and their rivalries and spurning of their rivals? The attack on Pilate's home to kidnap his wife and the battle with the Galileans? Reg and his leadership, his cowardice? Francis and his ideas? Stan as Loretta? Their following of Brian? The final motion and congratulations of Brian and singing 'For He's A Jolly Good Fellow? Judith and her place within the group - her love for Brian, following him, being persuaded by the group and congratulating him on the cross7'

11. The parody of Brian's mother as a harridan? Her shock at the Magi, her comments on Brian, the discussion about the gifts? Her presence at the Sermon on the Mount, the stoning? Her explaining Brian's Roman nose and her liaison with the centurion? Her following Brian, rousing on him after the night with Judith, her comments to the crowd? Her presence at the cross and abusing Brian? The parody of harsh mothers? (The parallel with Mary - how reverent, irreverent?)

12. Brian and his involvement with the Liberation Front, his escape, the various times he had to hide, the haggling for the beard and its humour, his fall out of the window and preaching the lilies of the field etc.? His being picked up by the space vehicle, his arguments against the crowd and their believing that he was the Messiah, twisting every argument that he used, haggling about the gourd, losing his sandal? (And the humour with Spike Milligan and his comments?) The falling into the pit of the man who hadn't spoken, the blind man who fell into the pit after thinking he was cured, feeding the crowd with the juniper berries? His wanting to be alone? His refuge with Judith, his facing the crowd? The earnestness of hid urging them to be individuals and their programmed replies?

13. Judith and her love for Brian? the human and romantic touch for the film? Its being mocked by her failure to rescue him and her congratulating him at the end?

14. The parallelling of Christ's life? at least in terms of being the Messiah? The parody on the fickleness of the crowd? Brian's first time in prison with the man upside down talking ironically about torture? His being given the cross by the pleasant sentry? (And the joker pretending that he wasn't to be crucified?) The crosses and their being carried, his being crucified with so many others? The parallel with the Crucifixion? and yet sufficiently different?

15. The satire on the Romans with Pontius Pilate - the laughter about Bigus Dickus, his pronunciation of the letter R? The Jewish crowds in hysterics at the pronunciation of R, Bigus Dickus trying to help out with S? The satire on Roman authority? The contrast with the pleasant sentry (and Michael Palin playing both parts?) The dumb warder and the stammering warder? The irony of their being ordinary and putting this on?

16. The crucifixion parade as a military march, the jokes about crucifixion, the kind nun substituting for the criminal, the snobs on the cross wanting to be exclusive, the freedom of Brian and everybody wanting to be Brian? The suicide squad? The song at the end and its affecting the mood of the crucifixion?

17. The film as providing a basically funny plot? The ironies of the parody? Absurdity and the humour of the absurd? Audience capacity to laugh, insight via humour and the absurd? How serious the points behind the humour? The mockery but with the serious presentation of Brian throughout? The contrast with the more rounded characterisation of Brian with the other characters?

18. The contribution of the Python group - their writing, animation during the credits and the Star Wars sequence, the variety of roles that they took? The contrast with the various roles and audience enjoyment of seeing them in different parts? The reason for the extraordinary box-office success of the film?

LIFEBOAT

US, 1944, 96 minutes, Black and white.
Tallulah Bankhead, Walter Slezak, Henry Hull, John Hodiak, Canada Lee, William Bendix, Mary Anderson, Heather Angel, Hume Cronyn.
Directed by Alfred Hitchcock.

Lifeboat is one of Alfred Hitchcock's early American films which has worn well. It was preceded by the very successful Shadow of a Doubt. Hitchcock was interested in the thriller and the use of close-ups and confined space and time. All the action of this film takes place in the lifeboat with a very limited cast. However, he uses the lifeboat as a microcosm of the world of the '40s at war. He has said that he wanted the various types to represent the variety of people and allies in World War Two. They needed to unite against the Nazi. However, the Nazis had illustrated their superiority and this was echoed in the characterisation of the Nazi captain. However, the issues are not always so clear-cut.

The group in the lifeboat ultimately unites and murders the captain. They are filmed as a marauding pack of animals clubbing the Nazi to death. This has an ambiguous effect on the audience ? more especially so at the time when critics and people alike took a dim view of what seemed to be a sympathetic presentation of a Nazi. The film is dominated by the performance of Tallulah Bankhead - a tour de force of the grande dame style. She has strong dialogue - is the efficient news reporter, the woman of the world, the passionate woman who gradually becomes more human. William Bendix does very well in the role of Gus who has his leg amputated. Walter Slezak is persuasive as the German captain. The supporting crew does very well also. While the film echoes World War Two attitudes, shows the limitation of productions of the time, nevertheless it still keeps interest and shows strong interaction. Many of the disaster epics of the '70s could have learnt a great deal from Hitchcock's holding of interest with a small group in a lifeboat.

1. The place of this film in the Hitchcock canon? An American production, American feeling and sentiment? His style - the thriller, the close-ups, the confined characters in space and time, guilt and responsibility, shifting of moods? Fear, passion, death? The differences from his usual thrillers?

2. Hitchcock's contribution to World War Two propaganda? How much of a propaganda film is this? The presuppositions about the war, the merchant marines, people travelling the Atlantic? Human nature and its fear of death, capacity for survival, needs, interaction, violence? The point of view of Hitchcock on the war, on the allies, on the Nazis?

3. The technical credits of the film: the initial sinking, the confining of the action to the lifeboat, the rescue sequences, the storms and calm? The humour of Alfred Hitchcock's own appearance in the film on the newspaper?

4. The structure: the disaster, the introduction to each of the characters, the way these were established, the build-up of the interactions, the arrival of the German, the confrontations and change of moods, changes of weather? Suffering and endurance? The violent death? The possibilities of rescue, of the repetition of the confrontation with the German boy?

5. The plausibility of the plot: the role of the merchant navy during the war, torpedo attacks, survival in lifeboats and the way this was mentioned throughout the film? The ability to cope, inability? The captain and his rescue, his devices for protecting himself, for coping? The attack on the captain? The finale and encounter with the supply ship, the rescue?

6. The group in the lifeboat as a microcosm of the '40s world? Americans and British? The cross-section of types, ordinary and well known, men and women rich and poor, fascist and left-wing, black and white, worldly and private? The symbolism of the characters for representing the types allied during war? The need for attack, survival, the facing of death?

7. The characters in relationship with Willie? In himself and the rescue, the revelation that he was the captain, his single-mindedness as a Nazi? His tricks and motives? The coherence of his behaviour? The impact on an allied audience in the '40s, now? His advice about the course and the concealing of the compass, his help in the amputation of Gus' leg, his singing and the others accompanying him, his rowing and strength, his keeping the water? His killing Gus? His justification of himself, his beliefs and patriotism? His being killed?

8. Connie and her dominance of the film? The opening with her sitting in the lifeboat with her furs etc., the filming of Kovak arriving? Her affected and sophisticated language? Her explanation of her Chicago background? Her callous description of the sinking, her worldly wisdom? The irony of her continually losing her possessions and her comments on these? The final losing of the bracelet? Her friendship, wisecracks, persuading Gus to be operated on, translating the German, her breaking in hunger, her passion for Kovak, the playing cards? Her participation in the death? How was she affected by the experience ? and her getting the lipstick ready for rescue?

9. The contrast with Kovak - tough, sailor, hostile, left-wing attitudes, angry with Connie? The Chicago background? The hostility towards the captain, his taking over and the crew's loyalty? His ignorance? The clashes with the captain, support of Gus and the background talk of Rosie? Playing cards and the winning? The clashes with Connie, the potential for passion and romance? The sexual interaction and the way Hitchcock suggested this clothes, the discussion about Kovak's torso, the positioning?

10. William Bendix's skill in portraying Gus - his background, the injury, the shrapnel, the need for the amputation, his drinking sequence. his delirium, the confrontation with the captain, his death?

11. Stan and Alice - their work, stories, presence on the boat, talk, love, proposal? Their participation in the killing? Their later reactions?

12. Ritt and his wealth, cards, allotting of jobs, forfeiting his role as captain? His losses in cards against Kovak? His reaction in crises? His representing wealth, right-wing attitudes?

13. Joe as the black man, discussions about rights, his capacity for lifting the compass, his playing the music? His not participating in the killing?

14. The mother and her baby, grief, the death of the baby, her attitude towards the captain, her disappearance?

15. The variety of moods and the change of moods, the heat, the storm, the thirst, the bailing of water, the rowing? The survival, the violence, the fear? The build-up to the killing? The repercussions and their comments afterwards?

16. The supply ship and its almost collision? The boy and the gun? The repetition of the situation and the different reactions? What had the group learnt from their experience?

17. How satisfying a study of people? Audience identification with the group, with individuals? Reactions in war? Behaviour patterns, guilt? Enterprise against a common foe? The serious and humorous Hitchcock touches?

LIFE AT THE TOP

UK, 1965, 117 Minutes, Black and White.
Laurence Harvey, Jean Simmons, Honor Blackman, Michael Craig, Donald Wolfit.
Directed by Ted Kotcheff.

Life at the Top continues the exploits of Joe Lampton who made his appearance in Room at the Top. Laurence Harvey repeats his performance from the original film from the novel by John Braine. The first 'Top' film was a striking success with the direction of Jack Clayton and the Oscar-winning performance of Simone Signoret. It was also considered daring and frank for its time, 1959. This film reflects the atmosphere of the 60s and a gradual permissiveness in presentation. The plot and the implications of the plot are certainly permissive. Laurence Harvey as Joe has reached the top, but his marriage with Susan has cracked. Susan is played by Jean Simmons. Donald Wolfitt repeats his performance from the earlier film. This kind of film was very popular in the late 60s and is reflected in such films as The Arrangement, I'll Never Forget What's'isname, The Reckoning. The direction is by Canadian Ted Kotcheff who has not made so many films but has made interesting ones like Wake in Fright, Billy Two Hats, The Apprenticeship of Daddy Kravitz, Fun With Dick and Jane.

1. The meaning and tone of the title? The kind of life, the significance of The Top ? the place in the town, the top of ambitions? The sense of achievement in the title, the irony in what is portrayed?

2. The tone of the credits - the black and white photography, the music? The contrast between Joe and Brown? Joe with his ambitions and rising to the top? Brown with his age and medical examination? The generation contrast? The irony with Brown of life at the top?

3. How did the film portray Joe? Was he in any way sympathetic? Pathetic? What had he achieved? His work on the report, his wanting to be on the board, his attitude in the way he spoke to Brown and to Susan, the change that had come over him in ten years, the effect of memories and their dying, his skill in his work, his relationship with Brown, with the Browns, his working, getting sales, his manipulation in getting money from the kick-off, Mrs. Brown's treatment of him as a 'treasure', his defiance of the Browns, his awareness of lack of qualifications, his mock humility and return at the end? What had he achieved at the top ? the significance of his being behind the prison? looking gate at the end?

4. How well did the film portray the relationship between Joe and Susan ? the background of their marriage, the forced marriage, Joe's rise to the top, Susan's pregnancy, his relationship with the children? Harry's aloofness and being looked after by Brown, Joe's love for Barbara, his lack of relationship with his children, his reaction to the affair, his hostility towards Mark, his reaction towards George Aisgill and his revenge, the impact of his leaving on Susan, her loving him, her asking him to return, the cunning that Joe used in his relationship to bring Susan back? Did they really love each other? Who was the more admirable partner?

5. The relationship between Joe and Nora? What kind of woman was Nora? In her professional work and the sequences showing this, her reputation in the town, her calling Joe 'treasure'? What kind of hold did she have on him? Why did he depend on her? Why did she love him? Did she mother him? How well did she put the alternative to him? Why did he leave with her? The falling apart of their relationship in London? Her not wanting to be held? Joe's holding her? The society gap between them? Was she right in her decision to leave? Was there any love between the two?

6. Comment on the presentation of the Browns - Brown and his self-made achievement, his illness, the question of merging, his shrewdness in business, his life at home, society, with his wife? The truth when Joe told him about himself and its impact on him? Why did he allow Joe back at the end? How unscrupulous was he? was he in any way likeable? In his love for Susan and Harry?

7. What was the point of Mark and Sybil in the film? Their friendship with Joe and Susan? The upper crust background, Mark as a contrast in background to Joe, Sybil and her disillusionment and drinking, the dogs? Her relationship with Susan and the truth about Mark's affairs? Why did Susan have the affair with Mark? The effect of Joe's discovery of them?

8. The importance of Aisgill in the film? The memories of his dead wife, his hatred for Joe, revenge, his place in the council, the criticism of him in his ambitions for the poor estate?

9. The importance of Joe and his running for the council in the film? His election meeting, his drunkenness, Nora's questioning? His reaction on election, the society meeting to congratulate him? His being expected to be on site? The sequence of his visit to the site? The impact that people made on him and the only way of responding was to use them against Brown? The impact of his rebel speech?

10. Why did Joe have so many grudges? His background of class, skills, self-made ambitions, the chips on his shoulders? How typical of his type was he? What drove him?

11. The importance of the London sequences after his leaving and confrontation with Brown, with Susan's devotion? The interviews for jobs - the preparation in having met the boss, the overture for the job, the dealings with the second man, the comment of the business deals at the background of strippers etc.? Their ignoring Joe? The ordeal of the interview and his lack of qualifications? His having to take lesser jobs? How did the film and Laurence Harvey's acting portray the effect of this on him? The sophistication gap with Nora's friends?

12. How effective and important was the collage of his memories ? even from the film Room at the Top? What insight gain from this? The return of Susan to complete this?

13. How cynical was his return? His sense of achievement? Bossing people around? And yet in prison?

14. How good a film of social observation was this? Of modern England? Of human relationships? Of human drives?

THE LIFE AND TIMES OF JUDGE ROY BEAN

US, 1972, 124 minutes, Colour.
Paul Newman, Jacqueline Bisset, Ava Gardner, Victoria Principal, Tab Hunter, Anthony Perkins, Stacy Keach, John
Huston, Roddy Mc Dowell (Photo of Michael Sarrazin).
Directed by John Huston.

The Life and Times of Judge Roy Bean is a mixture of harsh cruelty and ironic humour, dealing with a West that had not heard of glorious myths and had mixed feelings towards law and order. Paul Newman portrays Roy Bean, a self-appointed hanging judge who transformed Texas, west of the Pecos, but who was outwitted by the new lawlessness, the big business exploiter. Several guest stars, especially Anthony Perkins, Stacy Keach, Roddy Mc Dowell and an amiable bear, enliven this entertaining film - which owes too much to Butch Cassidy success: Newman himself, humour and sentimental song interlude. Too episodic and sometimes too trite to be great, it will probably be quite popular.

1. What was the principal audience response to this film? As a Western, to its episodic nature, to serious overtones, to its comic delight? How suitable was the structure of the film for this legend? was the episodic style an advantage or disadvantage? The comments of the episodic characters and their observing of Roy Bean? Uncle Tector's narrative and the enjoyable nature of the wisecracking dialogue?

2. Did the film come across as a legend? The West as it should have been, not necessarily as it was? How did the legend genre manifest itself? The portrayal of the hero, his actions, the way that he was visualised? The picture of the times and the changing times, and the linking of the past with the American present? What value has this for modern audiences? For modern American audiences?

3. How important was the portrayal of Roy Bean for this film? Did we understand the man in himself? Was this necessary? Was he an attractive character? why? Was he a repellent character? why? How heroic was he? A valuable hero? How did he create his legend - his notice above his house and the law? What were his main characteristics? The visual portrayal of Roy Bean ? Paul Newman's style, his place in the West, his dealing with people, his eccentric behaviour, his comments? Did he seem a real person? Did he seem a figure of fantasy? How really heroic was he? Comment on the importance of his mystique of Lily. Did it seem appropriate for the film? Exaggerated? What appealed to him in Miss Lily, in her beauty, in her femininity, as an ideal goddess he never saw? His letters to her, the secretary's answers, his pilgrimage to see her? His shooting of the man who shot her, his comment on the bear and its pawing of Miss Lily?

4. What picture of the West did the film give? How much did the film applaud the West and its styles, justice, traditions? How much did the film move against the West - wisely and tellingly? Comment on its portrayal of the foundations of the West, the foundations of modern American society, the visionary sequences with Roy Bean forecasting the future to Maria Elena? And the contrast of what happened and his disillusion? How much nostalgia was there in the film?

5. What attitude did the film take to justice and law? Rog Bean's use and abuse of law? His insight that the West needed law? Why did the West need law? His ethics of expediency and suiting himself? The expediency of justice as foundation of the American West?

6. The impact of the initial slaughter as justice for what had been done? The parson justifying Bean's attitudes and behaviour? The significance of the arrival of the parson, his comments on Bean, his religious justification of Bean's attitudes, his helping him? The pervading influence of the parson's attitude and Bean's requoting him?

7. The purpose of some of the episodes - the hanging of Sam Dodd and its comic overtones, Dodd's explanation of why he was hanged, racism etc.? The satire in the presentation of Bad Bob, the satire on the gunfight, Bean's shooting him in the back, the laments over Bad Bob's body? The establishing of the outlaws as marshals and his swearing them in, their settling down? The arrival of Grizzly Adams and his wanting to bury himself? The taking over of the whores from the merchant?

8. Was Maria Elena an attractive heroine? Her initial helping him, Mexican, living at the back of the house, her love for him, the romantic interlude with the bear and the song (too sentimental? Very American?), the dress, the jealousy, the baby and her death?

9. Comment on the general picture of frontier life, Bean's establishing the town and its trade, his use of money, the happiness in the town, especially at the Jersey Lily?

10. How did the film change with the introduction of Frank Gass? Did you feel that he was the victim of Bean, especially at the card game, and being put in with the bear? was Gass's revenge credible? His use of the citizens and the reformed wives? His role as mayor, his humiliating the former marshal? His greed? How repellent a character was he? As a profiteer? Why?

11. Your response to Bean's leaving of the town and the end of the legendary period? Why did he stay away for twenty years? Did this seem credible?

12. How well did the film show the transition from old world to new world? Style of photography, use of stills, commentary? The impact of oil, the grandeur of Gass, the humiliation of the past? What was the driving force of Gass's ambitions? Our response to this? As an image of modern America?

13. Comment on the impact of the climax ? appropriate for this film, the matter of legend? Why did Roy Bean reappear as a legend? The way he was photographed? Dying in fire on a horse, apocalyptic? The basis for the legend? The response of Rose as his daughter? A Western last stand? A reliving of the West, the old gunfighters and stance against injustice? The fire and the destruction of this world? The significance of this world returning to the desert?

14. Was it appropriate that the film should end in a more modern period and with nostalgia? The emotional impact of the arrival of Miss Lily, her visiting the museum, the commentary on the past, the importance of Roy Bean's letter as summing up of the film?

15. Why was this film made? Comic relief of the West? The picture of a hero? An exalting of the virtues and vices of the West? The portrayal of courage in the West and the heroes being victims of the world they created?

THE LIEUTENANT WORE SKIRTS

US, 1956, 99 minutes, Colour.
Tom Ewell, Sheree North, Rita Moreno, Rick Jason.
Directed by Frank Tashlin.

The Lieutenant Wore Skirts is slight pleasant entertainment, a typical enough example of '50s comedy. Tom Ewell was an excellent, if underused, comedian. He was excellent in such films as Adam's Rib and The Seven Year Itch (with an 'in' joke during this film where a girl acts seductively with reference to the film - with Ewell's character saying offhandedly that he never saw that movie). Sheree North, who had a brief career as a dancer and comedienne but was later to be a very strong character actress in films and telemovies, is the leading lady.

Writing and direction is by former cartoonist Frank Tashlin who was to make his mark in Hollywood films with Martin and Lewis vehicles and, then, especially working with Jerry Lewis. His films are better appreciated if they are seen as cinema versions of his cartooning. The film has quite attractive production values including Cinemascope photography.

1. An entertaining comedy? With the musical touch? A live action cartoon? Topical comedy of the '50s? In retrospect?

2. The work of Frank Tashlin - his comic strip background, delineation of characters, caricatures? Comic situations? Verbal comedy? Farcical situations, misunderstandings?

3. Cinemascope photography, colour? American locations? Overseas locations? Hawaii? The American lifestyle, the military lifestyle? The comic touches? Musical themes?

4. The humour about the services? The aftermath of World War Two and its memories, especially for Gregory? His getting older? The next group of American soldiers and their experience of Korea? The younger men of the mid-50s and their attitudes towards the World War Two veterans? The women and their involvement in the war? Call-up, loyalty? Getting out of the call-up? Becoming enmeshed in the system? The basis for many service comedies?

5. Tom Ewell's style as Gregory? As seen through his wife's eyes? His skill in writing? His living in the past and his memories? Devotion to his wife? Clashes with his agent? His potential for jealousy? His being called up - and his physical disability, psychosomatic reaction? The interview with the younger men and his getting out of the call-up? His reaction to Kathy's enlisting? His loneliness without her, his advice from the agent, his observation of his girlfriends and their freedom of his apartment? Going to Hawaii? The embarrassment to his wife and the humorous focus on role reversal? His decision to do a 'Gaslight' on her and drive her mad? The psychiatrist seeing through it? His humiliation and reconciliation?

6. Kathy as the commentator on the action - attractiveness, explanation of her husband's affair, unhappy marriage? Her reaction to his being called up? The attentions of the younger officer? Gregory's behaviour at the party and her having to cope? Her decision to enlist and her not being able to get out of it? Farewells, going to Hawaii? Her taking on the man's role in the traditional sense? The jokes about husbands and wives and her reaction to Gregory's playing Bridge with the girls? Her not understanding him, her reaction to his blowing the bugle, waking her up during the night etc.? Her anger with him? Final reconciliation?

7. The portrait of the 'with it' agent, his bachelor apartment, philosophy of being a bachelor, the girls sharing his refrigerator etc.? His coming to Hawaii ? and his marrying? The girlfriends ? and the skit on Marilyn Monroe's style in The Seven Year Itch?

8. Role reversals and the 50s, women taking men's places, men accepting women's work? The jokes about cards with the girls, cooking and aprons etc.?

9. The device of trying to drive his wife mad and get her discharged and the traditional way of getting her discharged, her pregnancy?

10. A pleasant comedy, American comic styles of the '50s, traditional values and their gently being satirised?

LIES MY FATHER TOLD ME

Canada, 1975, 102 minutes, Colour.
Yossi Yadin, Len Birman, Marilyn Lightstone, Jeffery Lyons, Ted Allan.
Directed by Jan Kadar.

Lies My Father Told Me: Jewish families are frequently on our screens. This pleasant saga of a Canadian- Jewish family early this century focuses on a very young boy and his loving admiration for his grandfather, a benign patriarchal rag and bone pedlar, filled with the warmth, wisdom and religion of tradition. Czech director Jan Kadar captures the detail of family life: the father a dreamer in business but sceptical about life, the mother trying to cope, the neighbours in the crowded old suburban tenements, and the point-of-view of the little boy who has to grow up and learn the difference between truth, lies and stories.

1. The significance of the title, its reference to the boy, to the father, grandfather? An indication of themes?

2. How attractive a film? Its appeal to audiences? The importance of the Canadian backgrounds, style, colour? The fact that the film was by a Czechoslovakian director?

3. How well did the film capture the early period of this century? The behaviour and attitudes of people? The style of life?

4. The Jewish focus of the film? How well illustrated was the Jewish background? The importance of the Jewish heritage, in Canada? Varying attitudes towards God and prayer? Jewish customs and ritual? The contrast with twentieth century scepticism, for instance in the father?

5. How well did the film focus on David? How much of the plot was seen through his eyes? Judgements on incidents and characters through his opinions? His happiness, his fear, his growing up?

6. How engaging a boy? For his age, his place in the family, the influence of family attitudes? His relationship with his neighbours? The importance of his grandfather and the ideals and companionship? His idolizing his grandfather? Which sequences illustrated this best? The importance of his relationship with Cleo? Their talk about life, e.g. sexuality? What were the lies that hurt him most, e.g. the question of breast-feeding? Religion and God?

7. The big events as seen by David? The importance of the cart and the horse, the baby, the visiting of the new house, the manure on the doorstep, the police, his grandfather's death?

8. How important was the ending and how convincing? In terms of psychological and emotional growth for the boy?

9. The importance and appeal of the grandfather? A good man, a good Jew, the nature of his work, his prayer? His comment on miracles? His concern for the boy and for his daughter? His attitude towards money and the father's dreams? His speeches on truth and lies? The discourse on flying through the air and autumn leaves? On birth, on breastfeeding, on the incident of the manure? The significance of his death and the way that this was visualized? His spirit still living for David?

10. The contrast with the mother and father? What kind of persons were they? Their relationship to each other, to the grandfather? The father's dreams and his moneymaking schemes and their failure? His irritability? His depending financially on the grandfather? His not relating well to his son and yet wanting to? What future did they have by the end of the film?

11. Comment on the picture of the neighbours, the interest in detail of character? Mr. Baumgarten and Lenin, Mrs. Tannenbaum and the manure, the girl who was the prostitute, the children in the household and the district, their prying on the neighbours etc.?

12. How much insight into the happiness and sadness of life? Themes of birth, growth, death? How much wisdom in a film of this kind?

LIBERA MY LOVE

Italy, 1973, 111 minutes, Colour.
Claudia Cardinale, Adolfo Celi, Philippe Leroy.
Directed by Mauro Bolognini.

Libera My Love is one of the several films of Mauro Bolognini from the 1970s. Beginning in the 1960s with some realistic dramas, Il Bell Antonio and others, he made an impact in the 1960s. However, it was the 1970s that was his strong decade beginning with Metello and Bubu. Libera My Love is a story of early 20th century Italy, a picture of the fascist years and an anti-fascist film.

Other films from this period include Down the Ancient Staircase, The Ferramonti Inheritance and The Lady of the Camellias.

The film was a star vehicle for Claudia Cardinale who had emerged during the 1960s as one of Italy’s most famous international stars. She plays a strong woman – with the symbolic name of Freedom.

1. A picture of Italy in the early 20th century: history, politics, fascism, reaction against fascism? A portrait from the '70s? Comparisons of past and present?

2. The work of the director? His interest in Italian history, politics, socialism, anti-fascism? His skill in re-creating and interpreting a period? The quality of production? The serious tone of the film with the humorous touch?

3. Production values: colour photography, the period of Mussolini, Northern Italy, authentic? The touches of spectacle and action? The cast and the presence of Claudia Cardinale? The musical score?

4. The character of Libera: the Italian woman, the symbolism of her name, "Freedom"? Symbolic character: child, young woman, mature woman? A woman of action, loyalty and love, support ? with the irony of her unnecessary death?

5. The importance of the prologue? The information given about Libera, her father, Italy? Political situation? The importance of Libera's father's work, imprisonment? The effect on Libera as a little girl? His car, arrest? Disillusionment? The collage of her growing up? As a person, in her Italian and political background?

6. Claudia Cardinale and her forceful performance? Relationship with Matteo, Carlo and Anna? The tailor, the fascist background, her wearing red? The authorities, the move, Testa? The precarious attitudes and reaction to them e.g. the school and her outburst?

7. The importance of relationships: strong, forceful, impetuous in contrast with Matteo's calm, quiet? Her not being intimidated? The contrast with Matteo and the authorities? The relationship with Matteo and its enduring so long? Separations, imprisonment on the island? The final search and the sadness of the ending? Her fidelity to him, the children?

8. The visit to her father: helping Sandro, hiding, searching, escape? The emotional effect and its later repercussions?

9. The arrest and the confinement ? the letters, her father, the visit, marrying, her return? The train and the bombings?

10. The war and the work as a tailor? The cinema sequence, house arrest? The partisans and the reprisals? The massacres and the hangings? The shootings? The bridges?

11. The arrest and the torture and Matteo's change?

12. The background of the war: friendships, death? The collages and the ending?

13. The build-up to the final confrontation with Testa? Her farewell? The pathos of her death ? why?

14. The re-creation of a significant period in Italian history? The fascists and anarchists? The political and social issues, human issues? Italy and the past? Later decades?

15. An effective character portrait and study of a person in a social setting?

LIBEL

UK, 1958, 100 minutes, Black and white.
Olivia de Havilland, Dirk Bogarde, Paul Massie, Robert Morley, Wilfred Hyde- Whyte.
Directed by Anthony Asquith.

Libel is a popular melodrama combining romance, courtroom drama, mystery and the war. It is by no means a masterpiece, but it is quite entertaining, interesting for its combination of the stars and a court-room clash between lawyers, Robert Morley and Wilfred Hyde- Whyte. This is an easy film to use for opening up discussion.

1. At the opening of the film whom was the audience meant to identify with - the accused or accuser? Did you change your sympathy during the film? If so, when and why?

2. What motivation would the accuser have - friendship from war days, duty, ambition or greed, sincerity?

3. What was the significance of the prison camp flashbacks?

4. How effective were the court scenes? How easy is it for a court to find the truth?

5. Why did the wife lose faith in her husband?

6. How painful did the film show that court appearances must be even if one is eventually found not guilty?

7. How credible was the solution, bringing in the maimed prisoner?

8. How credible was the whole film? Did it hold the interest (with some suspense) while it was screening? Why?

LIAR'S MOON

US, 1982, 100 minutes, Colour.
Matt Dillon, Cindy Fisher, Christopher Connolly, Yvonne de Carlo, Broderick Crawford, Hoyt Axton, Maggie Blye, Susan Tyrell.
Directed by David Fisher.

Liar's Moon was an early star vehicle for Matt Dillon. He had appeared in such films as On the Edge and My Bodyguard and was soon to make The Flamingo Kid and become a star for almost twenty years. He also moved into direction in the 21st century.

This is a conventional film about a romance and doomed love. Dillon portrays an earnest young man. Cindy Fisher his love. However, the film reveals that there are darker secrets in her background, especially with her possessive father. The film is one of those of the 80s which earnestly explored romantic love, its sense of doom, the gradual revelation of dysfunctional American families.

Yvonne de Carlo and Broderick Crawford appear briefly in the film, echoes of the past?

1. Enjoyable and satisfying romance? Tragedy? Soap opera and melodrama for popular appeal? A Texas, Southern film? For universal audiences?

2. The atmosphere of Texas and Louisiana in the late '40s? The atmosphere of the past, style, issues? Morals and law? Standards and responsibility? Truth? Comparisons with later decades?

3. The atmosphere and period: the prologue and its sepia tone, the atmosphere of the town, wealth and society, poverty and farms, school, sport, dances? The bank, the pipeline? Louisiana and its boarding houses? Colour photography, atmosphere? Musical score?

4. The title and its meaning? The verses and their explanation? The prologue and its feel? Questions of truth? The later aspects of truth and the ironic twists? Their hurting the victims?

5. Themes of truth and its use and abuse, love, greed? The repercussions and the exposure, the hurt, the violence, the destruction?

6. Matt Dillon and his personality and style as Jack? A pleasant young man, his friends, the fair and the greased pig incident and accident? The encounters with Ginny? The horse-ride? The going out on dates, her father forbidding it, his mother reluctant? His being presented at home and his relationship with his parents? His work with his father? His father being hurt, death? The atmosphere of the funeral and its impact on Jack? The sunset rides, support for Ginny? The dance? His being kept away from her, the joke in order to meet her and the collaboration of the friends? The eloping? The driving out of state, the atmosphere of the marriage ceremony and the old couple and their support, looking for a room, work? Jack supporting Ginny as a good husband? The gifts and the birthdays? The conception of the child and their hopes?

7. Ginny and her glamour, wealth? School, dates? The relationship with Richard and her father pushing her? Accidents? The relationship with her father? Her being kept away from Jack? The funeral and her decision to obey? The dance and the encounter with Jack contrived by the friends? The decision to elope? The drive away, the Impact of the marriage ceremony, setting up home? The kindness of the landlady and the helping with the cooking? The cake and the candles? The tenderness of the relationship with Jack? Her pregnancy? Her friendship with Laura Mae and the discussions, her discovery about prostitution? Her shock? Helping Laura Mae?

8. Jack and his relationship with his mother? Her glamour, the grief? His hardworking father and his looking after Jack? The impact of his death? The importance of Ginny's father and the phone calls with Jack's mother? The concealing of the truth?

9. Ginny and her relationship with her father, his possessiveness, wealth, background? Her sister? Pearl? The background of business, entertaining, croquet games, etc.? Her grandfather's presence in the house and his devotion to her, giving her the pony as a gift? Her reaction to the situation, her father's pressures? The Colonel and his reaction to her elopement? Support of Jack? Audience knowledge of the truth and concern for Ginny?

10. The sketching of Jack's friends: the fat boy, the jokes, hair, the greasy pigs, the dance. the drinking, the peeking and the sex? The background of adolescents in the late 140s in a Texas town?

11. Comparison with the girls, school, glamour, the girl letting herself be watched by the bogs?

12. The landlady and her concern for Jack and Ginny? Laura Mae and her friendship and help and the irony of the wrong kind of help with the news of the abortion? The couple that married the two?

13. The build-up to Ginny's pregnancy and the melodrama? Her decision to get an abortion, especially after the news from the detective? Her fears of congenital illness and madness? Her desperation in going to the private abortionist with her barbaric methods? The doctor and the phone calls? The arguments? Jack's discovery of the truth? Time and urgency? The ironies of the complexity of the truth - truth and lies?

14. The detective and his being hired, his interrogations, the personal characteristics which made him a strong character for the film? His talking with the couple, the landlady's concealing their presence? Catching up with Jack and Ginny, the pursuit with Ginny bleeding? The crash?

15. The complexities of the explanation with the phone calls to Jack, his mother, Ginny's father, the doctor? The records? The chase. the crash and the shooting? The doctor and Ginny’s death?

16. The melodramatic tragic atmosphere of the ending? Jack and his declaration that life was not fair ? and the memory of the verses of Liar's Moon?

17. The human themes, youngsters growing up, innocence, love? The small town? The ordinary problems of adolescence? The complexities of the older generation and lies and deceits having poetic justice ? but for the wrong people?