LET'S DO IT AGAIN

US, 1975, 113 minutes, Colour.
Sidney Poitier, Bill Cosby, Calvin Lockhart, John Amos, Denise Nicholas.
Directed by Sidney Poitier.

Give this film about 20 minutes (some initial comedy and vulgarity) because it warms well into an amusing comedy of two ordinary types really working a sting on the New Orleans gangsters - in fact, it is so effective they most agreeably do it again. Part of the enjoyment is going over the same routine with memories of how it worked the first time. It is all most impossible with hypnosis, boxing bouts and a hilarious final chase. In the vein of Uptown Saturday Night, Sidney Poitier directs himself and Bill Cosby in a show that is not meant to be memorable but does provide a fair amount of enjoyment.

1. The appeal of the comedy, the stars and their style, a sequel to 'Uptown Saturday Night'?

2. The tone of the title? its significance for the structure, the conning trick and its repetition?

3. The impact of black comedy, the background of wealth, black customs, the parallelism? The comparison with comedies with white characters? The film as an American comedy? The world of Atlanta, New Orleans?

4. The importance of establishing the characters of Clyde and Billy? Their language, qualities of personality, work, holiday? Their reaction to New Orleans, tourists, innocents abroad, the visits to various places, the chatter about sex at the restaurant? The introduction to their wives and their relationship with their husbands? The irony of their confidence trick mission?

5. The church background and the nobility of getting money for the church? The humour of the ability to hypnotise? The presentation of Bootney Farnsworth as a potential champion? The comedy in the character of Bootney? The comedy in the hypnosis sequences and audience anticipation of the results?

6. The parody of gangster films in the betting sequences? Billy and Clyde and their costumes and their poses, the mimicking of gangster language? The satire on the gangsters as 'Biggy Smalls' and 'Kansas City Mac'? Their premises, their henchmen etc.?

7. Audience response to their winning and the exuberance of this?

8. The background of Mafia-style comedy as presented in the black world?

9. The preparations for the enormous confidence trick, the involvement of the wives and their using their husband's style, the anticipation of the bets and the losses?

10. The response to the chase, the great detail of the chase and the involvement of the police? The irony of the chase finishing in the police station? The criminals being caught?

11. The theme of money? Its usage, people's attitudes, greed and gambling? The film as a comedy of money?

12. Comment on the particular comic qualities of the film: Bill Cosby and his style,, his impersonation of Mongo Slade, the other impersonations? His pairing with Sidney Poitier? The quality and verve of their style? The value of this kind of comedy entertainment, satire on American conventions, as presented by blacks?



LET'S DO IT AGAIN

US, 1975, 110 minutes, Colour.
Sidney Poitier, Bill Cosby, Calvin Lockhart, John Amos, Ossie Davis, Denise Nicholas, Julius Harris.
Directed by Sidney Poitier.

Let’s Do It Again is a cheerful sequel to Sidney Poitier’s Uptown Saturday Night.

During the 1970s, after the release of Shaft and other films about black private eyes, there was a trend which became blaxploitation. This was the era of Pam Greer, Fred Williamson, Jim Brown and others in action stories.
However, Sidney Poitier took another tack, focusing more on comic possibilities for black actors. He had teamed with Bill Cosby for Uptown Saturday Night and does so again. This time they appear as two Atlanta blue-collar workers who want to raise some money for their fraternity. When they go to New Orleans and hypnotise a scrawny boxer who wins, gaining them a great deal of money for their fraternity, everything seems to be alright. However, they have tricked some gangsters who then persuade them that they have to do it again, hypnotising the fighter so that the gangsters can win their money back.

Poitier had directed a number of films including Buck and the Preacher and A Warm December. He was to direct Bill Cosby in Ghost Dad. It is an interesting sideline for Sidney Poitier’s career. In his films, he often appeared the noble man: To Sir With Love, Guess Who’s Coming To Dinner. However, he is able to participate in this kind of humorous escapade.

LET NO MAN WRITE MY EPITAPH

US, 1959, 106 Minutes, Black and White.
James Darren, Shelly Winters, Burl Ives, Jean Seberg, Ricardo Montalban, Ella Fitzgerald.
Directed by Philip Leacock.

Let No Man Write My Epitaph is a sequel to the 1949 film directed by Nicholas Ray, Knock on Any Door. It featured Humphrey Bogart in the role of a lawyer and John Derek as Nick Romano. This film takes the story of Romano on to the 60s.

It is a film which deals with slum life, squalor, drugs. The ironic title indicates the tone of the film. Quite a mixed cast: Burl Ives, Shelley Winters, Jean Seberg and James Darren make this an interesting example of the portrayal of the squalor and the hardships of city life.

1. The significance and tone of the title? Its use by the judge? Indication of themes?

2. How interesting was the plot, group of characters, insight into an urban way of life? How entertaining?

3. How realistic was this presentation of a sordid world? Did it seem exaggerated? Balanced?

4. How objective was the film in presenting these people and their crises? How much compassion for the people presented? What did it ask of its audience?

5. The focus on Nick: the background of his heritage and his father's execution, the slums, the prison background for himself, his friends? His relationship with his mother, love and despising her? The talent as a musician? His capacity as a winner or a loser? His involvement in fights, the law court? His mother and the drugs? His reliance on the judge and the disappointment in his death? The hatred for Louis?

6. How much chance did he have to improve himself and live a proper life? The judge helping him and taking the chance? Holloway and listening to his music? Barbara and friendship and love? How convincingly developed were these incidents?

7. The nature and importance of crises in this world? A melodramatic world, depending on luck and chance? How much room for choice?

8. The picture of Nellie as focussing the pessimism of this life? As a mother, the truth about Nick's father, her work as a prostitute and her style, liaison with Louis, falling into the drug scene, her dependence and her self-hatred? The need for money and robbing Nick? Her dependence on the judge and not seeing his love? The humiliation before the Holloways? How convincing was her final taking of the cure? Did this fit integrally into what went before?

9. The judge as a strong and a weak nun within this world? His work as a judge and his legal skill, his inability to put it into practice, his links with drugs and drink? A man of feelings humiliated? Trying to do his best for Nick? His anger at Louis and Louis’ death? The epitaph of the judge?

10. How convincing was the portrayal of Louis and his types? The smooth and cunning operator, completely selfless? Audience sympathy at his death?

11. The presentation of Nick's friends and the gang overtones, the fights and the bashings?

12. The portrayal of society clashes and the film's comment on the inevitability of this?

13. How well did the film treat issues of family, heritage, environment, drugs?

14. How good a film of its kind was this? or was it merely an ordinary exploration of conventional slum themes?

13. How strong was the development of Fats throughout the film? The ugliness of the shadow side of Corky's personality? The significance of his crude language, the sexual innuendo, his intelligence of planning, his plots, the murders, jealousy? His disowning this and the responsibility? The pathos of his dying and his wanting to die first?

14. How well did Anthony Hopkins portray, especially with his voice, the complementarity of Corky and Fats? The two sides of a single personality, their unity and disunity, the separation? The going against character in killing himself instead of Peggy Ann? The significance of the final dialogue between the two aspects of personality dying? United in death?

15. How successful a thriller? The impact made and the themes presented in romance, murder, psychology?

LET IT BE

UK, 1970, 80 minutes, Colour.
The Beatles.
Directed by Michael Lindsay- Hogg.

Let It Be is a documentary about the Beatles and their music-making made just prior to their breaking up as a group. It shows them rehearsing, recording and giving a street performance. Filmed rather casually with detail close-ups of each of the Beatles at work and in conversation, the film gives an impression of them and their music rather than a study of them as persons. The well known personalities appear and it is of interest to see them working and joking. The selection of their songs is also interesting although quite limited. There are some personal remarks about their work and also about their time in India with the Maharishi. At the end some of the public give some comments, mainly favourable, about the Beatles.

The film does not explain the phenomenon nor their popularity but rather gives us an impression of them in their success. Paul Mc Cartney is the most vocal and has some observations to make, especially about filming, live performances and television specials. The Beatles as personalities appeared to advantage in Richard Lester's humorous films starring them, A Hard Day's Night and Help. The Beatles continued in popularity throughout the '70s and their music was the basis for a popular feature, Sergeant Pepper's Lonely Hearts' Club Band with Peter Frampton and the Bee Gees.

A fictional feature about their early years as a group was made by Richard Marquand, produced by Dick Clark with actors taking the roles and the group Rain singing the songs: The Birth of the Beatles. Their music also featured in Yellow Submarine, an amusing animated imaginative story using the Beatles' songs and their spirit of - all you need is love. The Beatles were a phenomenon of the '60s and '70s and have made their mark also in the world of cinema.

LETHAL WEAPON

US, 1987, 112 minutes, Colour.
Mel Gibson, Danny Glover, Gary Busey, Mitchell Ryan, Tom Atkins.
Directed by Richard Donner.

Lethal Weapon was one of the big box-office successes of 1987. Once again, it is a picture of police buddies. However, this film goes with considerable pace - many found it too violent. However, it shows the drug empires, especially those created by Vietnam veterans with their military expertise. Who is to confront these unscrupulous drug dealers? What is the wear and tear on the police who confront these criminals? What methods should be used? The film, quite adrenalin-pumping with its action and stunts, raises these questions.

The film is a good Hollywood vehicle for Mel Gibson who teams well with Danny Glover. The film is directed by Richard Donner (whose films include Superman the Movie and The Omen).

Very well done of its kind - but still raises questions about violence and weapons in contemporary society.

1. Interesting and enjoyable police thriller? Its impact? Style? Violence? Themes of police justice? Its box-office success in 1987?

2. The world of Los Angeles, the audience entry into the city? Jingle Bells? The high-rise building and the death? The streets, the precincts? The drug world? The domestic sequences? Action, stunts, special effects? Editing and pace? Musical score? Song? Stylish thriller?

3. The use of violence? Visual? Psychological? The world of drug dealers in the U.S.? The background of Vietnam? Conspiracies, violence, unscrupulous immorality? Madness? How is the law to cope? Ordinary citizens? The role of justice? The heroics of the law enforcers? The judgments that they have to make in tense situations? The audience and the stances on violence and its use?

4. The picture of police and their work, causes, dangers? Their relationships with their families and the involvement of families? Their having to cope, their psychological condition, depression? Action, anger, violence and justice, the law?

5. The title and its tone, focus on violence, death? In combating drugs? A lethal weapon for justice? Martin Riggs as a lethal weapon? The theme song?

6. The serious portrait of the police and their work, social situations, opinions, justice? The comic and ironic aspects? Quips, humour? The bond between the men, courage, affection? The humane background to these men?

7. The setting of the tone: Christmas, Amanda (fly, cocaine, prostitution, pornography)? Dixie and the witness ? and the explosion? Huksaker and the search, anger, information and death?

8. The portrait of Martin Riggs and Riggs at work: at home and the sleazy caravan, the drug bust ? 'Shoot me', the anguish at home, his depression, memories, relationships, wanting to shoot himself? Mel Gibson persuasive in this sequence? His new partner, referring to him as an old-timer, the psychotic behaviour, the suicide jump, his meeting his partner's family? The bond with Roger? The background of his wife's death, the visit to the cemetery? The drug sequences, shooting the man's leg? Joshua, Dixie and the boys, the death of Huksaker? The hiding, the plan and the desert, the torture and his spectacular escape, the chase, the final fight with Joshua? The cemetery and things returning to normal?

9. Danny Glover as Roger: the bath sequence, his family, turning 50, Amanda, Michael, the birthday and the men, meeting Riggs, old-timer, the suicide, anger and shooting his mouth, home, the boat, job, kids and the questions, the death, the plan and his daughter being kidnapped, the desert, the torture, McAllister's death, the end?

10. Families and their being involved in the dangers, the domestic sequences, the kidnap, the escape, torture?

11. The conspiracy: the background of the Vietnam veterans, the CIA agents, trained assassins, drug empires, the bank, tough dealings: McAllister? and his seriousness, the boss, the desert, deaths? Joshua and the burning, the execution, shooting Riggs, the desert, torture, the chase, the final fight and shooting?

12. Huksaker and his involvement, his telling and giving the information, his daughter?

13. The police and their work, deaths, psychology? Psychological pressure? The desert sequences and the set action pieces? The audience's final reaction towards justice and vengeance?

LES MISERABLES

US, 1952, 110 Minutes, Black and White.
Michael Rennie, Robert Newton, Debra Paget, Sylvia Sidney, Cameron Mitchell, Edmund Gwenn, Elsa Lanchester, James Robertson Justice, Joseph Wiseman.
Directed by Lewis Milestone.

Les Miserables is one of the many versions of Victor Hugo's novel that has been popular for so long. Hugo's story of a victim of injustice pursued in the name of the law, whose happiness depends on an inhuman letter of the law mercilessly applied has always aroused people's interest. Its setting of the galleys, provincial France and the Paris of the barricades enhances interest. The theme of injustice versus the law and the ultimate suicide of legalism is a deep and moving one.

Frederic March and Charles Laughton took the parts of Valjean and Javert in 1932. There have been French versions and a superb twelve part serialisation for Italian television in the 60s. This version is completely absorbing and has Michael Rennie give one of his best performances. Robert Newton is effective as Javert. Direction is by veteran Lewis Milestone who made All Quiet on the Western Front in 1930 and Mutiny on the Bounty in 1962.

1. What kept your interest in this film? the character of Jean Valjean, the pursuit by Inspector Javert, the theme of justice and law?

2. How did the prologue set the scene and the atmosphere? the crime itself, the casual attitude of the judge, the penalty, the throwing out of the bread? How did this create a mood as the film starts? Did it help the title make sense?

3. What were your reactions to the French galleys and what happened when the ship seemed to be sinking? (This is the early nineteenth century).

4. What did the galley sequences reveal about Jean Valjean's character? Why was he so bitter? Was he completely savage? note his learning to write, his being restrained by his companions, his parole?

5. What impression of Javert did you have? His father dying in the galleys, his bitterness about life, his worship of law and the codes of law (and his legal support for Valjean's money claim)? Why did Javert pursue criminals? What motivated him? How happy was his life?

6. How did you react to people's contempt for the convict? Was this effectively shown?

7. What was the significance of the episode with the Bishop? Why did the Bishop act as he did? Why did Valjean not understand him? What influence did the incident have on his life?

8. Chance and fate played a dominant part in Valjean's life? for good and evil, How was this shown? eg. the runaway horse, the buying of the pottery factory, the continued reappearance of Javert.

9. Why did Valjean not report to the parole officer? Did he know he could be sent again to the galley? Were you surprised that Valjean could become Madeleine and mayor?

10. When did Javert recognise Valjean? Why did he pursue him?

11. What did the episode with Fantine reveal about Valjean and Javert as human beings? Javert spoke of law, Valjean of justice. Javert thought they were one and the same thing. Why aren't they? Why was Javert so cruel at Fantine's death?

12. How did chance provide for Valjean to live a third phase of his life ? the Bishop and the Convent of the Child Mary, Robert etc.?

13. What compelled Valjean to reveal himself at the trial of Mathieu? Why did his friends not want him to go back to the galleys? How they became so hardened?

14. What did Cosette mean to Valjean? Was he jealous of Marius?

15. What did Marius stand for?

16. Javert said that when he had arrested Valjean his duty had been done. Why was he so bitter when Valjean did not kill him? why would be make no bargains or beg for mercy? Why did he pursue Valjean through the sewer?

17. When Javert allowed Valjean to take Marius inside and actually helped him, how had he betrayed the principles he had stood for all his life? Why did he kill himself?

18. Were you glad the film had a happy ending? To enter into the film, it was necessary to be emotionally involved about injustice, slavery, fate, vengeance etc. How did the film keep you emotionally involved? what technique did it use?

LES GIRLS

US, 1957, 114 Minutes, Colour.
Gene Kelly, Kay Kendall, Mitzi Gaynor, Taina Elg, Jacques Bergerac, Leslie Phillips, Patrick Macnee, Henry Daniell.
Directed by George Cukor.

Les Girls is a musical with serious tones. It was directed by veteran George Cukor who has been in films since the early 30s, winning an Oscar for My Fair Lady and also directing such musicals as A Star is Born. However, he is noted for his light touch with comedies and has made quite a variety of important films. Les Girls is reminiscent of the Japanese film Rashomon since it presents the same events from particular points-of-view. What is the truth? Cukor drew on the talents of Mitzi Gaynor and Kay Kendall as two very attractive stars and also Gene Kelly. The musical is bright, but it also has implications on people's reactions on one another and the very subjective outlooks people have on the truth.

1. Was this a pleasant musical? What good features of the musical did it have? The quality of the songs? The dance routines? Gene Kelly's personality and touch?

2. How was the truth theme worked into the musical background? Was it treated lightly? Treated well? Did it overbalance the lightness of the musical?

3. Did the film illustrate the relative nature of truth? What was the truth about each of the characters?

4. How did the film show that each character presented herself and the others in the best possible light? How cleverly done was this visually and by dialogue? The nature of the flashbacks contrasting with present behaviour? How did this crosscutting create an irony about each character? And audience curiosity about the truth?

5. What kind of person was Sybil? Why did she write the book? Was she malicious? was she an alcoholic? Or was this a story by Angele? She presented herself as kind and understanding? Was she jealous of Barry? Her relationship to her own husband? Kay Kendall's personality and her comedy? Was Sybil an engaging character?

6. Angele: was she as bad as Sybil's portraying of her? In Sybil's story how unpleasant a character was she? Her duplicity and ambition? Her callousness? Was her attempted suicide credible? (Did Angele make Sybil's attempted suicide credible?) What kind of person was Angele really? what did the court-case show about her?

7. How did Barry emerge in the stories of each of them? Was he consistent? His so-called treatment of Angele and his love for her? His sympathy with an alcoholic Sybil? what kind of person was he really? Did Joy ask the right question at the end in the taxi?

8. What kind of personality was Joy? Was she presented consistently by all three stories? How attractive was she? How pleasant and American? How considerate of the others? How supportive of the others? Her resistance of Barry? Especially the sequences when she made herself humdrum?

9. What did the film show about human motivations and self-understanding? Was this effective? Does it make one cautious about truth?

10. Comment on the handling of the trial sequences, was this interesting? Did it retain audience interest?

11. How successful a serious musical was the film?

LEPKE

US, 1974, 110 Minutes, Colour.
Tony Curtis, Anjannette Comer, Michael Callan, Milton Berle, Warren Berlinger.
Directed by Menahem Golan.

Lepke contributes to the almost-complete rogues' gallery of US gangsters of fact and fiction. Devotees of the genre will have little difficulty with this film. Those who wonder about the cinema history of the Mafia and the Syndicates may be consoled by the fact that Lepke was one mobster who was punished by US justice. The usual background of slum origins, harsh law enforcement, rebellion, single minded ambition, murder and a soft other side where family and children are concerned, are all presented. Crude assassinations, Walter Winchell's radio hunting of Lepke and Lepke's death are highlights along with Tony Curtis, unusual casting as Lepke.

1. Audience interest in the gallery of rogues and the American depression? The gangster film? Lepke as an interesting character in himself, what he stood for? The value of this kind of film for general audiences?

2. How did this film fit into the tradition of gangster films; the black and white documentaries with their tough atmosphere of the 30's, the fictional gangsters in the 40's, the resurrection of biographies of most of the important gangsters of the 20's and 30's in film of the 70's?

3. This film had an Israeli director. It concerned a Jewish gangster. Was this any different from the presentation of Italian, German and Dutch gangsters? The use of locations, New York, Panavision, colour? The musical score and the overtones of Jewish folk music?

4. The overall impression of the film, was it enjoyable or not? Presuppositions about gangsters, values?

5. The importance of the opening sequences and the early years of Lepke? A sepia colour? Lepke as a boy, criminal, encounters with the police, arrests, warnings? His being brutalised by the police? His poverty as a motivation for stealing? How much did this help to explain the later Lepke? The plaque on the wall of the police station with its warning?

6. How well did the film introduce the adult Lepke? Tony Curtis as Lepke and the audience presuppositions about him as an actor? The transition from the early years to his arrival in New York as an adult? His poverty, his return to his origins, his request to the landlady for the room, her acceptance of him? The possibility of his building on this?

7. Lepke's relentlessness and ruthlessness? His friendship with Shapiro and him as his ally throughout his career? His gradual making of contacts? His working for the bosses? His toughness and push? Brutality of pushing the tailor out of the window when he refused to pay? His associates' awareness of his consciencelessness and ruthlessness? Augie and his ruling? Lepke's ambitions and the engineering of Augie's death? Brutal beginnings, greater organisation, building an empire, creating loyalty in Shapiro and his friends?

8. How credible and real was the gangster world? The world of Luciano, Anastasia? Their norms, values, codes, ambitions? Morality, the law?

9. The film's introduction of Robert Cain and aspects of the law? Childhood friendship with Lepke? Cain's search for help, friendship? The change in Cain and his legal work for Lepke? His knowledge of shadiness? The ironies of his moral behaviour and yet his support for Lepke? How credible a character? His later change of attitude?

10. The introduction of Bernice, meeting her at Cain's office? Her status as a widow? Her falling in love with Lepke? The lyric episodes of their walk along the beach etc? The build up to the interview with her father? Jewish ritual and Lepke's lack of knowledge of this? The humour of the formalities of his proposal? The build-up to the wedding, its story and celebration? Broken by the visit of Luciano? The consequent separate worlds and Bernice’s' willingness to remain in her own world? Her not recognising what her husband did? The significance of the arrival of the police at the home and her not facing the facts? Her meeting Lepke at the fairground with the merry-go-round during his hiding? Her attitude towards her sons knowledge of their father? Her visit to the theatre and final rejection of Lepke because of his rejection of her? Her presence at the court and her feeling at his condemnation? Her presence at the execution night and the last scene of her walking away.

11. The character of Bernice's father? His knowledge of Lepke, agreement to the wedding, his asking Bernice to come back, and confronting her with the truth and her unwillingness to see it? Moral judgement through this character?

12. How well did the film build-up Lepke's work and his empire, his lust for power, money, his home? The importance of Dewey's attack on the gangsters and Lepke's decision that his life be saved? The irony of Dewey condemning him later? The decision to enter the drug world? The humour and irony of Shapiro's visit to Hong Kong and the getting of the drugs? Naive Americans and yet their overtaking of drug traffic? Lepke's lies about the drugs, his bribes, his killings, the attacks of others on his drug stores? How deeply was he involved in the gangster world? Was it possible to turn back?

13. Lepke's presuppositions about people and their ability to be trusted? His ruthlessness for murders?

14. His indiscretion at his decision at Rosen's death? Its repercussions later and the testimony against him later?

15. The ruthless character of Max Rebin and his doing the killing for Lepke? The visualising of these, such as the stabbing of the girl in bed, the spaghetti exploding, his later appearance in court?

16. Lepke's downfall and his hiding, eating at the fairground and the empty merry-go-round, his hiding in the theatre and watching the gangster film and wishing for something romantic, brutality and irony of the big shootout in the theatre?

17. The character of Walter Winchell and his influence in America through his radio programmes and campaigns? His popular comments on Lepke and audience response? The FBI, the Winchell's involvement in the deal with Lepke? The fact that Lepke was betrayed? The prison sequences and their effects on him, his behaviour on the court and his final condemnation?

18. The grim presentation of execution? The preparation for the execution, his being readied, the visit by the rabbi, Cain, Winchell? The visualising of the execution and the effects on the audience? Horror, deterrent?

19. The theme of Lepke's life and what it profited a nun to gain everything and to lose everything?

20. This kind of film as a picture of America, the realities of the gangsters world, society, individuals, corruption, greed and ambition, law and order?

LEO THE LAST

UK, 1969, 104 minutes, Colour.
Marcello Mastroianni, Billie Whitelaw, Calvin Lockhart, Glenna Forster Jones, Graham Crowden, Gwen Ffrangcon- Davies, Vladek Sheybal.
Directed by John Boorman.

Leo the Last is a pre- Deliverance John Boorman film. It comes after Hell in the Pacific. It is excellent in its visual portrayal of suburban London, its creation of atmosphere and mood, its stylised performances, but it is nevertheless a very difficult film to follow and tends to drive audiences away from it. Its commercial release was long delayed. It is a parable about mental breakdown in modern society: the settings, the editing and the sound effects reflect this. It is about saving the poor and oppressed (London's poor and black population) and overthrowing establishment society. The hero, Leo (Marcello Mastroianni) is an unwelcome redeemer figure, the last mad saviour who might save a street full of people. It is an interestingly difficult film, needing several viewings. Boorman then went on to make Deliverance, Zardoz, The Heretic.

1. The meaning of the title? Its regal tone? Its application to the themes of the film? Its indication of the film's themes?

2. Comment on the style of the film and its success: the strains of realism, the styles of fantasy, the stylized presentation of acting, behaviour, fantasy, songs? The relationship between realism and fantasy? The creation of London atmosphere and its authenticity? The focus on the house and the street? The location photography? The use of colour and its quality? The use of music and songs and their irony? The contribution of the songs?

3. What was the overall impact of the film? Could it be easily described? Could the themes be easily identified? How enjoyable was the film? How difficult and how much hard work in response?

4. How well could the film be seen as an allegory of the modern world and revolution, all happening in a London street? Was the allegory successfully worked out, communicated?

5. How interesting a character was Leo? The fact that he was played by Marcello Mastroianni? The 'everyman' figure, Leo as the last everyman saviour, the will to be a redeemer? Leo as a leader, interfering, a do-gooder, a sign of contradiction to people? How much a saviour, even a Christ-figure, was Leo? Did the film intend this?

6. Leo's background and our initial seeing him, his heritage and inheritance, his illness, the nature of his madness, his visionary nature, the people that he related to, the telescope with which he looked at life and finally got rid of, his relationship to his butler, doctor, lawyer, nanny, fiancee? What impact did each of them have on Leo? For good or ill? Realistically and in fantasy?

7. How important was his home for Leo? Feeling at home, the shelter of home, going out from his home, being barricaded from his home, destroying it? The significance of this theme?

8. The significance of Leo observing life from a distance? The observer gradually becoming involved? The cinema techniques of distancing Leo from the people across the street, the techniques for involving him? His enjoyment of helping people, his being moved by others,, the quality of his help?

9. The relationship of Leo and Salamba? Salamba as the heroine? Downtrodden, led astray, rescued, loving? How significant that Salamba was a negress?

10. How important was the Revolutionary theme in this film? Upper and lower classes, working classes, black versus white, the overthrow of the aristocracy and establishment, the burning of the old house? What attitude towards revolution and its necessity did the filmmakers take?

11. Revolution and the theme of class warfare? The difference between the people in Leo's house and those across the street? Wealth and poverty? The quality of life within the working classes? Leo's observation of people's lives across the street? In describing these, what do you understand by the quality of their life?

12. How important was the 'race' theme? Leo as white and those he helped principally black? The black/white oppression across the street? The black and the white oppressors, money-grabbers, pimps?

13. Comment on the role of Margaret in the film? As a bitch? Her eating, her lust, her wanting to marry Leo? Her inability to stay with him? Her wish to control him? What aspect of the dominating woman was being criticized and explored in the character of Margaret?

14. what was being explored in the presentation of the lawyer, his quick talk, his 'establishment' hold over Leo, his place in the fantasies, his inability to help Leo?

15. The same kind of exploration with the doctor? The fantasy of his therapy? The criticism of the establishment doctors?

16. Was the same kind of criticism made of the nanny?

17. How central to the film was Lazlo? The middle-European heritage, the background of conspiracy, of Fascism, the nature of the meetings, the fantasy and reality, the farce and irony, the role of weapons, the morale and comradeship, the violence? The fact that these men were 'the establishment' and barricading Leo against his house? Lazlo and his destruction? Lazlo as walking out of the house safely? What kind of figure was Lazlo? The symbolism?

18. How did Lazlo contrast with Roscoe and what he stood for? The details of the robbing of the chicken in terms of realism, symbolism? Roscoe as the black leader standing side by side with Leo? The significance of this?

19. The contrast of Jasper and the black exploitation? Roscoe as good, Jasper as bad?

20. What contribution did the minor characters across the street make in the film, the Pole, the women, the blonde, the old woman singing?

21. Salamba and her family in the middle of this atmosphere? The details of the sequences on prostitution and the effect on Leo?

22. What insight into mankind did the film give, man and woman?

23. The significance of the fantasies, the horror of the rich eating at the party, the rich in themselves and their small-talk and hypocrisy, the sexual overtones, the therapy in the waters and the significance of this?

24. Why did the film end with the siege, the fireworks, the surrender, the ambulance and the collapse? What had been achieved by this stage?

25. Leo had said that he had saved his street? Did the people wish to be saved? What kind of salvation had he achieved? The view of the old lady singing?

26. What views on man and mankind did the filmmakers have? Optimistic or pessimistic? was this a valuable film?

LEONARD PART V1

US, 1987, 81 minutes, Colour.
Bill Cosby, Tom Courtney, Gloria Foster, Joe Don Baker, Moses Gunn.
Directed by Paul Welland.

Leonard Part VI was one of the most spectacular box-office failures of 1987. It was produced with a story by Bill Cosby, designed as a vehicle for this most popular star. Commentators suggested that, instead of trying to imitate James Bond, he should has stayed within the family which had made him a household word. The humour is flat, the film pales in comparison with James Bond - The Living Daylights was released at the same time.

There is a touch of humour insofar as Leonard Part VI is the 6th. in a series and the other adventures were classified for national security. One reviewer noted that there would not be clamour for them under any Freedom of Information act. Cosby has a pleasant screen appearance but appears somewhat egotistical in this role. Tom Courtney comes off best as his very English butler who tells the story but, again, commentators noted the comparison with John Gielgud's butler in Arthur. There is a lively villainess, some good special effects. The film runs for only 85 minutes but was originally longer and several incidents (including his wife's boyfriend) appear in the film's trailer but not in the actual film.

1. How entertaining a film? Its ambitions? its achievement? The work of Bill Cosby, writer, producer, star?

2. An expensive film - elaborate special effects, stunts? The musical score? Editing and pace?

3. The title and the focus on Leonard? His work for American security? The other parts?

4. The focus on Leonard, his work in the CIA, his retirement, his family situation, his wife leaving him, his daughter and her involvement with the producer, going to see the play? The strange killings and the animals? The group hiring him again? The collage of his training (even Jane Fonda talking to him from an aerobics video)? His going into action, his skills, his being helped by the butler? The chasing of Medusa, the kidnapping of his family? The ordeals gone through? The defeat of Medusa? Achieving his mission? A credible James Bond-style hero?

5. Medusa as villain, her entourage, headquarters, using animals to kill enemies? Her capturing the family, confrontation with Leonard? Her defeat? A lively and imaginative villain?

6. The butler, his English style, his narrative, his service of Leonard, his ability to help and remedy situations? Attentiveness? His perspective on the action?

7. Leonard's wife, the separation, the reasons, his tyring to reconcile With her, the meal and the food over his head, her disregard, the capture? The daughter and her ambitions, her reaction against Leonard, the producer and his age, relationship, his style of play, talk? Leonard going to the play and his being shocked? The daughter's capture? Interesting family?

8. The American authorities, their reliance on Leonard, their persuading his to go on mission again?

9. The opening with the resume of Leonard's exploits and the ironic humour of his success, the James Bond spectaculars, the mystery and bizarre nature of the killings?

10. Audience familiarity with secret agents, saving the world, special effects and stunts? Comparisons with other films of its kind, especially the Bond films?

LENNY

US, 1974, 111 minutes, Black and White.
Dustin Hoffman, Valerie Perrine, Jan Miner, Gary Morton.
Directed by Bob Fosse.

Lenny is a most impressive film and a disturbing one. It made strong impact in 1975 on its release, gaining Oscar nominations for film, direction by Bob Fosse who had made Sweet Charity and Cabaret, nominations for Dustin Hoffman, in yet another excellent performance, and for Valerie Perrine who was emerging as a very good actress indeed. ?In Lenny the audience sits watching and listening to performances that a decade earlier led to arrests and lengthy trials, protests and a change in interpretation of what was considered to be obscene. Was Lenny Bruce's social comment on double standards ahead of its time? The film offers much for consideration. As well, its black and white photography, its working on three interweaving time levels (the basic plot of Lenny's life, the later interviews with his wife, mother and agent, and a sampling of his cabaret act) all combine into a complex biographical study. And it is enhanced by one of Dustin Hoffman's best performances.

1. What did the film-makers have in mind when making this film? What did they want to portray? What response did they want from the audience? what impact did the film have? The impact in the seventies, contrasting with Lenny Bruce's impact in the sixties? Why the difference?

2. How important was technique and its impact? The initial starting of the film with the mouth? The mouth. then moving to the body? The style of the black and white photography? The sombre tone of the film, the comic tone? The skill in editing the various levels of the film? The importance of the jazz musical background? The importance of the three levels and their intertwining? What effect did this have? The chorus of Lenny's cabaret act in itself, its context and its satirical points, their relating to his real life? The contrast with the documentary style of interviews? The different time levels? The sense of reality and objectivity about what happened? The ordinary story and its moving from the young Lenny to his death? The dramatic thrust of this story? The insight into the character and his relationship with Honey and others? His career? The pity of his death? How successful then, was the film in plot, comment on character, psychological insight, an impression of Lenny and his meaning? How important was the quality of the acting for the technique of the film?

3. What was the main impression of Lenny Bruce as a person? The skill of Dustin Hoffman's performance? How did he subordinate himself to Lenny Bruce in the film? Hoffman's change of style for each of the three levels of the plot?

4. What analysis of the character of Lenny Bruce did the film give? The impression of Bruce as a boy. as a Jewish boy. as an American, in relationship to his mother? His early style of cabaret entertainment? His initial failures? His personal sense of humour, his discovery of his style as a comic? The impact of Honey on his life? Did he ever love her? His infatuation, his change of character. his marrying her? The importance of the sequence of her meeting his mother? The importance of the child on the family? His skill in developing his act? Cabaret act as commenting on his behaviour and his attitudes? Honey as a loser type and involving Bruce in drugs etc? Bruce's weakness of character to involve him in this? The estrangement? Bruce's relationship with other women? His beginning to go downhill as a person, coupled with his success as a social commentator? Honey and his support of her in jail? Bruce's popular appeal, the growing audiences, the nature of his attack on society? The importance of the trial sequences? His obsession with the trials? His boring people in his act? The sudden tragedy of his death? The meaning of his life?

5. How successful a comic was Lenny? The topics that he chose to comment on? What insight and incisiveness? The bluntness and obscenity of his style? How objectionable, how integral to his act? The attitude of the police, of the judge during his trial? The racist themes, the sexuality themes, the social hypocrisy? How important is it to have this kind of comment by a comic?

6. How successful was Lenny Bruce as a man?

7. How successful was Lenny Bruce as a person able to relate to others?

8. How telling was the characterisation of Honey? The initial presentation of her in her dancing and stripping? The contrast about the way he reminisced about her life? what attracted Lenny Bruce to her? Her response to him? Her capacity for love? Her dependence on Lenny? Her relationship with Lenny's mother? The success and failure of the marriage? Her failure as a mother? How important was the accident and its effects on her life? Her response to Lenny's infidelity while she was in hospital? Why did she experiment with drugs? Weakness of character? The impact of jail on her? Her relationship with the child? Her regressing as a person? And yet her capacity for telling Lenny's story as it was, What insight was given in the character and characterisation?

9. The personality of the agent? His relationship to Lenny? His exploiting of Lenny, his support of him? What did he do for Lenny Bruce? How objective was his comment and his memory?

10. The importance of Lenny’s mother? Her influence on his life, driving him, as the butt of his humour, as supporting him at all times, the objective nature of her memory of him.

11. The importance of such sequences as the comic in the night club trying to get backing from Lenny, and Bruce then denouncing him? The impact on audiences of sequences like this?

12. The film's comment on the police, and civil justice?

13. The question of obscenity? How important was the film for focusing attention on this theme and the complexities?

14. What impact did the film have in its presentation of obscenity, comments on sexuality, violence, racism, justice? Advertisements said he was ahead of his time, that his time had come now. Is this true?