BIG CITY

US, 1948, 103 minutes, Black and white.
Margaret O’ Brien, Robert Preston, Danny Thomas, George Murphy, Betty Garrett, Edward Arnold, Butch Jenkins, Connie Gilcrhist, Karen Booth.
Directed by Norman Taurog.

Big City is a Margaret O Brien star vehicle. After her successes during the war in such films as Lost Angel, Meet Me in St. Louis, Journey for Margaret, the studio kept finding stories for her up until 1950. This is a sentimental tale of Margaret O' Brien as a waif with three fathers - played by popular stars Robert Preston, Danny Thomas, George Murphy. Betty Garrett also appears in an early role. It is the kind of expected material for Margaret O'Brien, so popular at the time.

The direction is by Norman Taurog, veteran of this kind .of sentimental comedy with films ranging from Skippy to Boys Town films. He later directed many Jerry Lewis and Dean Martin comedies as well as Elvis Presley musicals.

1. Popular sentiment-of the 40s? The playing of God Bless America?

2. Black and white photography, MGM Production values, New York City? The cast? The strong score, Irving Berlin's songs and themes?

3. The title - the big city and people who love people?

4. The popularity of Margaret O 'Brien? Screen presence, charm, sentiment?

5. The telling of the story: the neighbourhood, Irish background, Jewish? The mixed population of New York City and of America? The variates of religion? The waif -and her uniting peoples in the neighbourhood? The judge and the experiment with the fathers?

6. Margaret O 'Brien as Midge: her name, school, Lewis and the fight, the home and the three fathers? Playing and working? Singing? Grandma? Coney Island? Shoo Shoo and language, sick? Song, the school? The tension? The court case, arguments? The truth? The institution - and the finale? Margaret O' Brien's talent, her capacity for mimicry? Sentiment?

7. David, and Danny Thomas's style as the cantor, the choir, his mother, home, teacher, attractive, the flowers? Shy? The talk with Sho Shoo-Shoo? The comic song? Upset, the proposal? The court -;and his speech to the judge?

8. Phil and his work, love, the kids, Florence, the flower, meal, coffee, being upset? The court, its effect on him, the judge - and the prayer?

9.Pat and the bar, the fights, the Irish background, catholic? The relationship with Shoo- Shoo? Songs, the visits, Coney Island? Marrying? Court case - and relenting?

10. Shoo- Shoo, her story, the songs, comic style, audiences, attraction to Pat, the injury, love? Coney Island, the movie? Relationship with Midge? Packing? The wedding? Court, her testimony, the happy ending?

11. Florence, teaching, the story, the visit, the concert? The coffee? interest,
unable to help? the proposal, the end?

12. Grandma, the lullaby, the meals? Fair, love, her son, hopes?

13. The religious backgrounds, grace and unity? The court and its effect?

14. A popular piece of 40s American sentiment?

TANK MALLING

UK, 1989, 96 minutes, Colour.
Ray Winstone, Jason Connery, Amanda Donohoe.
Directed by James Marcus.

Tank Malling (Beyond Soho) is a grim drama of British gangsters of the 80s. Focusing on surface morality and campaigns for moral revival, it also focuses on the corruption of British Society and leadership below the surface. In fact, ultimately the film is completely pessimistic. The film was co-written and directed by James Marcus.

It has a number of characters, quite a number of plot tangles which require audience attention. It also presupposes an amount of information prior to the films opening that is only gradually revealed, also requiring attention. The title refers to John "Tank" Malling, a top investigative journalist who has been imprisoned for perjury after trying to expose Sir Robert Knights. Knights (played by Peter Wyngarde) is a allegedly involved in British vice but is also the secretary of a moral revival movement. However, he is also mad seeing himself as chosen by God for his moral campaign. Ray Winstone is Malling. Also in the cast is Amanda Donohue, a constant screen and television presence at the end of the 80s and early 90s with such films as Castaway, Paper Mask, The Rainbow, Glare of the White Worm, Diamond Skulls as well as a continuing role in L.A.Law. Jason Connery is also featured as Sir Robert Knight's cold and ruthless assistant. The co-producer, Glen Murphy appears as the ruthless hit man, Cashman.

Glossy surface, murky atmosphere, many complexities - but of interest for those who enjoy complex gangster movies, especially English style.

1. Impact of the movie? As a thriller? Portrait of journalists, prostitutes, the media, hit men, high society? The implications of fascists coup d’etat for Britain? The critic of British morality?

2. The London settings, Soho and beyond? Affluent English society? The contrast with the sleazy nightclubs? The television studios and the media? The musical score?

3. The title with its focus on Malling? (The alternate title and the emphasis on sleaziness and Soho?)

4. Audience ability to follow the plot, understand what had happened to Malling prior to the films opening? His relationship with Helen? The behaviour of Sir Robert Knights? Knights assistant and his ruthlessness, the hit men? The murder of the young prostitute?
The further murders by Cashman? The moral revival movement and the implications of having the police, the church, the judiciary part of the plot?

5. The credits and the young girl coming to London, the young prostitute, her bewilderment? Her murder? Helens upset at her murder and wanting to give information to Malling? 6. Malling, his reputation? The attack on Knights? His credibility undermined? His serving two years in jail? His return, as a photographer? The social event, talking with journalists? Helen approaching him and his violet reaction? His believing her and taking her home? His relationship with Salina, her jealousy? Helen and the memories of the relationship of the past? Her betrayal of him? Her upset at the prostitute's murder? the interrogations and her being taped? Her own emotional reaction, her memories of the past (and the lurid flashbacks to perverted behaviour)? His decision to go with the material? The warnings? The murder of Monica, Helen's friend? Her suggestion of Campbell Sinclair and his publication? Malling’s visit to Sinclair, the possibility of the expose? His wanting to get Sir Robert Knights diary, going with Danny, infiltrating the house, the safe? Getting the diary? The interactions with Cashman and his henchmen? With Knights assistant - and his being setup, Danny's being killed? Helen's death? The encounter with Salina, the affair, the shower sequence - and the brutality of her death? His growing desperate? Campbell being assaulted? His finally going into the moral revival session, listening to the speech - and, his having nothing to lose, killing Sir Robert Knights? The pessimistic ending?

6. Helen, her glamour, approaching Malling? Memories of the past? Her background as a drug addict, prostitute, procurer? The flashbacks? Her interrogation, being taped?

7. The news of the death of Monica? Her getting him in touch with Sinclair? The interactions with Salina? Her death?

8. Salina, fashion editor, relationship with Malling, her jealousy? The sexual encounter? Her death?

9. Sir Robert Knights, prominent? The accusations and his denials? His background of perversion, violence and murder? His public speeches? The television interview anal his sense of mission? Getting rid of violence and corruption? The bishop, the judge, the police chief? The plans for taking over? His mania, his outburst with the small group? His outburst during his speech? His death?

10. Cashman and his assistant, the contacts in Soho, the confrontation of Monica and slashing her? Killing the informant after torturing him? The murder of Salina, of Helen? The confrontation with Malling? Knights assistant freeing him and giving him the gun? The fight with Malling, His death?

11. The assistant, bespectacled and proper? ruthless? Handling Sir Robert Knights? Instructions to Cashman? Presenting Knights to the bishop and the judiciary and the police? His setting up Danny, the stealing of the diary, freeing Malling, manipulating Cashman's death? Manipulating Sir Robert Knights assassination? His being completely in control? His future?

12. The portrait of the police, officials? Entangled in Knights perverse world? Constitution and sexual behaviour? Knights hold over them? Sinclair ringing the police inspector and giving him information about Malling?

13. Sinclair, editor, suspicions? His camp and style? His belief in Malling’s' word? The attack by Cashman - his playing it for ironic laughs yet his fear and intimidation?

14. A picture of late 80s Britain? Respectability? Corruption? Politics and a fascist takeover of Britain?

SAVAGE SAM

US, 1963, 103 minutes, Colour.
Brian Keith, Tommy Kirk, Kevin Corcoran, Dewey Martin.
Directed by Norman Tokar.

Savage Sam is the sequel to Old Yeller, six years on. It has the same central characters, the boys played by Tommy Kirk and Kevin Corcoran as well as Jeff York as old bud Searsi. However, while the screenplay is written by the same authors, William Tunberg and novelist Fred Gipson, the atmosphere is quite different.

The film is less mellow. Dorothy Maguire and Fess Parker are absent. The boys have grown up and have to fend for themselves. The hero is their Uncle Beck, played by Brian Keith (a veteran of many Disney Films). Sam, son of Yeller, is not such an attractive dog and the focus of attention is on a group of Indians and their capture of the youngsters. The films treatment of Indians also seems to be a throwback to much earlier days. (And Kevin Corcoran, this time, seems a loud mouthed brat rather than an attractive character). Veterans in the cast include Dewey Martin, Slim Pickins as well as Royal Dano as a bitter foe of the Indians. The film has attractive backgrounds, has a great deal of excitement, fine storm sequence.

1. Entertaining Disney family feature and adventure? The sequel to Old Yeller? Elements in common? Different elements?

2. Location photography, colour, landscapes? Life on the land? The action sequences? The storm? Stunt work and action? Musical score and theme song?

3. The title and the focus on Sam? His savagery, with the boys, helping the group, tracking the captives?

4. Travis and Arliss, from the previous film? Grown up? At home, work, Travis in charge? Arliss and his disobedience? Their clashes about breakfast, milking the cow Arliss throwing stones? their relationship with Uncle Beck and his wise advice? With Savage Sam? The visit of the Searsis? the Indians and their taking the horses? Going in pursuit? Travis as the reliable character? Arliss as irresponsible young brother? The attraction towards Lizabeth? The Indians in the attack? The capture, their treatment? Violence? The horses, the escape? The Indians taking Lizabeth and Arliss? Travis in pursuit with Uncle Beck and the men? The dangers, the storm? The final attack and the rescue? The portrait of the two brothers?

5. Uncle Beck, practical wisdom, being a younger brother, helping Arliss, helping Travis? Solving problems? The stolen horses, the pursuit of the Indians, with Travis and the
men? Handling the group, the storm, the loss of the tracks? Savage Sam and his help? The final confrontation?

6. Bud Searsi, the comic relief, his hunger? Anti-Indian? Lizabeth and her attraction to Travis? His pursuit of his daughter?

7. The members of the group, the horses, travelling together? Pack Underwood and his desperate hostility to the Indians, firing the first shot? Wiley Croup and his whining, wanting to go back? Lester White and his being glued to the Land? Travelling together, taking turns in running after they have picked up Travis? Their characters, on the land, attitudes towards the Indians?

8. The portrait of the Indians - partly sympathetic, partly poking fun, partly hostile? The behaviour of the Indians? The pursuit of the white men? The horses? Arliss and his attacks on the Indians?

9. A story of the American frontier designed for younger and family audiences?

THE GREAT LOVER

US, 1949, 80 minutes, Black and white.
Bob Hope, Rhonda Fleming, Roland Culver, Roland Young, Jim Backus.
Directed by Alexander Hall.

The Great Lover is a very enjoyable Bob Hope comedy, coming from his heyday in the 40s and 50s. The screenplay was written by veteran team of Melville Shavelson and Jack Rose, writers of many Hope comedies and Shavelson, himself, a director of many comedies.

The plot is simple, Hope as an Ohio journalist accompanying a group of boys forest rangers in Paris, attracted to impoverished Duchess Rhonda Fleming, with her conman father Roland Culver. They all fall victim to millionaire gambler murderer, played expertly by Roland Young. Jim Bacchus has a small role as the pursuing detective. There are many comedy routines, Bob Hope with all his wise cracks as well as facial gestures. They can be seen to advantage in the duet with Rhonda Fleming about luck. A pleasing blend of interesting plot and Bob Hope comedy.

1. Entertaining vehicle for Bob Hope? His comic style? Screen presence, wise cracks, facial gestures, pratfalls, seemingly the cowardly man - but finishing up hero?

2. Black and white photography, studio atmosphere of France and shipboard? The musical score, songs?

3. The title and its irony?

4. The plausibility of the plot, C.J.Dabny as the gambling murderer, his victims? Freddie Hunter as the newspaper man with the forest rangers? Impoverished European nobility? The interactions?

5. C.J. Dabny, the initial murder and victim? His planning his next move? Higgins pursuing him? His talking to his statue, the set up? The Archduke, Freddie as the dupe? His befriending him, leading him on, pretending he was a millionaire, making the Archduke's acquaintance, dropping information? The dinner and the attraction to Alexandria? The card game, his switching cards? Taking in the Archduke, the initial debts? Winning, Hunter realizing the truth? Dabny and his reaction, the attempted murder? The killing of Higgins? His knowing that Hunter was not dead, getting the scouts to search for him? Alexandria searching his cabin, the confrontation, the attempted murder, the rescue? His arrest? Smooth portrait by Roland Young?

6. Bob Hope as Freddie Hunter, the background to going with the forest rangers, the clashes with Stanley, the friendship of Tommy? His getting things wrong, smoking, dousing the coat? Being forbidden everything? In the cabin with the worst bunk, up early in the morning and exercises? His trying to escape the boys? Their inquisition and methods with him? Going off the boat, seeing Alexandria and returning? The friendship with Dabny, believing him? Pretending to be the millionaire? The champagne dinner and the dancing and singing with Alexandria? The card games, his suspicions? Confrontation of Dabny, the death of Higgins after the explanation? His hiding with the dog, getting the help of Tommy? Alexandria? The pursuit, pretending to go overboard? On the anchor, the final rescue? The happy ending? Typical Bob Hope character?

7. The Archduke and his suave manner, aristocratic yet impoverished? The card games and honour?

8. Alexandria, attractive? Wanting to be honest, get a loan and go into business? Keeping up appearances? Style, her dog, the drinking of the champagne, the attraction to Freddie? Not wanting her father to cheat him? The discovery of the truth - and the lights on in the cabin? Hearing that he was a cheat, her attacking him in the cabin? On his side, searching Dabny's cabin, the death threat? The happy ending?

9. The forest rangers - and Stanley being obnoxious and demanding - yet cowardly? Tommy O' Connor helping Freddie?

10. The atmosphere of ship board in the 40s, life style? Gambling? Big money? The world of the conmen? The world of the ingenuous heroes like Freddie Hunter!

A JUDGEMENT IN STONE (THE HOUSEKEEPER)

Canada, 1985, 102 minutes, Colour.
Rita Tushingham, Jackie Burrows.
Directed by Ousama Rawi.

A Judgement in Stone (also known as The Housekeeper) is a screen adaptation of a novel by celebrated crime writer Ruth Rendell. The film is a Canadian production, starring Rita Tushingham who lives in Canada but has a strong background of British filmmaking, especially in the 60s (The Girl with Green Eyes, A Taste of Honey, The Knack).

The initial settings are London, but the film moves to Canadian locations, standing in for the United States. The film creates the atmosphere of potential for horror with the focus on Eunice, a dyslexic woman who has to look after her continually complaining father. There is a flashback (with Rita Tushingham's daughter in the part) indicating how Eunice was persecuted for her inability to read. Her father reinforces this. She suddenly murders him - and is then available for a housekeeping position in the U.S. She excels as the British maid, but her unbalanced behaviour starts to manifest itself and the film ends in mayhem.

Jackie Burrows (from the Andy Warhol studios) plays Joan, a former prostitute who has found God - and who is as mad as the Housekeeper. Together they encourage one another and finally to the destruction of the employing family. The film is interesting as a psychological thriller - especially when it focuses on Rita Tushingham and her performance. Jackie Burrows is somewhat over the top. Which means that the triller works more on the surface rather than in understanding characters -and then erupts into the final bloodbath.

1. Interesting and entertaining thriller? Adaptation of a Ruth Rendell novel for the screen?

2. The London settings, the contrast with the affluence of the U.S. homes? The small town shops? The religious revival halls? An authentic atmosphere for these characters and events? Musical score?

3. The title, the reference to Eunice and her behaviour?

4. The focus on Eunice: the flashback to her childhood, her dyslexia, trying to read, the insistence of the teacher, the mockery of the school children, her wetting the floor, the criticisms and games as she walked home, her bitterness? Eunice remembering her past? Its effect on her psyche? Her looking after her father? His continued complaints, making her clean, criticising her cooking, his statements about his ulcers, threatening to send her to a reading school? The effect on her, her diligent cooking and caring, her suddenly murdering her father?

5. The funeral, the discussion with the relative? Her not being able to do many jobs because of the reading? Her being trained as a maid, the overseas applications? Her going to America? Her taking the woman's money - and blackmailing her in the car? The arrival in the U.S.? Her British manner, calling people Sir and Madam? Her suspicions, wanting to keep to herself? The house? The possibility of a new beginning? The luxury? The friendship with Melinda, suspicions of Bobby? Her keeping to herself? The excellent meals, breakfast in bed, the visitors, the praise of Eunice? The possibility of settling –but Bobby's hostility, Melinda and Eunice threatening to reveal what she though was incestuous behaviour? The beginnings of hostilities? Her coping with not being able to read? Pretending that she needed glasses? The compulsive eating of chocolate? The visits to Joan and her hostility? The family going away, her trying to cope, the destruction of the Orchids? The television braking down, going into town, Joan's pressure - the lift, inviting in to fix things up? The beginning of the friendship? The discussions about God and the invitation to church?

6. The family's return, George's anger about the Orchids, Jackie continually supporting Eunice? Eunice and her spying on Bobby and Melinda and eventually telling George? Things collapsing at home? Her going to the religious revival sessions? Her being fascinated by the manifestations of sinfulness? Joan's charismatic performance and confession? Hearing the truth about Joan - and Joan's honesty in telling her that everybody knew about her background? Her being a messenger from God? The conflict at Christmas, her standing up to Jackie and refusing to serve the Christmas dinner? Her being fired? Her going with Joan, the religious experiences, the party? Her looking for another job and Joan getting her the interview time? The decision to return home on New Years Eve? Going to the house with the gun? The destruction of George and Jackie's photos, clothes? Joan's hostility towards the wealthy? Their trying to get out of the house, George's confrontation - the beginning of the shootings, all the family killed? Joan killed by Bobby? Eunice and her shrewdness in wiping off the prints, hitting her head, making it appear that Joan was the killer? In hospital, Joan's husband visit, his suspicions? The transition to her new position and the elderly couple appreciating her housekeeping? The husbands arrival -and the freeze frame with Eunice planning his death?

7. The credibility of Eunice as a person, her background and its effect on her, her killing her father? The dyslexia and her shrewdness, even to buying antique glasses as a pretence? Her quality of service and cooking? Her fascination by evil? Using information for blackmail? Her growing hallucinations, her father condemning her, the hand grabbing her in the room? Melinda and Bobby discovering her secret and her imagining her father? Her murderous outburst? The religious mania?

8. The portrait of the family: affluent, trendy? The marital background and separations? The two children and their proximity, falling in love? Style, the wealthy house, having the maid? Friends and their appreciation of Eunice's work? George and his work as a doctor, patients? Jackie and her style? Melinda and the fascination with Bobby, her decision to go to boarding school? Bobby and his computers, the fascination with Melinda? Tension in the household? The attitudes towards Eunice and their changing? The holiday together? George and the destruction of his Orchids? Melinda and Bobby finding out the truth? Jackie and her liking Eunice, accommodating her, even on Christmas Day? The final party - and the horror of the deaths? Bobby survival to shoot Joan?

9. Joan and her husband, the reformed prostitute, religion and its mania? Her husband and the disagreements and his going to the bar? Joan giving Eunice the lift, looking over the house, criticising the dresses and the wealthy? Her helping Eunice to get the new job? Going back to the house, the destructiveness and glee? Egging Eunice on to kill the family? Her own death? The husband and his bewilderment - and his pursuing Eunice?

10. The transition to the final bloodbath and its dramatic impact? The irony of Eunice going to a new family - and all starting again? How plausible a psychological study of a disturbed woman?

DOUBLE REVENGE

US, 1990, 95 minutes, Colour.
Joe Dallesandro, Bobby di Cicco, Theresa Saldana.
Directed by Armand Mastroianni.

Double Revenge is a routine action police thriller directed by Armand Mastroianni (He Knows Your Alone). Leigh McCloskey? is the star and Joe Dallessandro (star of many of Andy Warhol/Paul Morrissey movies from the 60s and 70s) is the villain. The film focuses on the American way of justice, patriotism - while showing bank robbers and their brutality, the legal system breaking down when police do not go by the book, the emotional response of people who are wronged and possibilities of violent revenge.

1. Piece of Americana? Action thriller? Police, bank robbers, ordinary citizens anal revenge?

2. The small American town, homes, work places, restaurants? The streets? The bank? Action and stunt work? Musical score?

3. The title, the focus on Mike Taylor, the loss of his wife? Joe Hawsey and the loss of his brother?

4. The setting: Joe and Ray, relationship with Angie, the tip off for the bank robbery, the preparations? Travelling to town? The contrast with Mike and Susie, at home, her pregnancy, the restaurant, their work, discussions about the future, their clash?

5. The bank robbery, Joe's brutality in. killing the guard, the pregnant woman? The escape, Ray's death? Joe's anger, Susie as hostage, Mike attacking him, his shooting her? The pursuit, the police cars? The arresting officer and his vengeance because of his dead relative? The arrest, Joe not hearing his rights, the police brutality?

6. Mike, his injury, his grief at his wife's death? The support of his father-in= law? The visit to the cemetery?

7. The court case, Joe's defiance? The sheriff and his talking to Lewis, Lewis's anger, not following the book? His report? The lawyers, the judge, her decision that the law hadn't been fulfilled and the dismissal of the case?

8. Joe, his defiance towards Mike, taunting about his wife? Going back to Angie? Her grief about Ray? The ultimate brutality and his killing Angie? His going into town, taunting Mike? Going to his contact at the bar, getting the guns?

9. Mike, his assault on Joe, in jail, at the case? The reaction of the sheriff?
Talks with his father-in-law, training with the gun? The final taunts, the confrontation? The fight? The possibility of shooting Joe - the rope around his neck? Joe's fall and hanging himself?

10. The sheriff and his trying to run the town well, the insubordination of Lewis? The pressure from the politician? the case, the dismissal? His confrontation with Mike, not pressing charges?

11. The political background, the American flag and the credits, patriotism? Justice, the courts and peoples rights, violation of rights? The American way?

CAUSE CELEBRE

UK, 1987, 120 minutes, Colour.
Helen Mirren, David Suchet, Harry Andrews, David Morrissey.
Directed by John Gorris.

Cause Celebre is an absorbing telemovie, a recreation of a crime of the mid 30s, the details of its execution, a portrait of the characters involved, a comment on the reaction of Britain at the time - especially in relationship to capital punishment. The film is an adaptation of a play by Terence Rattigan (Sleeping Prince, Separate Tables, Deep Blue Sea). It is particularly well mounted, the attention to detail of life in the 30s is excellent.

The performances are also very good with Helen Mirren in the lead as a wilful woman, caught with an eighteen year old handy man and sacrificing everything that she values for him. The supporting cast includes Harry Andrews in one of his last films as Helen Mirren's elderly husband. David Suchet appears as council for the defence.

This is the kind of film that the British make so well, attention to detail, strong characterizations, ambitious motivation and the complexities of life. All the more interesting, because it is a true story, indicating public stances and values of the mid 30s - in the years just prior to the abdication of Edward VIII. The film is a telemovie made for Anglia Television.

1.The true background of the film, personalities, crime, the court case, judgment, capital punishment, suicide? The re-creation of the period?

2.The work of Terence Rattigan, his plays, adaptations? Quality of characterisation, dialogue?

3.The period 1934-5 in Bournemouth, the homes and the detail, the courtrooms, the countryside, the atmosphere? Musical score? The use of the song, `You Stole My Heart Away'?

4.The dates and times, the framework of the court case, the flashbacks, especially within the court proceedings? Dramatic effect?

5.The picturing of the jury, the audience sharing the perspective of the jurors? The selection of the jury and their prejudices? Audiences changing perspective by the end of the film or not?

6.The portrait of Alma: Helen Mirren's screen presence and style? The history of her marriages, World War I and the death of her husband? Her going to France and serving with the ambulance, receiving the French medal? The marriage and divorce and her son? Marrying Rats and her security? Her second son? The need for money? Her skill in composing songs? Irene as companion? Her relationship with Christopher and Little John? The decision to advertise, Irene's wariness? Bowman and his application for the job? The discussion about his age and appearance? Her decision to employ him? A woman of whims? Attracted to Bowman, getting him to drive, to live in? The beginning of the affair, the passionate nature of the affair? What she saw in Bowman? Her capacity for deceit? Yet her devotion to Rats, their discussions - his lament over his lack of prospects, his violence towards her, his drinking?

7.Irene as companion, her relationship with Bowman, looking after the children? Her reaction on the night of the crime? Her memories and testimony in court?

8.Rats, his age, skill as an architect? His experience? His drinking, talking while drunk? His following Alma's whims? Giving her the money she asked? Employing Bowman, his driving, allowing him to live in? His reading the novel about the older man and the younger woman and seeing the parallel with himself? The brutality of his death?

9.The build-up to the situation of murder, the audience not seeing what actually happened, seeing the events within the flashbacks during the court sequences? Judgment?

10.The picture of the lawyers, their interviews with Alma and with Bowman? Bringing Christopher to the prison to persuade his mother to tell the truth? The tour de force scene as they dressed for the trial, each explaining to the other how they would treat their client and talking to the other as if they were clients? Performances in court, prosecution and defence? The judge and his presiding, the nature of the evidence? His weighing up speech, the prejudice against Alma?

11.The re-creation of the events of the night of the murder: Bagwell and his going to the house, his being interrogated about treatment of people in shock, his prejudice against Alma's behaviour? The night, Alma and her discussions with Rats? His drinking? The death, Bowman coming to tell her, her drinking, carrying on? Her making the statement about her guilt? The passionate nature of her shock? The background to the death with her talking with Rats about the book, the locked door, Bowman's misinterpretation about their sexual behaviour? Her passionate defence of Bowman - seen in the flashback to London, her spoiling him? The question of the mallet, the aftermath?

12.The portrait of Bowman, his age, wanting the job, his strict father? Being employed, his devotion to Alma? His skill at his work, driving the car, friendly with the boys? With Rats? The beginnings of his jealousy, violent touches, Alma's black eye? His going to London, suicidal talk, the intensity of his passion, immaturity and ignorance? His behaviour in the court, his plea?

13.The jury's condemnation of Alma? The condemnation by the press? Her being acquitted? Her walking in the country, her suicide note, her explanation of herself? Her death and the verdict about her sanity?

14.Bowman, capital punishment, the appeal against his sentence? His being seen as Alma's victim?

15.A sense of realism about the film, the real story behind sensational headlines? Moral issues, judicial issues? The portrait of England at the period and moral standards and judgments?

A RIVER RUNS THROUGH IT

US, 1992, 123 minutes, Colour.
Brad Pitt, Tom Skerrit, Craig Shaffer, Brenda Blethyn, Emily Lloyd.
Directed by Robert Redford.

A River Runs Through It is adapted from the memoirs of Norman Mc Lean, professor of Literature and Chicago University. The focus is on growing up in the early 20th century in a Montana town. The adaptation was made by Richard Freedenberg (Bitter Harvest, The Promise, Dying Young). The film was directed by Robert Redford, showing the sensitivity in his previous films, Ordinary People and The Milagro Beanfield War. The film won an Academy Award for its director of photography, Philip Rousselot.

Craig Sheffer (That Was Then, This is Now) portrays the young Mc Lean. Brad Pitt, looking remarkably like Robert Redford himself and exhibiting some of his mannerisms (Johnny Suede, Thelma & Louise) is Mc Lean's brother Paul. Tom Skerritt has a good role as their father and Emily Lloyd is Norman's wife. The film takes us back to the nostalgic beauty of the turn of the century - yet shows the darker side with strict Presbyterian religion as well as the lawlessness of some of the outposts of the west. Yet, the river runs through the film as well as the lives of the McLean? family. Expert as fly fishing - and fly fishing becomes a symbol of life, art and control and achievement. While the film evokes the period, some of the dialogue has a much more modern tone which has an atmosphere of an anachronism. However, the film is an appealing piece of Americana.

1. The work of Norman Mc Lean, a novel adapted for the screen, the retention of his voice over and quotations from his book? The directorial work of Robert Redford, sensitivity? A piece of Americana?

2. The title and its focus, Montana and the early decades of the 20th century, the mountains and the river? The water theme? The re-creation of the period? The musical score?

3. The flashback structure of the screenplay, the older Normans memoirs the nostalgia, the memories, the surfacing of hard memories, the healing of memories?

4. The adaptation of novel, its tone, visual images, the use of its words, feeling? The symbolism of the river and the symbolism of fly fishing?

5. The older Norman, speaking, fishing at the river, fixing the fly as bait? The opening comments about fishing and religion in the Mclean household? Fly fishing as a symbol - of life, art and life? And the continued perspective of the voice over interpreting Norman and Paul's life?

6. Rev. Mc Lean and his wife, the image of the family and their bonds? The Scots background, settling in Montana, the old world to the new world? Husband and wife, parents and children, discipline? The religious background, Scots Presbyterian, strict interpretation? Preparing sermons, theology and spirituality of his sermon? Yet his going fishing with the boys, teaching them, giving them a role model? The quiet mother? The passing of the years, the boys growing up? The boys and their behaviour behind their parent’s back?

7. The two boys and their growing up together, the difference in age, the bonds, Norman quiet, Paul rowdier? At home, mischief, discipline? At school? The fishing and Paul's achievement? Church? Their sharing, Paul and his stubbornness in not eating the oats? The developing differences between the boys? In town, school? Seeing the prostitutes in the town and Paul's reaction? The fights, boxing skills? Telling yarns with the other boys?

8. Growing up, sharing? The parents and their growing older? The outbreak of the war and its effect on the town? Norman and his scholarship, going East, going away for six years? The range of his experiences, love of literature, teaching? The distance between himself and his family? Paul and his staying at home, going work, the paper in Helena, writing, his gambling and drinking, the women.? And yet his skill in fishing - and his wanting to be a professional fly fisher? The different personalities?

9. Norman's return, his parents? The interview with his father in the study? Paul not there? Going to see him at his work? The yarns with their friends and the
resumption of bonds? At church? Fishing with their father? Paul and his skills? At home with their parents - anal their delight in listening to Paul's stories?

10. The meeting with Jessie, dancing, her reaction? The difference between the Methodist and the Presbyterians? Phone call, Jessie going out with Norman? His not realising his is in love, pursuing her, the conversations with his family, with Paul, Eventual realisation that he was in love and would propose? The outing at the club with Paul and the Indian girl, Paul taking a stance against racism? The dancing? Norman invited to visit the Burns household? Neal and his return? The dislike of Neal? His looking like a film star, talking tennis and Ronald Coleman? Jessie arranging for the fishing? Mr and Mrs Burns and their pressure? His asking Paul to go fishing? Neal being late, arriving with the prostitute? The encounter in the bar with Norman
and Neal and the prostitute? His not fishing, lying in the sun, sever burns and return? Jessie's reaction against Norman not looking after her brother? The clash? The eventual phone calls, visit and forgiveness? Neal inviting Norman to farewell him? The observations about people and emotional needs and the inability of family to reach out? Jessie and Neal, Norman and Paul?

11. The bonds between Norman and Paul, going out, the club, Paul and his gambling? Being ousted? Going to the jail and picking him up? His reappearance at home bright and as if nothing had happened? Yet the pathos of his death and Norman having to go to the jail? Breaking the news to his parents?

12. Norman and the offer of the job in Chicago, the decision to propose to Jessie, their marriage? His love of literature and teaching? Jessie going to Chicago, the family?

13. The portrait of the Burns family, the Methodist background, parents, the celebrations, fussing over Neal? His being spoilt, disturbed, his behaviour with the
prostitute, fishing, with Neal? His going back to California?

14. The prostitute in the Montana town, the prostitute at the bar, Rawhide and her background? Going fishing and the sunburn? The bars, gambling, the brutality inherent in the clubs?

15. Paul's death and the effect on the family? Norman and his remembering his father's final sermon - with the references to Paul and the inability to help him?

16. American images, the past? Nostalgia and realism? The American family, strengths and weaknesses? A memoir of the 20th century?

WILD TEXAS WIND

US, 1991, 100 minutes, Colour.
Dolly Parton, Gary Busey, Willie Nelson.
Directed by Joan Tewkesbury.

Wild Texas Wind was produced by Dolly Parton and seems rather like a television special focusing on her and her singing. There is a slight plot, the would be singer and her band, the encounter with an ambitious producer, his violent tendencies and their clashing. Dolly Parton is her genial self - the songs, the integrity, the homespun wisdom. Garry Busey seems charming and then reverts to his screen stereotype as the violence erupts. There is a guest appearance by Willy Nelson at the Grand Old Oprey. The film was directed by Joan Tewkesbury writer of Robert Altman's Nashville and director of such films as Friendly Fire and Old Boyfriends.

1. A film for Dolly Parton fans? Her screen presence, her singing?

2. Texas locations, the clubs, homes, the Grand Old Oprey? On the road again?

3. The range of songs, Dolly Parton's style, the country and western tradition? Willy Nelson?

4. The title, the focus on Big T? Her style, her career?

5. Dolly Parton as Big T? Her background, memories of her mother ',s alcoholism, her going to visit her in the institution and singing to her? Not wanting the same thing to happen to her? Her singing and success, with the band? Bonds with Ben? The encounter with Justice? Infatuation, his promises? Falling in love with him The tension with Ben and the band? Justice and his ambitions? The house? Eruptions of violence and her staying? Defying him, covering up the bruises? His continued outbursts and her love for him? Ben and his wanting to defend her? The drinking, the buying of the clothes and lingerie, then attacking her? Her bewilderment? The success of the singing, Willy Nelson at the Grand Old Oprey, the recording sessions? Jamming together and Justice interfering? The brutality and her eventually leaving? Seeing his father? The death, her reaction? Not wanting Ben to take the blame? Her speech to the judges, going to prison? The release - and on the road again?

6. Gary Busey as Justice, in his father's shadow, his ambitions? Story about his mother's death, blaming his father? His own madness? In love with Big T? The house, furnishing, the clothes? The arranging of the deals? The concerts, his applause? Drinking, the mad outbursts, the violence - and yet his declaring, while drunk, that he loved her? His clashes with his father? Her walking out on him?
His anger, his death?

7. Justice and his father, the mother's death? The father and his work on the courts, owning the clubs, wanting to have been a performer? Clash with his son? The breakfast and his drinking, humiliating his son? The return, the clash? His death -and confessing to shooting his son?

8. Ben, his support of T, singing, wary of Justice? Leaving, returning? The members of the band? Willy Nelson and his showing up?

9. The world of Texas, country and western, show business, relationships, violence?

CLIMBING HIGH

UK, 1938, 78 minutes, Black and white.
Jessie Matthews, Michael Redgrave, Alistair Sim, Francis L. Sullivan, Torin Thatcher, Noel Madison, Basil Radford.
Directed by Carol Reed.

Climbing High is a creaky old musical from Britain of the late 30s. Small budget, studio bound. However, it is of historical interest with stars Michael Redgrave and Jessie Matthews, Alistair Sim in an early supporting role, such character actors as Francis L. Sullivan as an operatic madman and Basil Radford as a friend. And it was directed by Carol Reid who was to work with Redgrave in Kipps. The film is very much a variation on the drawing room comedy of the 30s - with a touch Canada and Lumber Jacks and Swiss Mountains.

1. Interesting and entertaining musical comedy from Britain in the 30s? Historical Interest?

2. Black and White photography, studio work? Small budget? The stars, the director?

3. The title - and the finale in the Swiss alps?

4. Diana, her work with the children, sharing the flat, her girlfriend, Max and his Bolshevik perspectives? Being knocked down my Nicki? The modelling job and her success? The meetings with Nicki, his pretending to be John Smith, modelling with her? Falling in love, the lyrical interludes? The chance encounter with Constance, the discovery of the truth? Her clashing with him? Everybody going to Switzerland -and her brother's anger? In Switzerland, on the mountainside? Meeting the madman? The happy ending? the British heroine of the 30s?

5. Nicki, friends with Reggie? Out of the country, wealthy? Returning, knocking Diana over - twice?. The infatuation? The announcement of his engagement, the attempts to talk to Constance and her Mother? The visits to Constance and her illness? Meeting Diana, finding out her name, posing as John Smith, the Modelling? The romance - including singing with the madman at the picnic? The truth? Going to Switzerland, meeting Jim, the clash, rescuing Diana, the happy ending?

6. Max, Alistair Sim's comic style - as a middle-aged man, the picture of misery, out of shape, used as a model? His Bolshevik beliefs? The comic touches with the women? Modelling?

7. The advertising man and his secretary? The hustle and the models? the sets? Employing Max, employing Diana, employing John Smith? The disaster with the wind machine? His bright idea and their going to Switzerland?

8. Constance and her mother, their poverty, deceiving Nicki, getting the announcement in the paper? Her pretending to be sick, her mother helping in the manoeuvres? The impoverished family? Her going to do the modelling, discovered by Nicki, planting the story in the press?

9. Jim, work in Canada, tough, protective of his sister, the return home, his reaction against the advertising? To Switzerland and the fight with Nicki?

10. Popular ingredients of the drawing room comedies, a touch of singing with Jessie Matthews, romance with some exotic touches?