PHAR LAP

Australia, 1983, 107 minutes, Colour.
Tom Burlinson, Ron Leibman, Richard Morgan, Robert Grubb, Martin Vaughan, Celia de Burgh, Les Foxcroft, Warwick Moss, Pat Thomson, Judy Morris, Vincent Ball, Peter Whitford, John Stanton, Don Reid, Tim Robertson, Gia Carides.
Directed by Simon Wincer.

Phar Lap is one of Australia’s most entertaining films. It takes up a story from an Australian passion: horse racing. (Another film on an Australian racehorse was Archer, the 19th century champion.)

Phar Lap was written by playwright David Williamson and directed by Simon Wincer (The Light Horsemen).

Phar Lap is a legend in Australia – a horse which came from nowhere, was not backed by its owner but supported by its trainer (played by Martin Vaughan) and his stable boy, Tommy Woodcock (Tom Burlinson). Ron Leibman plays the owner.

Initially, Phar Lap loses races but eventually is well trained, comes from behind, and begins to win races. He had an enormous reputation in the early 1930s. He won thirty-seven of fifty-one races, second or third in five others. He also set new records in the Melbourne Cup, the Victoria Derby, the W.S. Cox Plate and the Melbourne Stakes.

Eventually, he travelled to the United States and won at Agua Caliente in Mexico in 1932. He died under mysterious circumstances – and there was speculation that he was killed by organised crime.

The film is vivid, has good horseracing scenes, has a range of Australian character actors in interesting roles – and recreates the atmosphere of the racing industry in the 1930s.

1. An enjoyable and entertaining film? Quality? Acclaim? Impact in Australia? Overseas?

2. The popularity of horses, horse-racing, training? The background of competitiveness and betting? Australian racing traditions? New Zealand horses? Performance in Australia, the United States? The tradition of the horse? racing film: the emphasis on the horses, training, racing, the crowds, the aura of success? The techniques used for highlighting this aura of racing: camera work, editing, pace, music etc.?

3. Audience knowledge of Phar Lap and the status of his legend? The structure of the film focusing on his death and reputation, the search for explanations, reaction, headlines, questions about the killing of the horse? The return to the experience of Phar Lap's arrival, the nondescript horse, the training and the build-up, the human reactions to his success, both for and against? The collage repeating this material at the end?

4. The quality of the re-creation of period in Sydney and Melbourne, the United States and Mexico? Decor, locations, clothes and sets? The race tracks? The city suburbs. homes, society? The training studs? The authenticity of the locales? The rousing musical score and its use?

5. The focus on Phar Lap as character: audience response to the horse as character - the ‘human' touch? The impact of Phar Lap at the time of his death, success, legend, Australian suspicions of Americans? Telford's grief? Tommy Woodcock upset? The questioning of Telford and the story from his point of view as well as that of Woodcock? The initial visuals of Phar Lap arriving in Australia: warts, ugly? The presentation of the horse as battler? Slow performance, size, bones? Coming last? Telford's intuitions about Phar Lap? His getting his name from the Filipino commentator? The sequences of training - especially the slow motion of the sand, dune sequences? The horse suffering and working hard? Harry Telford and his hardness on the horse? The contrast with Tommy Woodcock and his tenderness? Davis skeptical about the horse and wanting to sell it? The comments of observers, the strappers, the stable boys, the press? The invitation to him to train, the trust? The techniques for development? The flu? Riding in the park? The confrontation between Tommy and Telford? Tommy’s ability to handle Phar Lap - in the stalls, in the park? His skill in understanding how he ran and riding him well? The interest and the curiosity? Davis and the deals - allowing Telford to train Phar Lap? Bea and her interest? The build-up to Phar Lap's racing, The Derby and the win, reaction? Telford's nervousness, unbelief? Tommy and the stable-hands and their success? The collage of Phar Lap's success? The effect on Telford, on Tommy, on Davis? The build-up to success and prospects for the Caulfield and Melbourne Cups? The deals? The racing establishment and their continued attacks on Phar Lap? The money deals and Phar Lap being scratched from the Caulfield Cup? The pressure on Telford? The hopes for the Melbourne Cup? The criminal element - and the tense sequence of Phar Lap being shot at and protected by Tommy? His being hidden in the country? The delays before the arrival for the Melbourne Cup? Popular acclaim? His win - with the emphasis on style of racing, placing, Tommy knowing the right time for him to surge forward? A hero to the Australian nation? People's reactions, cele¬brations? The aftermath of the Melbourne Cup? Success, the growing addition of weights for handicaps? The racing establish¬ment and their blackmail for Davis to withdraw the horse or put ex¬cessive weights? The run in the 1931 Melbourne Cup, his losing, the crowd turning against the establishment? The American deal and his going to America? The Agua Caliente racing track using Phar Lap's reputation to re-establish itself? Training in the United States, stumbling and the injury, the decisions about the horseshoes etc.? The build-up to the race, the dramatic win? A sense of achievement? Phar Lap's death in context? The screenplay establishing Phar Lap as a character, The battler, looked down on? An Australian Symbol? Success of the battler? Popularity and heroism? Tragedy and mystery? The appropriate ingredients for a legend?

6. Davis sceptical about the horse and wanting to sell it? The comments of observers, strappers, and stableboys, the press? The techniques for developing Phar Lap, the running in the, park? The confrontation between Tommy and Telford? Tommy’s ability to handle Phar Lap - in the stalls, in the park? His skill in understanding how he ran and riding him well? The press and the curiosity? Davis and the deals? allowing Telford to train Phar Lap? Bea and her interest? The build-up to Phar Lap's racing, the Derby and the win, reaction? Telford's nervousness, unbelief? Tommy and the stable hands and their success? The collage of Phar Lap's success? The effect on Telford, on Tommy, on Davis? The build-up to success and prospects for the Caulfield and Melbourne Cups? The deals? The racing establishment and their continued attacks on Phar Lap? The money deals and Phar Lap being scratched from the Caulfield Cup? The pressure on Telford? The hopes for the Melbourne Cup? The criminal element and the tense sequence of Phar Lap being shot at and protected by Tommy? His being hidden in the country? The delays before the arrival for the Melbourne Cup? Popular acclaim? His win - with the emphasis on style of racing, placing, Tommy knowing the right time for him to surge forward? A hero to the Australian nation? People's reactions, celebrations? The aftermath of the Melbourne Cup? Success, the growing addition of weights for handicaps? The racing establishment and their blackmail for Davis to withdraw the horse or put excessive weights? The run in the 1931 Melbourne Cup and his losing, the crowd turning against the establishment? The American deal and his going to America? The Agua Caliente racing track using Phar Lap's reputation to re-establish itself? Training in the United States, stumbling and the injury, the decisions about the horseshoes etc.? The build-up to the race and the dramatic win? A sense of achievement? Phar Lap's death in this context? The screenplay establishing Phar Lap as a character? The battler, looked down on? An Australian Symbol? he success of the battler? Popularity and heroism? sporting tragedy and mystery? The appropriate ingredients for a legend?

6. The character of Tommy Woodcock: ordinary young man, stable hand, friendship with the rest of the boys, his skill in handling horses, his ability to put the bridle on Phar Lap, his kindness, friendship with the others, sacked by Telford, after telling him off? His being reinstated? His work and skill and devotion to Phar Lap? Telford relying on him more? The friendship of Davis? Bea and her interest in him and his engagement? The sequences of training and tending Phar Lap? The comments made? His insight into Phar Lap's skills, riding him in Centennial Park, the techniques for his winning? The friendship with Emma at the boarding house, his proper manner with Emma? His shyness? Bea asking him about Emma and urging him to go back to Sydney, the shy proposal, the wedding, the stable hands and the practical joke about his returning to Melbourne? The background of the races, the Caulfield Cup and the scratching, the build-up to the Melbourne Cup, his riding Phar Lap and being shot at, the hiding of Phar Lap in the country and the belated entry on Cup Day, the win and his being given the money? The disappointment with the weights and handicaps? Going to the United States? The training, the decisions made - the possibility of errors especially about Phar Lap's foot? The audience seeing Phar Lap and experiencing the horse with Tommy Woodcock? The nature of the bond, the emotions? A natural and pleasant young man and the real Tommy Woodcock advising for the film?

7. The contrast with Harry Telford? initially seeing him at the news of Phar Lap's death? The flashbacks? Buying Phar Lap, his intuition and visions, deals? His home life and relationship with Vi and his children? The continual need for financial support? The deal with Davis and his riding Phar Lap hard - especially in the sand dunes? Considering him lazy? The loss of races? Sacking Tommy after confronting him, asking for him to come back? The deals with Davis and his shrewdness in outmanoeuvring him throughout Phar Lap's career? Building up Phar Lap to success? His vision and Grayside and his debts, the buying of the horses, the training? Harry as visionary and dreamer? A cranky man and working his horses hard? Likable and unlikeable, Martin Vaughn’s acting style, and the complexity of Telford? The dilemma about the scratching from the Caulfield Cup, the influence of Vi, his doing it? The success at the Melbourne Cup? Pushing Davis after Phar Lap's failure in 1931? His experience of Phar Lap as champion the reaction to his initial appearance, waiting at the races and not watching, tears at Randwick? They money and the continual pressure for finance in governing his work with the horses? His later seeing Phar Lap as a successful freak and the other horses not so successful? The reaction of the reporters - especially in questions about the Caulfield Cup? His awareness of dangers? Phar Lap's lameness and his sharing the costs with Davis? The reason for his not going with Phar Lap to America? The parallel of Telford with Phar Lap: the Australian type, the battler, the hard man, the dreamer, the winner.?

8. Davis as owner? His Jewish European background and his explanation of himself in Europe? The hard worker? The American salesman? His owning Phar Lap, his caution? His deals with Harry? Working with Tommy? The support of Bea? The sneering of the establishment? His pushiness, his home, celebrations, the papers, dress? Likable or not? The showmen with reporters? His not having successful hunches but being able to capitalise on success? The effect of the winning? Connolly and his financial deals? Persuading Harry and Vi to scratch the horse? McKinnon? and the snobbery of the establishment, the clashes, the blackmail for Phar Lap to be scratched or have excessive handicap? Davis telling off the establishment? His being tricked about the prospects for the United States? His anger? His growing desperation and the dangerous deals with American criminal interests? A complex and interesting character?

9. The presentation of the women in the film - supporting roles? Vi and her low-key presence, yet pressure on Harry? The family, the need for money, prudence, ultimatums? Her lack of faith in Phar Lap? Success and the establishment of Graysides? Bea and her support of her husband, a pleasant woman, kind, having faith in Phar Lap, generosity towards Tommy? Emma and her mother in the boarding house the good girl, the proposal, the wedding, her supporting Tommy?

10. Connolly and the picture of the financial wheeler-dealers? The deals in Australia? Scratching, bets, pressures? The scene on the boat on the harbour and the presentation of the wheeler-dealing types?

11. Financial wheeler-dealing in Australia for the United States? Agua Caliente and its needs? The risk and the use of Phar Lap? The intimations of Mafia dealings and the big turnover of money? plausible background for the killing of Phar Lap?

12. McKinnon? and Sir Samuel Hordern and the anti-Semitic Sydney and Melbourne establishment? Snobbery, manipulation, toffs? Their wheeler-dealing? Their pressures on Davis? Their being booed at the 1931 Melbourne Cup?

13. The background of the jockeys - especially Pike and his eventual riding of Phar Lap and his contribution to the plot? The background of the strappers, the fellowship in the stables, the boarding house, meals, dormitories, saunas etc.? Loyalties? The importance of the jockeys - and their role in contributing to wins, the possibility of corruption etc.?

14. The background of the crowds, the fans, the bookmakers? The media and their role in supporting Phar Lap, in being critical? The, humour of the two possible front pages after Phar Lap's performance in Mexico?

15. Phar Lap as hero to a nation? The background of the Depression? For the 80s? A legend symbol for Australian audiences?

PATRICK

Australia, 1978, 104 minutes, Colour.
Susan Penhaligon, Robert Helpmann, Rod Mullinar, Bruce Barry, Julie Blake, Helen Hemingway, Walter Pym.
Directed by Richard Franklin.

Patrick practically rhymes with Carrie and certainly derives from it as well as from Johnny Got His Gun and such atmospheric menace films as Burnt Offerings and anticipates Coma. This unhurried derivative thriller is quite well done although plot lines and various devices (ominous ascents of stairs) fairly creak but persuade well enough while on the screen. Comatose psychopath Patrick (deprived of five senses, compensating in his sixth sense) communicates and destroys by psychokenesis. Sympathetic and intrepid nurse Susan Penhaligon occasions a crisis, Doctor Robert Helpmann conducts his experiments. An excellent opening promises more than the film actually delivers. The makers did not forget Carrie's shock at the end.

1. An enjoyable and interesting thriller? The emphasis on the psychic and its popularity in entertainment in the seventies?

2. Was there any distinctive Australian flavour about the film, the setting, style? Technical production?

3. The obvious derivation of Patrick from other and similar films? Does this matter? How well did it use the influences and conventions of particular genres? The psychopathic murder, the coma situation, the psychokinesis, the suggestions of shock and special effects? Did they combine well for a psychic melodrama?

4. The effectiveness of the prologue in creating a mood and communicating information? The special effects with the visuals and what Patrick saw? His mother and her lover and the death in the bath? The focus on Patrick and his attitudes and motivation? His eyes and his madness? His withdrawing into coma?

5. How well was Patrick established as a character? The fact that he lay in coma throughout the film? The background of his character? His knowledge of what was going on? The communication by spitting, the mouth noises, the typing, his vengeful acting? What kind of character did this create?

6. Patrick as comatose? The effect of coma and the audience knowledge of what it means? How technically dead was he? His capacity for pain and the doctor causing him pain? The experiments conducted on him keeping him alive, electric shock? What rights did he have as a comatose person? As a criminal? How well did the film make him present as a sinister character?

7. The contrast with Kathy and the presenting of her during the credits? The explanation of her background as a person, marriage, getting a job again as a nurse? The sequences with Ed and their fighting? Their love for each other, the reason for separating? Kathy’s dedication to her work, her interest in Patrick? The relationship with Brian - at the party, getting him to help her, their visit to Patrick's room, the night together? His letting her down even professionally? How credible was her being reunited with Ed? A credible character sketch of a heroine, an intrepid and compassionate nurse?

8. The portrait of people at the hospital? Were enough people shown both of the staff and of the patients? Sister Cassidy and her rigid control and hold over people? Her bossiness? The contract she made with Kathy and her wanting to dismiss her? Her own attitude towards Dr Roget, towards the patients, towards Patrick? Her fear and the various ascents of the stairs, hesitating outside the door? Her sacking Kathy and wanting to encompass Patrick’s death? The ugliness of her death? An enigmatic character?

9. The portrait of the other patients? Especially the old man walking around, the man in the room upstairs? Their causing frights? Nurse Williams and her friendliness with Kathy, liaison with Brian? A touch of commonsense in the hospital? The nurse with the cola and her reaction to Patrick's seeming to come alive?

10. Robert Helpmann's style as Dr. Roget? His owning of the hospital, his various theories? His experimentation with the frogs (and the later ugliness of his eating them), his tests, the use of electric shock and needles? Patrick's hostility towards him? His wanting to terminate Patrick's life but being unable to? The physical and psychic repercussions of his being thrust out of the room, not being able to enter it? His comments at the end? A characterization, a representation of a type?

11. Brian as a successful doctor, his womanizing, the episode in the pool? His romantic attitudes towards Kathy? His helping her when her room was destroyed? His helping her in testing Patrick? His denying all association at the end and letting her down? Credible type?

12. Ed and his love for Kathy? Violence, love-making, pursuing her? His buying her the car? The drama of the lift and his being trapped there, the flowers. his attempts to get out?

13. The atmosphere of suggestion of menace: Kathy’s flat and the mess, Brian and his swimming, Ed and his burning his hands? The effective eeriness of the suggestion?

14. The theory of Patrick's compensation for the loss of his five senses with his sixth sense? A sufficient explanation for his behaviour? How well was it illustrated especially with the typewriter sequences?

15. The portrait of the Police and their investigations?

16. The build-up to the climax with Kathy defying Patrick? His poem about the kiss and the sword? Her decision to kill him with a kiss? His influence and her beginning to inject herself? Ed's rescuing her just at the right moment?

17. Comment on the various devices used for atmosphere, suspense? Conventional, even creaky and well used devices? How effectively used?

18. The success of the final shock and its visual impact, movement, Dr. Roget's bland explanation? The audience left with this as they left the theatre?

19. How competent an example of the thriller genre? With questions of bioethics and psychic behaviour?

PYGMALION

UK, 1938, 96 minutes, Black and white.
Leslie Howard, Wendy Hiller, Wilfrid Lawson, Marie Lohr.
Directed by Anthony Asquith and Leslie Howard.

This is one of George Bernard Shaw’s best known and best liked comedies. This film version received his approval and was directed by Hungarian director Gabriel Pascal. Pascal was given the rights by Shaw to film a number of his films and after Pygmalion he went on to Major Barbara released in 1941. During the war he made plans for the filming of Caesar and Cleopatra . At the end of the war this was filmed at great expense but was not a critical success. Pascal then found it difficult to raise money to film Shaw’s plays. The only other film he made was American financed and released in 1951 - a version of Androcles and the Lion.

However with Pygmalion, Pascal worked with Leslie Howard who starred as Professor Higgins. The combination of Howard and Pascal meant an excellent film. Leslie Howard Incarnates Professor Higgins as did Rex Harrison in the musical version, My Fair Lady. Wendy Hiller is excellent as Eliza Doolittle and won an Oscar nomination. The themes of Pygmalion are human as well as social and particularly English. It was so popular that the adaptors In making My Fair Lady knew that they had a winner and drew on the richness of Shaw’s play very well.

Major Barbara, on the other hand, was not such a popular play. In it Shaw indulged some of his capacity for preaching and for rhetoric. It also had a Salvation Army setting which did not always get Shaw’s full sympathy. Once again Wendy Hiller is the heroine and gives an excellent performance which makes the film worth seeing. Rex Harrison is his usual style as the leading man, There is interesting supporting performance by such people as Robert Newton, Deborah Kerr and Robert Morley. Major Barbara is interesting mainly for those who are interested in George Bernard Shaw. It has not lasted so well over the decades.

1. How enjoyable a film after so many decades? Is its fame justified? Does it seem a classic? The basic play? The derivation of My Fair Lady as a compliment to the original?

2. Comment on the film's emphasis on George Bernard Shaw himself?

3. How is this film a typical Shavian parable? Shaw’s explanation of the old myth? The elaborate working out of the myth in England? Was this convincing?

4. Does the film seem a film of the 1930s, black and white photography, the sets, the acting style? Comment on its use of collages, the editing of various sequences for the passing of time.

5. How evident was it that the film was based on a play? Structure, characterisations, wit and dialogue? Was the film sufficiently opened out from the confines of the stage?

6. How enjoyable and well did the film explore the themes of man and woman, power, love, success, feelings, achievement?

7. In its portrayal of characters, how did the film portray true humanity, as contrasting with posers?

8. How interesting a character is Professor Higgins? as portrayed by Leslie Howard, his pomposity, his self-opiniatedness, his true skills, his response to the challenge, his heartlessness and driving Eliza, the effect of success? His anti-women attitudes? His self-centredness? His being tested? His attitude towards Eliza’s being tested? His callousness being softened? Did he deserve to have Eliza come back to him at the end? What insight into the arrogant male type did this portrayal of Professor Higgins give?

9. How did Eliza contrast with him? Wendy Hiller's style? Her portrayal of a flower girl and its insight into this kind of character? The growing ambitions, the comedy of the bath and yet its social comment? Her emphasis on being a good girl? Her willingness to learn, the hard work in learning, the change in her style and personality, her coming alive, her deep feelings? Her graciousness and the success of the ball? Her feelings in being rejected and disregarded? Her sadness at her leaving? The support of Mrs Higgins? What stance did she take for her return to Henry Higgins? Was her return justified? Her future with Higgins? What insight into a woman did this portrayal give?

10. Colonel Pickering, as a contrast with Higgins? As a gentleman who helped Eliza?

11.The attractiveness of Mrs Higgins helping Elisa at the afternoon tea, as a support for Elisa when she left Higgins, her influence on her son?

12.The satire on the Eynesford Hills? At Covent garden, the afternoon tea, Freddie’s romantic devotion?

13.The satire on Karpathy? The fact that he was deceived? The social climber and the exposer o£ scandals?

14.How much satire was there in the presentation of Doolittle? His amorality? His philosophy of life? The humour of his inheritance? His marriage to Eliza’s stepmother? What satire on the working class did Shaw intend?

15.How important were various scenes for dramatic growth in the film and its impact on the audiences: Covent garden, the lessons, the visit to Mrs Higgins and the famous using of the word bloody, the ball, the final conflict?

16.Does the film deserve to be considered a classic?

PUTNEY SWOPE

US, 1969, 87 minutes, Colour/ Black and white.
Directed by Robert Downey.

Putney Swope is a specialist film by director Robert Downey. It did not have commercial release except for screenings at University and club centres. It is an angry, satirical look at the black man in a white created world, that of advertising. The black can beat the white man at his own game. At times the satire is biting, even savage, with incidental knocks at people and institutions. The plot line is not strong, rather this is a coherent string of episodes, skits and black feeling.

1. This film was about black and white. Was it just a comedy? Was there feeling in it? About what? For whom? Against whom?

2. How did the use of black and white film and colour film emphasise this? Successfully ? Why? Urban atmosphere?

3. Comment on the African American atmosphere and style of the film. What differences of impact would there be on this kind of audience and on non-American audiences? Is this to the detriment of the film?

4. The world in which the it was set - the advertising world, how strongly was it satirized, attacked? The opening, the meetings, commercials etc.?

5. What other targets of satire were there: the man dying, the speeches, artificiality, self-concern, attitudes towards blacks (visual examples)?

6. Putney Swope - was he a character or a symbol? His selection, his style, his administration (any better than the whites)?

7. What did he try to do; did he have any purpose or was he just aiming at success and stirring?

8. What images of the black takeover of the white world were given - purpose, effect? How much was this takeover part of the aim and message of the film?

9. The commercials - the swearing, the pimple advertisement, the ad for Lucky Airlines, the ad for the car? What targets? were they effectively done (or an exportation of what they were attacking)?

10. How were conventional blacks satirised ? e.g. the making love under the photo of Sidney Poitier?

11. Comment on the subjection of the whites, the skit on the old black maids of old films by the white maid here.

12. The boy in the service-lift with the gun? why?

13. The Muslim idealist - the black power overtones?

14. The disillusionment of people in the place? Swope’ autocratic style?

15. White's offering money and the significance of the burning of the money? What point did it make?

16. Did the whole film gell or was it just a succession of clever and forceful details? Why was it made - and for whom?

PUSHOVER

US, 1954, 88 minutes, Black and white.
Fred Mac Murray, Philip Carey, Kim Novak, Dorothy Malone, E.G. Marshall.
Directed by Richard Quine.

Pushover will remind many audiences of Double Indemnity. First of all because Fred Mac Murray is the star in both films and his character has to go through drama and melodrama in similar circumstances. While in Double Indemnity, Billy Wilder’s classic, the issue is insurance, in Pushover he is a policeman set to guard the girlfriend of one of the gangsters who commits a large robbery. Kim Novak is the gangster’s moll, working her wiles with the policeman in charge of her in order to get him to get the money.

The familiar material is quite well done and there is a good supporting cast. It is also one of Kim Novak’s earliest films. She was to make Picnic the following year and Vertigo in 1958.

The film was directed by Richard Quine, an actor during the 1940s who began direction in 1948. This was his first bigger-budget film. He moved into lighter material with So This Is Paris, My Sister Eileen and The Solid Gold Cadillac. He was to direct Kim Novak in Bell Book and Candle, Strangers When We Meet and The Notorious Landlady. Some of his lighter-touch films of the 1960s include Paris When It Sizzles, How To Murder Your Wife and Sex and the Single Girl. Towards the end of his life he made two spoofs of classics with Peter Sellers, The Prisoner of Zenda and The Fiendish Plot of Doctor Fu Manchu.

1. Was this a good example of the 'crime and police' genre? The individual in the face of justice?

2. The appropriateness of black and white photography, realistic sets and streets, the grim atmosphere, the musical accompaniment?

3. The significance and irony of the title? What Is a ‘pushover'? Who was the ‘pushover’?

4. How did the film create and maintain interest in its themes, individual corruption, greed, love, truth, death?

5. The film’s presentation of the police mind and the criminal mind? The close link? The individual of justice on the brink of corruption?

6. How did the film make Paul Sheridan central? Did it develop his character as a man? Or did it portray him as a pawn in this social crisis? His poor pay, family background, his work as a job, watching Lona, the fascination and seduction, the need to manoeuvre, his love and lust? Leading to murder and deceit? The inevitability of death?
What message was communicated via this character and his life?

7. The character of Lona? As a moll, her coy manner, leading Paul on, being led by him? What was the real nature of her character? How desperate did she become? Her facing of the truth? The irony at the end?

8. Mc Allister, Sheridan’s co-worker, the contrast with the honest policeman, his belief in the truth, being deceived and its effect on him, the possibility of justice?

9. Eckstrom, his administration, supervision of the work, the man to discover the truth?

10. The role of Ann in the film: the ordinary bystander, as becoming involved, the repercussions on her life, her need for the truth? (the romantic background?)

11. The significance of the film in its detail of work, plans, the cover-ups?

12. The fatalism of the film? Social pressures, human nature, the attraction of corruption, the inevitability of death?

PURSUIT

US, 1972, 73 minutes, Colour.
Ben Gazzara, E.G. Marshall, William Windom, Martin Sheen, Joseph Wiseman.
Directed by Michael Crichton.

Pursuit is a very interesting melodramatic telemovie. Brief in its scope, it shows something of political fanaticism in the United States, the atmosphere of political rallies and assassination attempts, germ warfare and technology, the dangers of such power being in the hands of madmen. E.G. Marshall effectively portrays the mad politician. Ben Gazzara is good as the cool hero who is excellent at solving puzzles. The film was directed by Michael Crichton, the writer of such movies as Terminal Man and the director of West World and Coma. Very good of its kind.

1. An interesting and entertaining telemovie? Telemovie techniques for retaining interest for the home audience? For suspense and melodrama for a home audience?

2. The San,~~ background and the atmosphere of authenticity and plausibility of the gas threat? The scientific and technological background? knowledge about germ warfare? The incidental information about the use of such germ warfare in reality, in Vietnam etc.? The film's comment on germ warfare? dangers?

3. Audience involvement through the structure of the film; the atmosphere of the credits, the political rally and the indications of extremism. the setting up of Wright as an extremist political candidate, the contrast with Graves as the man who could understand puzzles and who would track down an adversary? The interaction between the two characters? The build-up to the crisis, the importance of the time element? The visualising of the time passing at the bottom of the screen? The expected crisis at 5 o'clock and the new telling of the time for after 5 o'clock? How did this add to the suspense?

4. The significance of the title, its reference to the characters, to the themes?

5. The authentic atmosphere of the rally setting? The background of American politics? Reverence for the
President and Presidential candidates, extremists and their assassination attempts on such candidates? The nature of Wright’s extremism? His moving towards power? His being on the fringe of politics and yet his intelligence system. his wealth, his knowledge to gain power, criminal associations?

6. The portrait of Wright as a person? His appearance, age, words, his intense fanaticism? The nature of his
fanaticism? The surveillance and the information gathered about him? photographs of his criminal associates? Wright’s own knowledge, his shrewdness in understanding Steve Graves' psychology, leading him on? The importance of the setup for the bombs and the release of the nerve gas? His awareness of the surveillance and his waving to the watchers? His arrogance, the ingenuity of his tricks? The irony of the pursuit and the suddenness of his death? The irony of his being away from the situation and yet it continuing after his death? The nature of such gigantic madness?

7. The portrait of Jim Drew and the C.I.A. arresting him? His background, cover, the work that he did for Wright, his being intimidated and questioned? The type that would be involved in this kind of exploit?

8. Steve Graves as the hero of the film? His personality, intensity, doing puzzles? His calm, ruthlessness? His
good working relationship with his assistant? The quality of his work, understanding of Wright, the long sequences of the trailing of him? The importance of the visit to his psychiatrist and the chat over lunch? The clues given by the psychiatrist and the way that these were used for the climax? The confrontation with Wright in the shop? Wright setting up his bomb and Graves watching him? Graves and his collaboration with Philippe and the other authorities? A man of ideas, his solution for the problem and his bravery? The challenge of finding the explosive? Ruthlessness and recklessness and his on-time discovery of the truth? A credible man, agent?

9. The personality of his assistant, his role in the pursuit and detection, his wise advice? The importance
of his run downstairs to get the key and run back again?

10. Phillips and the authority figures, his presence, control over Graves, decision making? The relationship with the army and with Washington?

11. How much suspense was there in the film? How well was it controlled? As action melodrama, as a plausible threat to a large city? The impact of such germ warfare scares and destruction? The tension with Graves' getting into the room, the breaking of the window, the gas? The telephone? Putting together the clues about the canister in the hallway? A satisfactory ending?

12. The values of society explored in this film? The rights of government and army to have such material available? The infiltration of security? Such implements in the hands of madmen for political purposes and for destruction?

PUPPET ON A CHAIN

UK, 1971, 98 minutes, Colour.
Sven- Bertil Taube, Barbara Parkins, Alexander Knox, Patrick Allen, Vladek Sheybal.
Directed by Geoffrey Reeve.

Puppet on a Chain is minor Alistair Mac Lean material. Director Geoffrey Reeve was also to make Caravan to Vaccares three years later and Await a Dusty Death, based on a Mac Lean novel, in 1995. There was a great rash of Mac Lean films at this time including When Eight Bells Toll with Anthony Hopkins. However, there were much better and bigger-budget Mac Lean adventures like The Guns of Navarone and Where Eagles Dare.

This film has the adventure of being filmed in Amsterdam – with a chase on the Amsterdam canals. Sven- Bertil Taube made a few English-language films. Barbara Parkins was a somewhat passive leading lady (Valley of the Dolls).

Entertaining for those who enjoy an Alistair Mac Lean plot.

1. A satisfying and entertaining Alistair Mac Lean story? Its quality in comparison with other film versions?

2. The Alistair Mac Lean conventions: the crime setting, the tough hero, the heroine and her dangers, the villains - and the unmasking of the unexpected villain? The police? Atmosphere of mystery, violence, nasty deaths, chance, climaxes? Enjoyable, different, conventional?

3. Colour photography, Dutch settings and their use, the importance of the canal chase and its excitement and visual spectacle? The special effects for the violent and ugly deaths? the final climax with the hoist?

4. The presentation of the international drug scene? The ugliness of the repercussions of the drugs, the people involved from police, to bogus priests, to pseudo-retarded girls? The various ways of transporting the drugs? The police involved - Sherman as hero, De Graaf, Van Geldor and his involvement with the smuggling? The adventure ingredients, the gruesome deaths, the high stakes for involvement in the drug rackets? Plausible, sufficient for the action adventure?

5. How interesting a hero was Sherman? American background, skill in working in tho drug detection, relationship with the Dutch police? Relationship with Maggie and the repercussions of her death? The encounter with Trudi? With Van Geldor? The tracking down of the clues? The dangers to himself? His participation in the boat chase through the canals? The unmasking of the villain and the final confrontation? Colourful hero (critics said colourless)?

6. Maggie as heroine, a credible agent? Her skills, audience response to the violence of her death? The sadistic tones? The symbol of the puppet on the chain and Maggie being a puppet in such circumstances? The other people murdered in this way?

7. The supporting characters Van Geldor and Trudi and the seeming innocence, being unmasked? Colonel De Graaf and his hostility? Meogeren and his suave innuendo and his unmasking? Credible characters or types for this kind of adventure?

8. Comment on the police work sequences especially at the airport, with De Graaf, at the searching of the warehouse with the puppet on the chain, on the island, the confrontation with Maggie and her death, the dancers on the island? The chase and the ending?

9. Themes about international drug racketeering and audience judgment on this? Audience response to police work?

10. Responses to heroes and heroines, danger, the righting of wrongs and the unmasking of villains, poetic justice and punishment? How does Alistair Mac Lean presuppose response to this for his thrillers? How well does he succeed?

SHOKEI NO HEYA / PUNISHMENT ROOM

Japan, 1956, 100 minutes, Black and white.
Directed by Kon Ichikawa.

Punishment Room is a very striking film. It was directed by Kon Ichikawa (pictured, born in 1915 and still directing films in 2006). This was the film he made immediately after his Oscar-nominated film about war, The Burmese Harp.

This film is entirely different. At the same time as the US was producing films like The Blackboard Jungle, Ichikawa made this film about young university students, the gang mentality in post-war Japan.

The central character is a very unpleasant young man, a university student who lacks all respect for anybody, is ruthless in his behaviour. He is dissatisfied with everything about life in Japan at the time. He humiliates his father, forcing him to give money to finance a huge party. He also leaves the party to beat up members of a street gang. He drugs two girls and with a friend takes them to an apartment where they are raped. This was quite striking, of course, for the 1950s. It is a reminder that this kind of crime is perennial – not just something from later decades.

The film builds up to a climax, with the unsympathetic character abducted by rivals, tied to a chair, forced to drink alcohol and then confronted by the girl that he raped.

The film is very well made, is surprising as a film coming from Japan at the period – and worth seeing in the context of urban violence, the city jungle.

1. The quality of Japanese films of the fifties? The revival of their industry? Impact now? Their mood, style, picture of post-war Japan?

2. The quality of black and white photography, the movement of neo-realism at the time, the streets, the places of the city, people within their environment, slices of life? The parallel with American films of the time in presenting the generation gap and clash, young men of college age as louts, indulging in violence, disturbed? The American-style score?

3. The impact on a Japanese audience, universal audience? Japanese themes, universal themes?

4. The seeing the parents first? The father and his job, persuasion, money and the bank, his illness? The discussion by the people in the provinces about business and prospects? The preoccupation of post-war Japan getting on its feet? Seeing the father back in his office trying to make a good impression? His dominance at home compared with his subservience at the firm?

5. The contrast with the son and his friend? Their age, appearance, surliness, demanding of the father? Their college uniform? Their way of life, study and the symposiums, their car, organising the dance, making money? Moral awareness or not? Drinking, fighting? Reaction to parents? The violence, the football match (and its use during the credits?) and their excitement, drinking, drugs, the rape? The surly arrogance of that generation - not being understood and in the final analysis with the son's words, not understanding himself? How accurate a portrait of the times? Of lost youth?

6. His behaviour after the rape, the attraction of the girl, his playing sport, following her, spurning her? His confrontations with his father and mother? His betraying his friends, his reaction against the group and surly self assertiveness, hitting his lecturer, being rude to the girl? The need to for everybody, cut free, yet make amends or suffer and be self-assertive? (The existentialist style of the fifties?)

7. The build-up to the climax in the punishment room? His determination, the physical violence and its presentation? The motives of the group in hurting him, those who held back, those who punched and kicked, the drawing of the knife? The girl and her wanting to love him, her reaction to his insults and hitting him, finally taking the knife? His words as he struggled to survive, reminiscent of his theories during the symposium about action and determination?

8. The comparison of the parent generation and the experience of the war, reserve, banking, work, the wife at home and being dominated by her husband? The model of the relationship between men and women in the older generation? The clash of the younger?

9. The standards of the peer group, boys being boys and trying to be men, girls trying to be more than they should - the girls and their study, drinking and drugs, the rape and their reaction? Purpose in life and prospects for the future of the young Japanese of the time?

10. The surface melodrama of the story and yet the meaning about Japan? and its universal value?

PUNISHMENT ROOM / SHOKEI NO HEYA

Japan, 1956, 100 minutes, Black and white.
Directed by Kon Ichikawa.

Punishment Room is a very striking film. It was directed by Kon Ichikawa (pictured, born in 1915 and still directing films in 2006). This was the film he made immediately after his Oscar-nominated film about war, The Burmese Harp.

This film is entirely different. At the same time as the US was producing films like The Blackboard Jungle, Ichikawa made this film about young university students, the gang mentality in post-war Japan.

The central character is a very unpleasant young man, a university student who lacks all respect for anybody, is ruthless in his behaviour. He is dissatisfied with everything about life in Japan at the time. He humiliates his father, forcing him to give money to finance a huge party. He also leaves the party to beat up members of a street gang. He drugs two girls and with a friend takes them to an apartment where they are raped. This was quite striking, of course, for the 1950s. It is a reminder that this kind of crime is perennial – not just something from later decades.

The film builds up to a climax, with the unsympathetic character abducted by rivals, tied to a chair, forced to drink alcohol and then confronted by the girl that he raped.

The film is very well made, is surprising as a film coming from Japan at the period – and worth seeing in the context of urban violence, the city jungle.

1. The quality of Japanese films of the fifties? The revival of their industry? Impact now? Their mood, style, picture of post-war Japan?

2. The quality of black and white photography, the movement of neo-realism at the time, the streets, the places of the city, people within their environment, slices of life? The parallel with American films of the time in presenting the generation gap and clash, young men of college age as louts, indulging in violence, disturbed? The American-style score?

3. The impact on a Japanese audience, universal audience? Japanese themes, universal themes?

4. The seeing the parents first? The father and his job, persuasion, money and the bank, his illness? The discussion by the people in the provinces about business and prospects? The preoccupation of post-war Japan getting on its feet? Seeing the father back in his office trying to make a good impression? His dominance at home compared with his subservience at the firm?

5. The contrast with the son and his friend? Their age, appearance, surliness, demanding of the father? Their college uniform? Their way of life, study and the symposiums, their car, organising the dance, making money? Moral awareness or not? Drinking, fighting? Reaction to parents? The violence, the football match (and its use during the credits?) and their excitement, drinking, drugs, the rape? The surly arrogance of that generation - not being understood and in the final analysis with the son's words, not understanding himself? How accurate a portrait of the times? Of lost youth?

6. His behaviour after the rape, the attraction of the girl, his playing sport, following her, spurning her? His confrontations with his father and mother? His betraying his friends, his reaction against the group and surly self assertiveness, hitting his lecturer, being rude to the girl? The need to for everybody, cut free, yet make amends or suffer and be self-assertive? (The existentialist style of the fifties?)

7. The build-up to the climax in the punishment room? His determination, the physical violence and its presentation? The motives of the group in hurting him, those who held back, those who punched and kicked, the drawing of the knife? The girl and her wanting to love him, her reaction to his insults and hitting him, finally taking the knife? His words as he struggled to survive, reminiscent of his theories during the symposium about action and determination?

8. The comparison of the parent generation and the experience of the war, reserve, banking, work, the wife at home and being dominated by her husband? The model of the relationship between men and women in the older generation? The clash of the younger?

9. The standards of the peer group, boys being boys and trying to be men, girls trying to be more than they should - the girls and their study, drinking and drugs, the rape and their reaction? Purpose in life and prospects for the future of the young Japanese of the time?

10. The surface melodrama of the story and yet the meaning about Japan? and its universal value?

PUNCH AND JODY

US, 1974, 78 minutes, Colour.
Glenn Ford, Pam Griffin, Ruth Roman, Kathleen Widdoes, Billy Barty.
Directed by Barry Shear.

A pleasantly predictable film. The difference is its circus setting. Glenn Ford gives a pleasing and strong performance as Punch, the father who discovers that he has a teenage daughter. She is played pertly by Pam Griffin. Ruth Roman gives a rather raucous genial performance as Lil the circus owner and Kathleen Widdowes, the prominent stage actress, features as the hard Mrs Lowell. Direction is by Barry Shear, a television director noted for cinema films with violence like Wild in the streets, The Todd Killings, The Deadly Trackers.

1. A pleasing family film, father and daughter, orphan, father and child getting to know each other? The circus background?

2. A telemovie - the background of California, the travelling? A pleasant circus, the jaunty score?

3. Glenn Ford's style as Punch? His being introduced throwing the daggers, his role in the circus, getting the circus on the move? His reaction to his discovery of his daughter? His relationship with the people in the circus especially Lil? His decision to have the week with Jody? The lack of prospect of their getting to like each other? The discussions driving along the road, playing the game? His response to Jody's interest in the circus, her tidying his caravan? The clash with Mrs Lowell and his telling her the truth about herself? Her visit to the circus, the reconciliation? his relationship with the various members of the circus? The crisis with the tiger, the happy ending? A strongly drawn character? A credible father, the future with his daughter?

4. Jody as a prim young girl, her decision to go with her father, her fads, language etc.? Tidying his room, getting rid of Barbara, her manner with Mrs Lowell and apologising? Life around the circus, friendship with Lil? her being hurt, her telephone call to her aunt, her decision to leave and the happy reconciliation?

5. The portrait of Lil? her running of the circus, the need for business, her diplomacy with Dan, her advice to Punch?

6. Mrs Lowell and her causes, working with the children, her hard attitude towards Punch, her apologies?

7. The picture of the circus people? seeing them at work, their various acts, the crisis with the tiger at the end?

8. The interspersing of the film with the various circus acts - a small circus but genial acts and friendly response from the public?

9. How well did the film briefly indicate lines of relationship of father and daughter, getting to know each other, accepting responsibilities? Did father and daughter have a future together? A satisfying family film?