THE PSYCHOPATH

UK, 1966, 82 minutes, Colour.
Patrick Wymark, John Standing, Alexander Knox, Margaret Johnston, Judy Huxtable.
Directed by Freddie Francis.

An expert British horror thriller. In wide screen and colour with excellent performances, directed by Freddie Francis, who over many years has made all kinds of horror films from The Ghoul, Hysteria and various Vampire films. John Standing is quite effective in the central role and an atmosphere of menace is well created, especially in doll symbols and other special effects.

1. An effective British thriller: police, crime situation, atmosphere of fear and menace?

2. The contribution of the horror elements: the dolls, the manner of the deaths, the menace, the bizarre ending?

3. The focus of the title, its meaning and application. to whom? The atmosphere of the credits and the dolls? Use of colour, Techniscope, the visual presentation of the dolls and the dolls’ music?

4. The impact of the initial murder and the doll clues? The visual atmosphere of the other killings? Bizarre and grotesque? The transition from the murder to the chamber music and the introduction to the four? The revelation of their plot during the war?

5. The varying types of business men: sculptor, nervous worker at the embassy, solicitor? Their reaction to police interrogation? How well. were their characters delineated - their work, appearance? Deaths?

6. The importance of Saville's daughter and her fiance? Human interest, love interest, suspects? Their role at the end?

7. Inspector Holloway and the typical British policemen? Mode of investigation, interrogations, mannerisms? Threat to his own life? in the shipyard?

8. Mrs von Sturm and her son Mark? The dolls, her house full of dolls? Memories of the war, madness in her own created world? Her mannerisms, calling for justice? The fact that she did leave her home? The visit to the shipyard? Her erratic behaviour? Medical comments? Her menace at the end? The violence of her death? Mark as her doll, his character, protection of his mother, murder of the girl from the toy shop? The final visuals and his being
imprisoned? How real, how plausible the story? Crime horror films as symbolising evil and evil conflicts?

PSYCHOMANIA

UK, 1971, 95 minutes, Colour.
George Sanders, Beryl Reid, Nicky Henson, Robert Hardy, Roy Holder.
Directed by Don Sharp.

An odd, short, horror occult film made by director Don Sharp, maker of a number of horror thrillers including the Fu Manchu series with Christopher Lee and of such action films as Hennessy and Bear Island. The film was one of George Sanders' last films and he's matched here with English comedienne Beryl Reid. Nicky Henson is a rather stolid hero/villain. There is a strong English supporting cast. The film has echoes of so many of the occult films of the seventies but does it with somewhat tongue-in-cheek. It also, not so seriously, combines it with the bikie trend from America at the time. The film is quite entertaining and an example of unusual cinema fantastique.

1. The appeal of the occult films during the seventies? Superstition, horror, dreams, the imagination? Their visual style and contrivance? Their strained plots and audiences' willing disbelief? The appeal of cinema fantastique?

2. The odd title and its tone, indications? Psycho and madness? The soul? The devil?

3. The British production, the small budget, the stars? The director and his skill in action films and the way this was manifested in the bikie scenes and the confrontations? The creation of British atmosphere, the small town, the wealthy home, the ordinary people, the bikies? Colour? Action sequences? The ritual overtones of the occult? The contribution of the score?

4. How plausible the plot? The suspension of disbelief? The consequences for the imagination? for the power of the devil. people living on after death, lack of conscience. the ability to terrorist at will?

5. The importance of the visuals: the bikes and the living dead, the house, the contrast of the ordinariness of the village with the Latham household, the picturing of violence? The special effects of the ending and the transformation of the living dead?

6. Tos as a British type of the seventies, the gang leader, his influence, power? His attitude towards his mother, towards Shady? His wanting power of life after death? His going through the ritual and dying? His hold over the other members of the group and persuading them? His persuading Abby but her failure and his reaction? The violence that he wrought? The confrontation with Abby? The transformation at the end as his mother sacrificed him? The sketch of a character for this kind of horror film?

7. Mrs Latham and her relationship with Shadwell? Her indulgence of her son? The flashbacks to his birth, his being dedicated to the devil? The allegory of her life? The finale and her releasing him, the ironic humour of her being turned into a toad?

8. Abby as a pleasant heroine, a participant in the living dead gang, her being present at the acts of violence, her unwillingness to die? The hospital sequence, the final confrontation and the people changing before her?

9. The picture of the gang? the various types, men and women, the importance of the sequences of their deaths - violence and mayhem? Their attacks on the town, shops etc.? The influence of the bikie films from America?

10. Shadwell ? George Sanders and his sinister presence, influence over Mrs Latham, over Tom? A suave devil?

11. The police investigation and the traditions of the British detective film?

PSYCHE 59

US, 1964, 94 minutes, Black and white.
Curd Jurgens, Patricia Neal, Samantha Eggar, Ian Bannen.
Directed by Alexander Singer.

Psyche 59 is a rather lurid and hothouse melodrama of love and infidelity. The cast is one of the main interests and the varying styles of Patricia Neal and Samantha Eggar. In black and white, with a sombre yet melodramatic tone, the film was directed by Alexander Singer who made such films as Love has many Faces with Lana Turner at this time.

1. The meaning of the title, indication of themes? The importance of the mask of Allyson?

2. Black and white photography, music, atmosphere, British setting with European overtones? A background for this kind of psychological melodrama?

3. The psychological overtones of the film, especially in regard to Allyson and her relationship to Eric, Robin, Paul? How interesting was the exploration of the psychology of love and hate?

4. The film as an emotional melodrama, the exploration of the various kinds of love, the impact of hatred, possessiveness and domination? The relationship between reason and emotion? Emotional control of people?

5. The character of Allyson as the focus for the film? What kind of person was she, the initial riding with Paul, the indications of her relationship with Eric, her regard for her sister, her children? As a wife, as a mother? Her friendship with Paul? How did the film use cumulative details to convey the character of Allyson?

6. How important was her blindness? The mask during the credits, the impact of the audience realising she was blind, her ability to cope? The importance of the explanation of the cause, the psychological block, the not wanting to lock at memories? Her curiosity and wanting to know the truth, her seeking help? Her longing to see? How was this a symbol for Allyson?

7. Eric as a character? His relationship with his wife, his business skill, his love for Robin, the continual temptation, his memory of the night of Alison's blinding? His control, his indecision? His relationship with Paul and telling him the truth? What should he have done when confronted with Robin and her designs? His succumbing in the time of crisis, especially with Alison's seeing him in every sense? Was he a credible husband, man tormented by love and passion?

8. Robin as the evil woman? The background of her marriages, her return home, the details of her love and hatred for her sister? Her public spurning of Eric, her jealousy of Alison? The efforts she made to snare Eric? Her leading on of Paul? The incident with the horse, the irony of Alison's being hit and its leading to her seeing? The malice of her leading on Paul to an engagement? The revelation of the truth and her tantalising of Alison and Paul? The shock of Alison's seeing? What future would she and Eric have?

9. The importance of Paul amongst these characters? His innocence, devotion to Alison and Eric, his love for Robin? His being hurt by Robin’s using him for the engagement scene?

10. The contribution of the grandmother and her insight?

11. The build up to Alison's memories, the repetition of the scene with Eric and Robin in the bedroom, her trying to cope with this? Her deceiving them as regards the return of her eyesight?

12. The sequence of the announcement of the engagement, audiences sharing the shock, the embarrassment? Erie finally succumbing to the temptation of Robin? The humiliation of Paul? The liberation of Alison, her sense of freedom, compared with her suicidal feelings? The final sequence of her seeing and her liberation?

13. How realistically should the film have been taken? How symbolically? The elements of soap opera, turgid and complicated emotional melodrama? Was it successful in what it set out to explore7

THE PROUD AND THE PROFANE

US, 1956, 111 minutes, Black and white.
William Holden, Deborah Kerr, Thelma Ritter, Dewey Martin.
Directed by George Seaton.

The Proud and the Profane is a World War Two film, not so much focusing on action in the South Pacific where it is set (in the areas from the Philippines to the Solomon Islands) but rather on the characters who interaction with one another in the war situation. The film has echoes of From Here to Eternity which was released in 1953, also starring Deborah Kerr.

The film focuses on the interaction of the central characters. William Holden is a lieutenant colonel, in charge of the forces. Deborah Kerr is a volunteer with a Red Cross group (led by Thelma Ritter in her usual style). The other members of the group include Dewey Martin as a young serviceman and William Redfield as a self-sacrificing minister of religion. The film offers romance, tensions – dramatic with the touches of melodramatic.

The film was written and directed by George Seaton. Seaton had begun his career as a writer but had moved into direction with musicals and comedies in the mid-1940s, especially with Betty Grable. He made a big impact with The Miracle on 34th Street. Other films include Little Boy Lost and The Country Girl made at this time. He also directed a number of espionage films in the 1960s including The Counterfeit Traitor, The Hook and Thirty- Six Hours. His penultimate film was the big-budget Airport.

The film has a romantic score by Victor Young – one of his last.

1. What was the meaning of the title and how well did it refer to the principal characters?

2. How effective was the war setting? Was it too much a cliché-setting? Or did the film transcend this commonplace war setting?

3. The war situation, the isolation that brings to married couples the suddenness of death? the changing of direction of people’s lives? How did the film show that war changes people’s lives?

4. Lee Ashley - as a person, as a women, as a widow? The reasons for her joining the service? Her relationship to her husband, her need to go to where he died? Her work in New Caledonia? Her freedom as a person and her lack of spontaneity? Her falling in love with Colonel Slack? The change that this made in her life? the extent of her love, her pregnancy? Her disillusionment with him when she found out the truth? Her suffering, her inability to forgive, her sense of being destroyed? The repercussions of this on her life and her work? The final encounter with Eustace Press at the graveside of her husband? Her facing the truth about herself? Her forgiveness of Black and her taking of a second chance? Her future?

5. Colonel Slack - as a soldier, as a person? Over-serious? His preoccupation with war and his men? His casual attitude towards his love for Lee? The deceit that he practised in involving her with himself? His double standards in relating to women when he forbade this in his men? His insensitivity to hurting Lee? His facing the truth? his brutal reaction? The change that this made in him? His asking to be forgiven? Did the truth about his wife change the situation? How lucky was he to have a second chance, what future did he have?

6. Kate - as a person, as a Red Cross helper? Her perception, her commonsense, her dealings with Lee? How much help was she to Lee at various stages of the film? How wise a person was Kate? Her love for Eddy? Her genuine charity and concern for all those she dealt with?

7. Eddy - as a person, a tough kid from New York? Yet an honourable man in contrast to Colonel Slack? Especially in relation to Lee?

8. Did this film offer insights into the truth of human nature? Did it tell the truth about people and their emotions? What insights did it give into human weakness? To hurting others? To sin and real guilt? Its insights into love? Its insights into repercussions of casual playing with emotions?

9. How typical was the behaviour of the main characters in this film?

10. How valuable were the lessons of this film? Were they communicated convincingly?

PRUDENCE AND THE PILL

UK, 1968, 92 minutes, Colour.
David Niven, Deborah Kerr, Robert Coote, Irina Demick, Joyce Redman, Judy Geeson, Edith Evans, Keith Michell.
Directed by Fielder Cook, Ronald Neame.

Prudence and the Pill was an attempt in the late sixties to gain humour from the contemporary discussions about birth control and pills. It is not particularly clever, relies rather on the traditions of French farce and mistaken identities. Some of the dialogue is quite enjoyable and gets a great emphasis from the stars. However, overall, the effect is rather flat.

David Niven and Deborah Kerr team together as they had done in Separate Tables, The Eye of the Devil and Casino Royale. Niven is particularly adept at making this kind of film succeed. There is an excellent supporting cast who act very well including Dame Edith Evans, Robert Coote and Joyce Redman, Keith Michel and Judy Geeson . The dialogue was probably somewhat risque at the time but probably seems rather dated now and at times there is also a coarse tone to the film. However, everything finishes up conventionally, especially with numerous babies on the horizon. Direction was by Fielder Cook who has not made very many films over the years but he went over time and budget and the film was completed by Ronald Neame.

1. The meaning and tone of the title, audience expectations? Reflection of the atmosphere of the sixties as regards sexuality, permissiveness?

2. The tone of the credits and the title? Indication of risque farce, overtones of permissiveness? Were these fulfilled?

3. Colour, English setting, the atmosphere of wealth? The London sequences and settings, the world of racing cars, the contrast with France? A collection of wealthy English society?

4. The importance of Gerald's narrative as setting a tone? David Niven's skill at this style of comedy and satire?

5. The portrait of Gerald and Prudence? The coldness of their marriage, the satire on their manners? The irony of his relationship with Elizabeth and its warmth, the revelation of Prudence and Dr Hewitt?

6. The presentation of the pill and discussion about it in the atmosphere of the late sixties compared with later? Its role in birth control, marriages? Changing attitudes towards the pill? The humour to he gained out of the farcical situation of mistaken identities of pills and aspirin?

7. Rose and her boyfriend and their contribution to the plot? The complications ensuing?

8. The portrait of Gerald and Tony, the franker younger generation, their relationship, yet focusing on one another with marriage and a child In view? Their openness about the baby and the contrast with the reaction of their parents especially at home and at the dinner table? Aunt Roberta’s difference?

9. The contribution of Aunt Roberta to the proceedings - the oldest generation, wealth and snobbery yet warmth? Her walking across the motorway? Her open attitudes towards the youngest generation?

10. Henry and Grace as representative of the middle-aged generation and facing the pregnancy, their reaction to their daughter's pregnancy? Old style morals especially for surface respectability?

11. The surface respectability of Gerald's and Prudence’s behaviour? Gerald checking up with Prudence especially about the doctor? Prudence and the discovery of the letter? How were each of them different with Elizabeth and Dr. Hewitt?

12. The farcical situation, identities and mistaken identities?

13. Where was there any human warmth and development of character - the attempt at more human treatment of the character of Elizabeth? Dr Hewitt, and his working with Gerald?

14. The humour of the ending with so many babies and their description? How was this important as being the tone and theme that the audience was left with? was this only an exploitive comedy or did it have something to say? and did it say it well or not?

THE PRIZE OF GOLD

UK, 1955, 98 minutes, Colour.
Richard Widmark, Mai Zetterling, Nigel Patrick, George Cole, Donald Wolfit, Joseph Tomelty, Andrew Ray.
Directed by Mark Robson.

Prize of Gold is a colourful entertaining thriller set in post-war Berlin. It shows the darker side of the occupation with military personnel involved in a spectacular gold robbery - with rather spectacular results. The motivation is of the best - the helping of orphans. Richard Widmark and Mai Zetterling are an attractive couple. There is good supporting work especially from Nigel Patrick. Direction by Mark Robson, the maker of many thrillers and adaptations of best sellers.

1. The quality of the film as an adventure, robbery caper?

2. The importance of the post-war atmosphere, the cold war of the fifties, military occupation in Germany, Berlin and its atmosphere, crises and situations governed by a post-war situation? The colour, the music and the songs, the stars? A British production?

3. How plausible were the circumstances, the situations? How well did the film blend its sentiment and crime?

4. The importance of the Berlin atmosphere, the remains of the bombings, the atmosphere of suffering, American attitudes and the occupation, British attitudes, the Germans and their defeat, the plight of refugees, children wandering the streets, schools and the need for emigration?

5. Jay Lawrence and Richard Widmark’s performance: an American type, his role in the army, his attitude towards the occupation, his casual approach to things, stopping with the jeep, his reaction to its being stolen? A sentimental man, the attraction of Maria, his changing his attitude towards the boy, his falling in love? How ordinary a type of citizen? His lack of scruple, his involvement in the plan for the robbery, his motivation? His toughness? The fact that ultimately he was unprofessional as a criminal? His risking violence but not wanting to indulge it? The reason for his giving up? His motivation for the future? A credible character in these kinds of circumstances?

6. How attractive a heroine was Maria? Her place in the school, her attitude toward the children? The protection of the school and the hold that it had over her? Her work with the doctor? The credibility of her falling in love with Joe? The tenderness in her character? Her not asking questions about Joe because of her love for him, her hopes with the money and the emigration? The importance of her seeing him at the end and his hopes and her hopes?

7. Roger as an English-type criminal, his connection, his place in the occupying army, his greed and the risk of crime? The irony of his death? The importance of the sequences of recruiting, Dan and his background and character? Alf and his criminal background, his wife and respectability, his car and not wanting to be involved? Brian and his playing darts and earning money around the pubs, the upper English-type war hero and his going to seed after the war? The blending of these attitudes for the crime? Brian and his continual banter, his behaviour in Berlin? Alf and his anxiety?

8. How interesting was the plan, its build-up, the tension for Joe and the uniforms, getting Brian on the plane? The irony of things going wrong especially with Dan and the car, Alf’s presence?

9. The increasing of tension by the upsets, the plane and its takeoff, the crash of the plane?

10. Comment on the audience wanting the plan to succeed, the flight, the clash, the landing, the taking off of the gold? Audience response to the sudden change of power and the violence? Brian’s lack of scruple, Joe's scrupulosity?

11. The presentation of the thieves and their clashes amongst themselves? Their fighting Alf and his escape but supplying the money, Roger and his death?

12. The build up to the final conflict between Brian and Joe? The melodrama of the chase? Brian and his desperate greed? The melodrama of his spectacular death?

13. The importance of seeing Joe and his plan for telling the truth, his imprisonment? The final meeting with Maria?

14. How satisfying in this kind of sentimental crime film as enjoyment, as an exploration of the values of good and evil, right and wrong?

PRIVATE WORLDS

US, 1935, 85 minutes, Black and white.
Claudette Colbert, Charles Boyer, Joan Bennett, Helen Vinson, Joel Mc Crea, Esther Dale.
Directed by Gregory La Cava.

Private Worlds is about mental health – Joel Mc Crea’s character saying that there is no sanity or insanity but people live in their own private worlds.

At this stage of film-making, Sigmund Freud was still alive (dying in 1939). It means that psychiatry was still in its comparative infancy. This is a very interesting drama, highlighting mental institutions in the mid-1930s in the United States, the role of psychiatrists, the role of doctors, staff as well as an analysis of the illnesses of the patients.

In later decades, this became a popular theme – with hospitals and institutions the staple of television dramas.

This is a blend of drama – although it has many of the elements of soap opera. However, it has a very strong cast which gives the film great strength as well as psychological and emotional insight.

It was directed by Gregory La Cava who began directing as an animator in 1916. He made numerous films, short films during World War Two and in the immediate aftermath as well as quite a number during the 1920s. However, he did not have such a long career in sound films though his films include My Man Godfrey and Stage Door from the mid-1930s. His last film was Living in a Big Way in 1947.

1. The status of the film now? Stars, director?

2. The significance of the title and its explanation? Reference to mental illness? Presentation of mental illness and treatment with the understanding of the thirties? Humanity, understanding? Comparisons with the present?

3. How serious a drama? The film as soap opera, with soap opera, ingredients? The serious or romantic style?

4. The presentation of the hospital and the creation of atmosphere with details of staff and patients? Jane Everest and Alex McGregor? and their work together? The exemplification of their skills? Audience response to their capacities for healing and understanding?

5. The contrast with the Matron and her stern dealing with people? The jealousies, the later gossip, her dismissal, her humiliation, her reaction to the rest of the staff? The rest of the staff and their contribution to the work?

6. The arrival of Dr Monet and Alex’s jealousy? His reputation? In reality?

7. Jane’s presence, flirting with Alex and taking him away from his wife, the truth and Jane's discovery, of her admiration for Dr Monet after his treatment of her? How did the bonds between them grow especially when Dr Monet observed Jane’s abilities? Confrontation with Alex?

8. The portrait of Sally: in love with Alex, her silliness, seriousness, her concern for the patients, sympathising with them, trying to help, the pregnancy, the birth?

9. The build-up of the romance between Jane and Monet in work, truth? The important sequence of Jane's taking advice from the doctor with reference to herself?

10. An appropriate happy ending for this kind of film? Its human values, insight into suffering people, in the sequences with the Alex, Gerry and the others?

A PRIVATE AFFAIR

US, 1959, 93 minutes, Colour.
Sal Mineo, Christine Carere, Barbara Eden, Gary Crosby, Terry Moore, Jim Backus, Jessie Royce Landis.
Directed by Raoul Walsh.

A Private Affair is an enjoyable piece of escapism. It is quite dated now and of interest as being directed by Raoul Walsh at the end of a very long and successful career. Sal Mineo leads a very young and enthusiastic cast who are on the enterprise of putting on the successful television act The material is conventional, the atmosphere of the 50s is very much to the fore with entertainment and television. Pleasant entertainment.

1. Indications of the title? Entertainment, Americana, American morale booster? A reflection of the atmosphere of entertainment of the 50s?

. The army genre and its tradition? Comic, patriotism, farcical situations, romance, making heroes of the men? Usual treatment, different?

3. Importance of colour, Cinemascope? Army locations and situations, barracks, exercises? Officialdom? Washington? American TV in the 50's and the army? Musical effects?

4. How important was the credibility of the plot? A romance and the army for the purposes of the conventions? An attractive plot? Three different heroes and their environments at the beginning? The ladies and their different backgrounds? The twist of the plot for their meeting? The importance of the television programme. The audition? The humour of the complications with the tax secretary of the army and her marriage? How well did all these ingredients blend for comedy?

5. The youthful appeal of the principal characters: their different backgrounds? Their characters and personalities? Bright, humorous? Typical young men and women of the 50s? Differences now? Luigi and Louise? Marie and Jerry? Katy and Mike? In the army, their various positions? For the musical? Romantic ambiguities and complications? With the secretary of the army? Happy ending? Convincing conventional characters for this kind of film?

6. The portrait of the army way of life? Expectations, attitudes in favour of army training, the American in his army? The officials, the psychiatrists, the secretary herself?

7. How interesting was the sub-plot of the secretary for the army and her concern for the orphan, the farcical aspects of the marriage mix-up, Jerry and his being continually taken to Washington? The musical side of the film - songs, dancing, television? How enjoyable an entertainment? As an illustration of American attitudes in the 50s? How similar are they now, changed?

PRIVATE POTTER


UK, 1962, 89 minutes, Black and white.
Tom Courtenay, Morgans Wieth, Ronald Fraser, Frank Finlay.
Directed by Caspar Wrede.

Private Potter is a different kind of military film. It was written and directed by Caspar Wrede, a Finnish director who worked in British television and who made the films One Day In the Life of Ivan Denisovich and the thriller, The Terrorists (1975), with Sean Connery.

The film stars Tom Courtenay at the beginning of his film career. At this time he made such films as The Loneliness of the Long Distance Runner and Billy Liar. He was to appear in the seventies as Ivan Denisovich. The film shows a British military crisis. Presumably in Cyprus after the war on a terrorist mission, Private Potter screams and it appears he has had an experience of God. The theme is very interesting and in many ways well explored - especially in Potter's discussions with the Padre, the military psychiatrist and his commanding officer. Courtney establishes Potter as quite a credible character and there is much good dialogue on the exploration of the theme of the experience of God. The film is open-ended and leaves the viewer wondering where it was to lead. The film did not receive wide publicity and has not been screened very often. This is a pity since it is of some interest.

1. Was the film a religious film? Its human, psychological and religious issues and impact?

2. Cinema style: black and white photography, military style, the influence of television with close-ups, cross-cutting for interviews, editing techniques especially during the Seleskyeu interrogation of Tannin and Potter?

3. How credible was this story of Private Potter? Did he have a genuine religious experience? Could his experience be explained psychologically or not?

4. How well did the film present the situation of the British Army and terrorists? The credit sequence, the initial presentation of Potter and the soldiers? The peace keeping role of the British? Terrorist activity? The mission and the confrontation with Yanain and his escape and wounding?

5. The presentation of British military organization? the aphasia on doing things by the book, on conformism especially the views presented by the Brigadier? The attitude of the Doctor? Gunyon as between these two men and their attitudes?

6. The initial presentation of Potter amongst tho others? An ordinary private? The Army context for his ordinary experience, the religious experience?

7. The conduct of the mission, the need for silence? the Brigadier’s orders? The build-up to the focus on Potter, the visual and listening to the scream? Its effect on him, on the mission?

8. The military repercussions of Potter's scream? Imprisonment, interrogation. court martial preparations? Religious interviews, psychological tests? Fear of death, punishment? Military interpretation of the experience and the handling of discipline?

9. How well did the film present the varying attitudes of Gunyon, Knowles, the Chaplain, the Psychiatrist, the Brigadier? Could the audience gauge its own opinion from listening to these various experience or God: his explanation of his family background and upbringing, his image of himself at school, his not participating in sport and in team work, his becoming a weakly kind of boy and looked down on? His study and reading? His experience of God and his fear of him? The interpretation of his person as a soul in torment? The overall atmosphere of fear in his life and his explanation of this? The build-up to the sudden eruption of God and his presence in his life? The difficulty of finding words to describe it? Its being partly vision and not vision? Its being akin to mystical experience? The effect that it had on Potter and the peace and change of attitude in his whole approach to life? The Chaplain and his believing this eventually and supporting him? Gunyon moved by the credibility of Potter's account of himself? The repercussions of fear, the hysteria about prison? The effect of the interview with the Psychiatrist and disturbing his experience of God by rationalizing it? Its needing to be cured and treated? The transfer and the attempt to escape? The exhilaration of the run, the experience of the dawn, the ways? The fact that the vision was to become a private vision, an experience of God nothing to do with anybody else and his decision as to how he would plead and behave in the court martial? The fact that the experience of God for him to give him peace no matter what the system asked and demanded of him?

11. How well did the film present and explore the nature of religious experience and its possibility?

12. How crucial was the role of the Chaplain? The ordinary interview because of his duty, his focus on Christ and the Church aspects of vision? Potter's violent reaction and spitting? His apology and the bond that grew between the two? The Chaplain's listening and trying to fathom the experience, his veneration of Potter, his intercession with Gunyon and offer to intercede with the Brigadier? His continued help and the reaction of the various military personnel to the Chaplain and religious experience?

13. How crucial was Gunyon in his response to Potter? his military background, his organization of his men? His orderliness. his caring and compassion for each of his men - as explained by the Doctor? His being irritable, wanting Knowles and others to accept the responsibility? The decisions that he made especially on the advice of the Doctor to call in the Psychiatrist? His growing belief in Potter's truth? The importance of his interceding with the Brigadier? His response to Potter's escape attempt? Their final talk and his acceptance of Potter's point of view?

14. The presentation of the Doctor in his dealings with Tannin and his healing illnesses and wounds? His sceptical approach and offhand attitude? His support of Gunyon yet persuading him of medical evidence? Their discussions about atheism and belief in God? The Doctor's attempt to psychologise the experience?

15. The importance of the Psychiatrist and the way the interrogation was filmed - as an interrogation with the Psychiatrist off screen? How effective was the paralleling of the questioning with the officer questioning Tannin? Double victimization? The repercussions on Potter of the Psychiatrist's point of view?

16. The Brigadier and the comfort of his headquarters, his emphasis on everything going smoothly, examples and conformity?

17. The effect of the ending and Potter's future? The presenting of the two standards of God erupting into a person's life, the conformism of military order? How would Potter cope?

THE PRIVATE LIVES OF ELIZABETH AND ESSEX

US, 1939, 106 minutes, Colour.
Bette Davis, Errol Flynn, Olivia de Havilland, Donald Crisp, Vincent Price, Alan Hale, Henry Daniell.
Directed by Michael Curtiz.

A spectacular costume drama made by Warner Bros in 1939. They were at their peak in making this kind of adventure: Errol Flynn’s The Adventures of Robin Hood and The Sea Hawk made at this time. Errol Flynn was at the height of his acting ability and popularity and made numerous films in these years at Warner Bros. Bette Davis with whom he had teamed in Anatole Litvak’s The Sisters the year before, was a much more respected actress and already had two Oscars for Dangerous and Jezebel.

Here she subdues her appearance for the aging Queen Elizabeth and gives a very good performance, even if it does have the familiar Davis manner. She was to recreate this role in the 1955 costume melodrama The Virgin Queen. The historical background is sketched in. Accuracy is not to the fore. Rather, it is the recreation of Elizabethan times, the portrait of Elizabeth and the melodrama associated with her liaison with the Duke of Essex. Very good period entertainment.


1. The appeal of historical dramas? The pageant of the past, comparisons with the present, insight into another world of time and place?

2. The appeal of history and audience interest? In the colour of the film, sets, music and pageant, atmosphere, way of life?

3. The quality of the script and the elaboration of the issues? How serious as historical drama was this? How much insight into Elizabeth and her world?

4. The film as a Bette Davis vehicle? Her characteristic style as incorporated into the character of Elizabeth?

5. What was the character of Elizabeth? As first seen, in shadow, regal? Her life in the Court, at the centre of intrigues, her capacities for ruling, her ways of power and administration? Her sense of heritage, her dedication to England, her not marrying? The contrast with her love of Essex, some passion in her life, its effect on her as a person, as a ruler? Scenes which indicated this best?

6. The contrast with Essex? Errol Flynn’s style, the development of his character, his exploits at Cadiz and his failure, his attitude to the intrigues of the Court? As loved by Penelope, loved by Elizabeth? Close to Elizabeth? The capacity for love?

7. The illustration of his impetuous nature, his impatience with the politicians and the courtiers, his being bluffed by their challenges. his acceptance of Ireland, the lack of communication with Elizabeth, the effect of the sieges in Ireland? His marching on London, beseeching Elizabeth, the clash? Would Elizabeth's disillusionment with him have happened without Ireland and the lack of communication?

8. The illustration of love, power, the clash of the two rulers? The final visit of Essex from the tower? What had happened between them? Why?

9. Their relationship of love and power and understanding? Essex's understanding of his own desire for power and his manoeuvring? The fact that he was tricked by Elizabeth? Her reasons for not keeping faith with him?

10. The theme of repercussions on private lives of affairs of state and public life?

11. The character of Bacon, his role at the court, advice to Elizabeth, patronage of Essex, attack on the Cecils?

12. The function of Lord Burleigh, Cecil, Walter Raleigh at court? The atmosphere of intrigue and duplicity?

13. The role of Penelope at court, close to Elizabeth. in love with Essex, allowing herself to be used, jealousy? Her revelation of the truth to Elizabeth and the risk to her life?

14. The portrayal of the way of life in England? The talk of the common people and their attitude to the Queen?

15. Ireland and its battles? The presentation of the Irish and the English dominance of them? The value and insight of this film in its time? Now?