PORTRAIT OF JENNIE

US, 1948, 85 minutes, Black and white/colour.
Jennifer Jones, Joseph Cotten, Ethel Barrymore, Lilian Gish, Cecil Kellaway, David Wayne, Henry Hull, Florence Bates.
Directed by William Dieterle.

Portrait of Jennie is a very romantic film, very popular in the late 1940s.

Joseph Cotten portrays an artist in the 1930s, down on his luck. However, a group of art dealers led by Ethel Barrymore and Cecil Kellaway purchase one of his paintings and encourage him to do more work, especially portraits. In Central Park he encounters a very young Jennie and continues to meet her. However, each time they meet she has grown up much more. She also speaks about a mysterious past.

The artist goes to seek out the places where Jennie is supposed to have lived, including a convent where Lilian Gish portrays the mother superior. The film climaxes with a storm – tinted green for special effects (and the special effects won the Oscar for that year).

The film uses the music of Debussy, giving an added poignancy and romantic tone. It was directed by William Dieterle who had great success in the 1930s at Warner Bros with a number of biographies. They include The Life of Emile Zola and Juarez, Dr Ehrlich’s Magic Bullet and A Dispatch From Reuter’s. He also directed the celebrated Charles Laughton version of The Hunchback of Notre Dame. During the 1940s he made a number of emotional films, some including Jennifer Jones in the cast: I’ll Be Seeing You, Love Letters, The Searching Wind. During the 1950s he made much more conventional films at Paramount, westerns and dramas. However, he also directed Rita Hayworth in Salome and Elizabeth Taylor in Elephant Walk.

1. The enjoyment value of this film? The intentions of the filmmakers and their success: as love story, romantic ghost story, exploration of love and time?

2. Audience response to stories and fantasies? An American fantasy - the importance of the New York settings, the present, the going back into the earlier part of the 20th century?

3. The black and white photography, the devices of the colour tints for the storm and the dawn, the use of lighting especially to suggest the ghostly appearances of Jennie? The obvious studio locations? The contribution of the musical score and the basis of Debussy's classical themes?

4. The significance of the quotations from the authors at the beginning of the film, Euripides, Keats? The realm of poetry, art?

5. The laws of fantasy as different from the laws of realism? How well did the film set out the laws of fantasy on which it operated and followed them through logically? The contrast with realism? The fantasy breaking through time and realism into images of the timeless? How successful were the characterisations, audience response?

6. Ebon as American artist, as a man, his sensitive personality? The strangeness of his encounters with Jenny in the park? Their effect on him? His growing admiration and love for her, interest in her life? The importance of his painting the portrait of her? Her becoming important for his search and his quest? Jenny as the meaning of his life?

7. The contrast with the encounter sequences and his ordinary life? His meeting of the art dealers and their influence on him, friendliness? His own friends? The taxi driver? How real were these characters? or were they touched by the atmosphere of fantasy?

8. The film's portrait of Jennie? Jennifer Jones and her charm and style, her youth and the way that she aged during her various appearances? Did she realise she was a ghost or not? Her taking for granted the meetings with Eben? Her surprise at his responses? The gradual revelation of her story? at school, her parents' death and her grief? Her ability to remain for the painting of the portrait? The build-up to the graduation and her disappearance? Was she a credible heroine, a credible ghost?

9. Eben’s quest and his searching out her convent, the atmosphere of Cape Cod and the storm, the climbing of the rocks? His hope for rescue? Jenny's reappearance and her reassurance but her death?

10. How well did the film build to its climax and to Jennie's death? The explanation by Jennie that her death did not mean the end of their love but an eternal love? How credible within the conventions of this love fantasy? The charm of the film, the romance, the love story, the humanity and sensitivity?

PORTRAIT OF A MOBSTER

US, 1961, 108 minutes, Black and white.
Vic Morrow, Leslie Parrish.
Directed by Joseph Pevney.

Portrait of a Mobster is another gangster film. The conventions were established in the 30s, during the gangster period, with tough melodrama especially from Warner Bros, Scarface and Little Caesar. In the 40s the gangster films moved more into fictional material and the gangster thriller. This continued into the 50s. There was a revival of interest in the gangster films in the 70s with nostalgic evoking the past as well discussion on the effect of gangsters on American history.

1. The success of this film, its interest in the person of Schults? Its creation of the gangster period, a presentation of America and its social history, a portrait of a mobster?

2. The style of American gangster films of the fifties? The particular conventions of the genre, the comparison with the tough thirties, the style of the forties? A comparison with the gangster films about the same people in the seventies? Black and white photography, note and authenticity, atmosphere? The distance between the fifties and the time of these mobsters? The purpose of making this file?

3. Morrow's style and personality as Schults? How well did he delineate the character of the gangster? The kind of portrait it presented? What type was Schultz? His background, psychotic attitudes, intensity? His motivation in his work, relationship with his associates, with other people? Ambitions? Could the audience identify with him in any way? With his victims?

4. How well did the film present the background of Schultz, the explanation of his life, why he was as he was? His hard life, his involvement in race questions? How did he become involved in the gangs? His wanting this?

5. The importance of showing his violence and brutality, his killing people, using them, wanting to be in the big time and being a boss? The importance of his relationship with the girl, especially insofar as he killed her father? Audience response to his brash duplicity in approaching her, seducing her? His relationship with Frank and taking the girl from him? The people that he worked against? The enemies that he created?

6. How plausible was the character of the girl? Her character, her home background, religion, her fascination with Schultz, her falling in love with him, her blinding herself to the truth? The details of her life with him and her going downhill? Her drinking, her shame, her hatred? How did this show what greed and selfishness can do A credible portrait?

7. How did Frank fit into this picture? His disgust at the girl and with Schults, his willingness to be used, his growing involvement with Schults and his shady deals, questions of money? What did this lead to an regards his own view of himself and others?

8. A portrait of those associated with Schultz? The others that he used, gangsters, police? The picture of his power and empire, the reason that he held it together? His hostility and hostility towards him?

9. Was the reaction inevitable on the part of the girl, Frank, the others?

10. What is the end of a mobster? What does it profit him? How was the film a record of this man's life and doings? Did it glorify him? Did it moralise on his career?

PORK CHOP HILL

US, 1959, 97 minutes, Black and white.
Gregory Peck, Harry Guardino, Rip Torn, George Peppard, Carl Benton Reid, James Edwards, Woody Strode, George Shibata, Norman Fell, Robert Blake, Biff Elliott.
Directed by Lewis Milestone.

Port Chop Hill is one of the classic films about the Korean War. While many films were made during and immediately after the war, from small-budget films to blockbusters like The Bridges at Toko -Ri, this film has the advantage of distance from the events. It also has a strong cast led by Gregory Peck as the officer in charge and a number of stars who were at the beginning of their careers including George Peppard, Rip Torn. There is also a young Robert Blake.

The film is simple in its structure, a hill to be taken by the American forces and their clash with the Chinese. The film focuses very strongly on a small unit, a small action in the whole picture of the Korean War and gets its intensity from the demands being made on the men, the difficulties, the weapons, the danger of wounding and death.

The film was directed by Lewis Milestone. Almost thirty years earlier he had won an Oscar for his anti-war film, All Quiet on the Western Front with Lew Ayres. Milestone also made a number of films about World War Two, one of the best being A Walk in the Sun, also featuring a small platoon and one day during the Allied invasion of Italy. Milestone also made a number of more spectacular films including Kangaroo in Australia and was soon to make Ocean’s Eleven, the original, and to have great difficulties trying to direct Marlon Brando in the 1962 Mutiny on the Bounty.

1. Audience expectations of war film? Were these expectations fulfilled here? The qualities of the film as a war film?

2. The importance of the dedication? 1959 as the date? Gregory Peck and his style? His narrative for the meaning and dedication of the film?

3. How well did the film portray the Korean war situation? Its impact in the fifties? In later decades? The consequent impact of the film, now?

4. The theme of war and peace? Bluff, negotiations, last stands, propaganda, heroism? What comment was the film making about war, the end of wars?

5. The picture of the Chinese and American tactics? The use of propaganda, of people's lives? The tying of hands? The men in the field?

6. The hill itself: as presented in its realism? In the war situation, people fighting and defending the hill as a symbol? Its value and its lack of value? As a symbol of the discussion of the war themes?

7. The film's comment on electronic warfare and human warfare? Machines and human error?

8. Clemons as a person? Was he well defined and elaborated? His choices about the warfare, his following of orders, his facing of dilemmas, his communicating this to headquarters? The importance of the discussions with Russell? The scene with the photographers? His reaction to Chinese propaganda? His friendship with his men and support and care of them? His relationship with Ohashi? pressurising him to self-respect? How genuine did this heroism seem?

9. The film's portrayal of the men: how well did it present them as individuals? As a group? Their heroism, exhaustion, manoeuvres, their friendship as buddies? The impact of their dying? Their joy at any kind of relief? Their holding of the hill? The significance of their lives and deaths?

10. The visualising of war, violence? The atmosphere of realism? The locations? The details of the hill? The impact of the explosions visually, warfare in the trenches?

11. The importance of the Chinese broadcasts and the effect on morale? How important for the film? The irony of the light music over Pork Chop Hill?

12. The themes of desperation? fighting, courage, conscience?

13. What did the film say about war and its effect on the men and on the need for defence? Against war?

14. The final obituary comment? a good war film?

PORRIDGE

UK, 1979, 93 minutes, Colour.
Ronnie Barker, Richard Beckinsale, Fulton Mackay, Peter Vaughan.
Directed by Dick Clement.

An expanded version of a popular British television series starring Ronnie Barker. Barker, one of England's leading comedians, is at home in this story of a convict who enjoys being in prison, has a generally casual attitude towards prison life and the guards and has an amusing tongue. He is supported by Richard Beckinsale, who died soon after this film was made. The screen play by comedy team Ian la Frenais and Dick Clement, moves briskly and is constantly amusing if not hilarious. Clement directed the film.

There are many enjoyable shots at prison life, corrupt officials and over-serious officials, the prisoner who runs the prison and the ordinary men inside. There are amusing scenes in the daily routine of prison life, in a football match designed for an escape and for Ronnie Barker's Fletcher and Beckinsale's Len to have to break back into prison. Fulton Mc Kay is excellent as the head warder. Light British comedy-style entertainment.

1. An entertaining comedy? Its British style? For a British audience and interest? International audience?

2. The extension of a television series into feature film? As written for theatres in comparison with television? The same audience but different expectations? A 90 minute plot, the sustained humour, characterisation? The film as a Ronnie Barker vehicle? His presence, style, verbal humour, impersonations? How was he matched by the supporting cast? especially Len as his foil, Mc Kay and the other warders, Grout and his control of the prison?

3. Colour photography, the use of an authentic prison for interiors and exteriors? Musical score?

4. The plausibility of the plot and its adaptation for Ronnie Barker's comic style and audience expectations? British prisons, the way of life? Parody and satire? The presentation of the prisoners and the day to day living, difficulties, humour? The warders and their varied attitudes, strictness and feeling for the prisoners? The Governor? Prison corruption?

5. Ronnie Barker's characterisation of Fletcher? strengths, weaknesses? His presence in the prison, everybody taking notice, his manner of speaking? His getting on well with everyone? Sharing the cell with Len and their various discussions, Len's helping him, the football selection, the escape and the breaking back in? Fletcher's getting on well with Grout? His work with the pigs, his laziness, his various schemes to steal things? Grout forcing him to organise the football match, his training, the match itself? The humour of his being kidnapped, the various efforts to get back into the prison? The final vindication? A humorous British character type?

6. Len as a young man in prison, his friendship with Fletcher, his wanting to be in the football match, his concussion, coping with the escape and the break-in, his decision to go back in and be released later and freely?

7. The warders - Mc Kay and his caricature, though humorously, of the British warder and his pomposity - especially his not seeing what happened, his expectations of the prisoners, the Officers' Club? His being matched by Mr Barraclough and his concern for the prisoners and his miserable married life? The new warder and his severity and admiration for McKay? The Governor and his incompetence?

8. The minor characters in the prison - the various personalities, the interactions, the hierarchy of prisoners, Grout and his control, his plan for the escape, its execution?

9. Humorous sequences within the prison - the curry sequence in the kitchen, the build-up to the football match and the passing on of the ideas up the ladder, the football training, the match itself, the organised escape, the police investigation, Fletcher's various devices to get back in?

10. Observation of human nature with its strengths and weaknesses, the humour of human foibles?

11. The film's humorous comment on the prison system. men being isolated, their way of life, ordinary rights, the power of the warders and abuses, the criminals who dominate and exploit, a need for constant look on prisons by society for the sake of justice?

PONY EXPRESS

US, 1953, 101 minutes, Colour.
Charlton Heston, Rhonda Fleming, Jan Sterling, Forrest Tucker.
Directed by Jerry Hopper.

Pony Express is a very enjoyable western, in the style of westerns of the 50s. Charlton Heston gets his chance to play Buffalo Bill and encounter villains and dangers with the extension of the Pony Express to California. Rhonda Fleming is an attractive heroine with a dash of the spy. Jan Sterling is vigorous as a tomboy alternate heroine. Direction is by Jerry Hopper who made a number of action films at Paramount in the 50s and then moved to television. Enjoyable even if conventional.

1. A satisfying Western? conventional, expectations?

2. Charlton Heston and the stars, a Western of the fifties with particular styles, colour, locations, music?

3. A glimpse of American history, the presentation of the American heritage, American heroism of the 19th century, the legends of the men of the West, their confrontation of villainy, exploitation?

4. The reputation of Bill Cody? Charlton Heston portraying him? The initial encounter with the Indians and his skill, his involvement with the Pony Express and his vision for communications? his smartness, reliability? His work on the outposts? Skill as a gunfighter? His suspicions of enemies? The rivalry and encounter with Bill Hickock? Their work together, overcoming difficulties, riding the last part of the Express and achieving success? A portrait of a legend or a character study, or both?

5. The portrait of Bill Hickock, the character study? As a foil for Bill Cody? Comparisons in work, vision, gunfighters? Rival, friend?

6. The character of Evelyn and her brother? their place in the West, their characters, the situations, politics and plans? The brother and his greed, change of attitude, attitude towards his sister, working with his cronies? The clash? The initial kidnapping? Evelyn and her involvement, change of heart?

7. Evelyn as an attractive character, love for Cody, change of attitude, help, involvement in the Pony Express? Conventional Western woman?

8. The contrast with Penny and her being a type, a woman of the West, infatuation with Cody, help, spying, the pathos of her death? A comparison with Evelyn, humour? A balance of the Western woman?

9. Audience interest in the life of the gunfighters, their pioneering of the West and their vision, clashes with the Indians, with the Army? The plausibility of the plots, the political repercussions for California and the United States?

10. The build-up of the Pony Express: the amount of footage given to the various stages, the atmosphere of exultation an the Express was moving through, the message that they were caring about slavery, the sabotage, Bill Cody and his finally riding in to victory?

11. The appropriate happy ending, a conventional ending, satisfying for this kind of film? The themes of the West?

THE POINT

US, 1971, 74 minutes, Colour.
Voices of Dustin Hoffman, Alan Thicke, Ringo Starr.
Directed by Fred Wolf.

An animated American fable, unusual in its design with shapes and general wash rather than precise definition. The table is highlighted by a framework of father and son relationship and the story plays with the word 'point' and its various meanings. Perhaps, it is a bit intellectual for some younger children - they can rely on communication by visuals. There are songs illustrated by Harry Nilsson and on the television version the voice is that of Dustin Hoffman.

1. The appeal of animated films? This style of animation for children, adults?

2. The style of animation and its appeal, shape and design rather than precision and outline? The contribution of the musical score? Nilsson’s songs and their illustration? The voices and the commentary?

3. The impact of this kind of fable - cinema moralising, entertainment?

4. The title and its point? The point of the word 'point' and its various meanings? The verbal explanations given throughout the film? Audience grasp and response?

5. The framework of the fable: the father, the son, television? The telling of a story? The final explanations?

6. How well defined were the characters, their personalities attractive, "cute"? Voices? Animation and design?

7. The character of Oblio - different from anyone? everyone else because of his shape? Lacking point? His character, relationship with his father? The jealousy of the Count's son and their clashes? Oblio as hero?

8. The picture of the King and his hesitation, the Count and the clash with the King? The political background of this clash? Rivalry?

9. The competition with the Count's son? The defeat of Oblio and his exile?

10. The presentation of the Pointless Forest? Oblio's experience there? What did he learn? The strange characters in the forest - the rock man, the three bouncing fat ladies, the man who sold leaves? The message that Oblio could not live in the Pointless Forest? His going back to the Pointed Village and his reception?

11. The point of his return and his having achieved a pointed, head? Why? How satisfying an entertainment fable?

THE PLEASURE OF HIS COMPANY

US, 1961, 115 minutes, Colour.
Debbie Reynolds, Fred Astaire, Lili Palmer, Tab Hunter, Gary Merrill, Charles Ruggles.
Directed by George Seaton.

Based on a popular play, which is often repeated on stage, it is an American drawing room comedy, full of contrived characters and situations. The tone is light, comical. However, some of the themes, especially about marriage and parents are worth consideration. Debbie Reynolds tries her hand at a slightly more serious characterisation. Tab Hunter is her leading man. Fred Astaire, also, in a serious role and Lili Palmer are the main leads. Enjoyable, glossy, frothy in its pleasant treatment of serious themes.

1. The meaning of the title and its irony? The film as enjoyable froth? The significance of the credit sequences?

2. Why do audiences enjoy froth? The response to this kind of light comedy? What were the main comedy ingredients and how wel1 were they used?

3. What is the value of a comedy of manners? As a vehicle of exploring relationships, the morals of society? In a light manner?

4. The film's focus on Jessica, how was she presented? Debbie Reynolds’s personality, as a modern young girl, the relationship with her parents, her searching for a father-figure? the way this was presented, the preparations for the marriage, the background? What discovery did she make in her father? How did this change her? Her holding him up as an ideal? Her enjoying the outings? Being tempted away? The effect of his presence on her marriage preparations? The fights that ensured? her being willing to make a sacrifice to help him in his old age? The final effect of the marriage? What insight into a young girl, a daughter, daydreams, fulfilment?

5. How attractive a character was Pogo? His reputation, the preparation for his arrival, the telegrammes, his preoccupation with himself, his failure in marriages, his success as a playboy, his romantic notions about life and himself, his arriving and taking over, his effect on all? The enjoyment of the outing but the creating of tensions? His taking over of Jessica? His disregard of Roger? His double stands in the fight? His arrogance? The reason for his not wanting Jessica to come? His going? Insight into the selfish playboy character?

6. Catherine and her relationship with Pogo, romantic memories, realism of his failure in the marriage, her happy marriage with Jim, her concern with Jessica, her motherly advice, telling the truth, running risks?

7. Jim – how well delineated in comparison with other characters? Relationship with Catherine and Joanna? Resentment of Pogo?

8. What did Roger stand for? His values, his love, his being humiliated, winning out in the end?

9. What moral and social values did the film stand for? how well were they explored by comedy, wit, situations? The attractiveness of the film in the sixties? Impact now?

PLEASE DON'T EAT THE DAISIES

US, 1960, 112 minutes, Colour.
Doris Day, David Niven
Directed by Charles Walters.

This comedy has a strange tone and indicates some family exasperation. Based on a play by author and critic Jean Kerr (Mary Mary), wife of Broadway critic, Walter Kerr, the film shows a piece of Americana. It is a family film, the ups and downs of a typical American family. Situations and characterisations are contrived, but the performances of David Niven and Doris Day give more strength than might be expected. The film is light, enjoyable. It was directed by Charles Waters who usually has the light touch and has directed many musicals and domestic comedies like Lili, High Society, Ask Any Girl.

1. The tone of the title? Indications of comedy?

2. The glossy nature of the film, colour, widescreen, New York and countryside, themes, parties, the theatre?

3. The attractiveness of Doris Day and David Niven?

4. How realistic was the film? Did it have overtones of real life? Or merely a fantasy-comedy?

5. What were the best qualities of the comedy? The conventions of domestic comedies, families, farce, humorous dialogue, families and dogs and children and houses?

6. How did the film satirize families? New York apartments and all the problems, ambitions for bigger houses, home styles? The impact of the reviews, parties on family life? The contrast of life in the country, setting up big old houses, meeting the locals, settling in?

7. How interesting a character was Larry Mc Kay? The background of his professorship, the list of his reviews, his believing his own propaganda and wit, the change when he was caught up in this world, his ambitions? How did all this contrast with the ordinariness of his life? What happened
to him in his relationship with family? Wife? What did he learn by the humiliation? The sequence of the play?

8. How attractive was Kate? The ordinary housewife, supporting her husband, getting flustered with the children, with her mother? A happy personality running a home? Her enthusiasm about the new house? Fitting in with the locals, producing the play, the quality of her revenge? Her reaction to Larry becoming a celebrity? What had she learnt about herself, family, her husband by the end?

9. The comic irony about the relationships between men and women?

10. The comedy and satire via the character of Deborah and her type? The slap on the face, the publicity, the satire on celebrities?

11. The character of North, his meanness and revenge, yet his friendship?

12. What did the film have to say about being a celebrity? How typical a fifties film of family man was Chris? Is this a typical kind of American comedy?

PLAYMATES

US, 1972, 74 minutes, Colour.
Alan Alda, Connie Stevens, Barbara Feldon, Doug Mc Clure, Eileen Brennan.
Directed by Theodore Flicker.

Playmates is quite an interesting and effective tele movie, considering two families and their divorces. Two fathers meet when taking their children out. they each fall in love with the others wife. What sounds conventional. is portrayed with some sharpness of observation and some humour. Alan Alda of M.A.S.H. is effective in the lead. The film was directed Theodore Flicker who wrote such interesting comedy parodies as The President's Analyst and Up In The Cellar.

1. The quality and impact of this telemovie? Issues of marriage and divorce and family as presented for home audiences? Television techniques? location, characters, close-ups of characters to indicate themes and problems?

2. The significance of the title, reference to husbands, wives, children? The ironies of the title?

3. How interesting a picture of America, a cross-section of Californian way of life? Differences in wealth, style, class, education? How well were these brought out?

4. What did the film have to say about marriage? The comic touch? Ironies and comedy and the telling of truth?

5. What did the film have to say about divorce and its effect on the respective spouses, children? The light touch? Realistic? The beginning with the fathers meeting an they took their children out, the irony of the film ending this way?

6. The film's evaluation of marriage, of love, the failure of love and marriage, love being tested? Comparisons and remarriage? Comparisons and the irrevocable loss of the marriage?

7. Marsh: type, his work, educational background, wealth? His not wanting to patronize Kermit? His relationship with his son, especially in their outing? The scenes with Lois and their inevitable clashes? His passion for Patty and his deceiving Kermit? The sequences of his trying to educate Patty at concerts and his making a mistake; with books and magazines? The clash between them? His inevitable talking? Her hanging up on him? His not learning? How much did he change throughout the film for example in fighting Kermit?

8. The contract with Kermit: type, manual work, educational background and lack of it? His ignorance his consciousness of lack of class? Being patronized by Lois? Being offhand with Patty? His relationship with his son? The friendship with Marsh and what it gave to him? His response to Lois and the affair? His ignorance for example at the art gallery? His reaction to Lois's own work? The reason for his fighting Marsh? His making up with Patty? The irony of his not telling Marsh? Why did he go back? How much did he change throughout the film?

9. Patty as a woman, wife, mother? Glamour? How ignorant was she? not as ignorant as Marsh was wanting to make her? Her experience of learning? Her telling the truth to Marsh? The happiness of remarrying her husband?

10. The contrast with Lois: as a woman, wife, mother, artist? In comparison with her own mother and Kermit's gallantry towards her? Her sarcasm? Patronizing people? Her initiating the affair, learning to play pool, the art galleries, the weekend and her own paintings? The irony of the audience seeing the painting of Kermit but Marsh not seeing it?

11. The importance of the audience knowing more about the couples than they did?

12. Themes of friendship, affection? American males, females, family?

THE PLAINSMAN

US, 1936, 113 minutes, Black and white.
Gary Cooper, Jean Arthur, Charles Bickford.
Directed by Cecil B. de Mille.

The Plainsman is Cecil B. DeMille's big western of the mid thirties. Long in running-time and broad in scope, it has Gary Cooper in one of his efficient effective roles as Wild Bill Hickock. Jean Arthur is effective as Calamity Jane. The scope is wide and all done in the De Mille spectacular style.

l. A Cecil B. de Mille classic Western? The quality of the film's entertainment and interest value? A portrait of the American heritage? The legendary aspects of the American heritage?

2. The qualities of the film from the thirties, the black and white photography, studio and location photography, the scope of the screenplay and its presentation?

3. The emphases on the American heritage: the opening with Lincoln, Horace Greeley and the opening up of the West, Bill Cody as a scout, Wild Bill Hickock as a plainsman and gunfighter, Custer and the Army? The range of the American heritage of the West, the facts of these particular individuals, the way that they were changed for the film, the ingredients of a legend?

4. The vision of Lincoln at the opening of the film: the Civil War, the vision of the West, making the West, the settling of the plains? The machinations of his advisors, the men with the power and the guns wanting their money? Exploiting the Indians? The irony of Lincoln's assassination in this context?

5. The outdoor portrayal of the 19th century: the steam boat, ways of travel, the towns, the rivers, the coaches, the cargo, passengers, gambling on the boats etc.? The colourful picture of the period?

6. The film's introduction of Bill Hickock via the conversation with the boy? Talk of the shooting, guns, the watch with Calamity Jane? The personality of Hickock? His role in the war? The introduction to Cody and his wife and the memories of his past? The introduction to Calamity Jane on the arrival in the town and her work with the coach? The irony of the vision of the West, work in the West, marriage and settling down, the future?

7. The portrayal of Latimer as a villain, his role in the Indian wars and the selling of guns, the greed of the white men, the effect on the Indians and their going on the warpath? The portrayal of the Indians in camp, torturing Hickock and Jane? The siege? Little Big Horn? So many deaths? The film's judgment on the gun sellers?

8. How sympathetic or fair the picture of the Indians: Yellow Hand, language. the Indians with Mrs Cody and Jane, the capture of Jane, the torture of Hickock? The siege, the defeat of Custer, the buying of the guns? The hostile language against the Indians reflecting the Plainsman times?

9. The portrayal of Buffalo Bill and people's expectations, his past reputation, his wife and their plans of settling down, his motivation to act as a scout, his role in the siege and being wounded, his being forced to arrest Hickock, his coming in at the end at Hickock's death? The character sketch of the legendary Cody?

10. The contrast with Wild Bill Hickock as hero: Gary Cooper's style, portraying the legend, a gunfighter and a killer, the importance of his talk with the boy, his attitude towards marriage and Jane, his suspicion of the guns, his going alone to scout out Yellow Hand, torture and his reaction to Jane's telling the Indians the route, his participation in the siege, the shooting of Latimer's soldiers, hiding and surviving in the West, the encounter with Cody, the Indian telling the story of Little Big Horn, his helping and the card game, the irony of his being shot in the back? A legendary man with a legendary death? How good a characterization, portrait?

11. Calamity Jane and the tradition in the West, her role in the West with coaches, crime, helping Mrs Cody in the sequence with the dress, being captured, loving Hickock, being tortured and telling the truth? The pathos of her presence at Hickock's death?

12. The continual presence of Mc Call during the film, his shortness, wanting to be a friend of Hickock, spying for Latimer, the irony of his shooting Hickock in the back?

13. The cowboy and Indians themes? Themes of the American West? Exploiting and exploring? The tradition of America and American cinema?