A PLACE TO GO

UK, 1963, 86 minutes, Black and white.
Bernard Lee, Rita Tushingham, Michael Sarne.
Directed by Basil Dearden.

A minor version of the type of theme explored in British films in the early 60s. In black and white, with strong and sturdy performances, it shows a social setting and young people trying to work out their future. Probably somewhat dated now, it reflects the questions and styles of British film-making and preoccupations. Rita Tushingham is the lead. Michael Sarne is the leading man. He later went to Hollywood and directed such films as Joanna and the controversial Myra Breckinridge. A small film, but interesting in raising social questions.

1. The main interest and appeal of this film? In its time, now?

2. The film as one of the sixties, black and white photography, the emphasis, details of family life, British types, country towns, the point of view of the Provinces, ambitions of young men at the time?

3. The tone of realism about the film and the type of response it asked for? How real was the realism of the film?

4. The significance of the title and the indication of Rick's ambitions? The ambitions of all the characters? How optimistic, pessimistic?

5. The tone of the opening, the party, the changing of moods, the interaction in the family, the horseplay, the birth? The type of detail in giving a tone and style to the film?

6. The portrayal of family? This family an symbolic of a British family of the sixties? Comment on the types and their interaction?

7. Matt and his role as father at the family? His union work? His pride, not supporting his family? His work, people laughing at him? The humour, the humiliation? His wife's pride? Collecting money? The drama of his death? How real was the insight into this mother and father of a family?

8. The film's focus on Rick? His place in the family, his dreams and ambitions, his work as a singer, his work in his job, his relationship with Cat? His smartness and his being put down? His role in the robbery, relationship with Jia, the burning and the bashing? The effect of the court-case? His marriage to Cat? The picture of the average young man of Britain in the sixties in the provinces?

9. The portrayal of Cat and her world? Her type, flirting, boyfriends and girlfriends? Wanting her own way, for example about the pictures? Her love for Rick? Being prepared to share his life?

10. The contrast with Jim and Betsy and their trying to settle down, raise a family, build a house, the temptation of easy money?

ll. How convincing were Jack and the crooks? Their organization? Their brutality?

12. How well observed a picture of English life was the film? How satisfying an exploration of the themes of the working class? How valuable is this kind of film?

A PLACE FOR LOVERS

Italy, 1968, 88 minutes, Colour.
Faye Dunaway, Marcello Mastroianni.
Directed by Vittorio de Sica.

A Place for Lovers must be the film of Vittorio De Sica which has received the worst reviews. It is glossy technicolour material of the soap opera kind concerning a fashion model and her illness and romance. Faye Dunaway certainly looks the part in this kind of film. Marcello Mastroianni is very much at ease in the role. However the effect of their teeming and of the plot and the romantic treatment did not give it enough vitality to make an impact. It is very much conventional romantic melodrama.

1. The quality of this film? Extreme hostile critical reaction? Vittorio de Sica and his reputation in Italy? Faye Dunaway and Marcello Mastroianni?

2. The content of the film and its style and themes before 'Love Story'? A 'women's film'? Soap opera style and issues? treatment?

3. The importance of style: colour, Italian locations, Ella Fitzgerald's title song, fashions, wealth, holiday resorts, the idle rich able to enjoy themselves, romance? How well presented? Conventionally, with insight?

4. Themes of death, life, happiness, love? A final clutching at life?

5. The impact of Faye Dunaway as Julia? The puzzle of her arrival in Italy? The accident of her watching television and seeing Valerio? The significance and tone of the flashbacks? Her impulsive behaviour seeking him out? The particular fascination that he held for her, his gaze at her earlier, introduction, the mystery? Her deciding on a weekend and his acceptance? The puzzle about its meaning? Sexuality, romance, love? Her conditions?

6. The character of Valerio as a suave Italian male? His marital background? His work, scientific experiments and the presentation of them? His acceptance of the conditions about the weekend? The repercussions for him?

7. Themes of happiness - particular sequences at the holiday resort, meals, the hotel, the scenery? How well did they get to know one another? Did they fall in love? The impact on Julia in the light of her last few weeks of life?

8. The presentation of Chriselde, and the humour, the acceptance of the clothes? An ordinary background for this rather extraordinary love story? The importance of Julia's friend arriving trying to persuade her to leave and go back to the hospital? The various departures of the plane and Julia's decision against them? The accident of the telephone call and her informing Valerio of the truth?

10. The repercussions on Valerio and the way that he watched Julia after he knew the truth? Her awareness of this? The change of attitude in their affair, regard for one another, love? Julia's attitude towards death, her explaining attitudes towards Valerio?

11. Such sequences an the party and its permissiveness and the sexual games? Julia's participation in them, Valerio's disgust? What did it tell each about the other?

12. The sequences in the mountains? The revelation of the truth about each other?

13. The growing impact of death? Death and love? The transitory nature of life and relationships? How well and convincingly explored?

P.J.

US, 1968, 109 minutes, Colour.
George Peppard, Gayle Hunnicut, Raymond Burr, Colleen Gray, Susan Saint James, Wilfrid Hyde White, Brock Peters.
Directed by John Guillermin.

A tough private eye thriller. There was a popularity of these films in the late sixties, for example, Paul Newman as Harper, Steve McQueen? as Bullet. George Peppard had built up a role as the tough, private eye type in a number of films and was to continue this in his television series, Banacek.

The film creates the atmosphere of New York and its wealth as well as the moody aspects of the city. PJ generally follows in the traditional line of Chandler private eyes. Raymond Burr acts as villain and Gayle Hunnicut is an ambiguous heroine.

The film was directed by John Guillermin, an English director who had mado quite a number of small budget films in his early career, had moved to bigger films with Peter Sellers in The Waltz of the Toreadors and then moved to America with George Peppard in The Blue Max and The House of Cards. At this time he made a number of action films including El Condor and Shaft In Africa. He was to make Towering Inferno, King Kong and Death on the Nile.

1. The popularity of the private eye thriller? The background of wealth and luxury, finance, gangsters? The tradition of the private eye as American hero? from Raymond Chandler and Dashiell Hammett? The popularity in the sixties? The title of the film and its focus on PJ? The film as a George Peppard vehicle?

2. Audience acceptance of the conventions of the private eye? his seedy background, a loner, his getting on with the job, ambiguous relationship with the police? His clothes? A man of action, his being invited by crooked businessmen? A mysterious lady? Deaths, ambiguities, detection? Violence and danger? The private eye on the side of right? Basic values? The expectations of this film and its quality?

3. New York, the West Indies? The editing and pace? Violence and suspense? The breeziness of the score?

4. The introduction to the world of William Orbison? Orbison as a type, Raymond Burr's presence and style? The use of the subjective camera to keep the assassin anonymous? The following through of this mystery? Orbison and his presence throughout the film, his ambiguous attitudes towards M., Maureen and everyone? The focus on the idiosyncrasies of Orbison especially as regards money? The red herrings in the plot? The double mystery of the killer and the victim? The setting of American wealth, power, family, gloominess? The jet set and the West Indies?

5. The character study of M? In the bar, friendship with Charlie? The phone calls and his vanity in getting the job? The irony of his being the "tall M"? His protection of Maureen and his failure? The ambiguous attitudes of Orbison towards him? Jason and his attitudes? The relations of Orbison? M. at the family parties, at home, the shot at Maureen? The move into self-doubt, his wanting to discover the truth for his own integrity?

6. Maureen as the glamorous type, the kept woman? Audience judgment on her? M's not giving judgment? Friendship, protection? Her roars at the killing attempts? Her presence at the parties, her going to the West Indies? The irony of the truth and M's discovery of it, the confrontation? The reality of her relationship with Orbison?

7. The sub-plot of Jason, his background, relationship with Orbison, his self-importance, the mystery of his father, the information against tho firm, the contract on him? The irony of his death in the West Indies? P.J.s visit to his family and their willingness to co-operate? Tracking down Jason's connections?

8. Betty Orbison and her being disregarded by her husband? Anger and jealousy? Clashes with Jason? Orbison's other relatives? especially Lynette and her presence? The old woman and her weak son and their violent attempts, letters?

9. The West Indies and the change of pace, the parties, action? the meeting of Maureen and Betty? The setup for Jason's death and P.J.s presence?

10. The humour of the governor and Wilfrid Hyde White's style, attitude towards the Colonies? The police official and his warnings, his being bought off, his alliance with M., the sending of Jason's corpse back to America?

11. M. and his return, Orbison's surprise, Maureen, the sexual liaison, the discovery of the truth and the final confrontation?

12. Orbison and his shooting, the showdown and the shots? The violence and deaths?

13. Audience interest in the private eye plot, involvement? The enjoyment of these films and their solution? The theme of the moody hero and his integrity, appearances and reality?

THE PIRATE

US, 1947, 102 minutes, Colour.
Gene Kelly, Judy Garland, Walter Slezak, Gladys Cooper, the Nicholas Brothers.
Directed by Vincente Minnelli.

One of those MGM musicals they made so well in the 40's and early 50s. Song writer, Arthur Freed, was the producer of so many. Gene Kelly at the beginning of his career is a lively hero. He was soon to make On the Town, An American in Paris and Singin' in the Rain. Judy Garland had already established herself as a leading singer actress at MGM. She was undergoing great personal strain during the filming of The Pirate. Walter Slezak is the perennial villain.

The film is tongue-in-cheek, set in the MGM Latin American fantasy land of such musicals as Yolanda and the Thief. The latter film's director was Vincente Minnelli who was establishing himself as a director of musicals like Meet Me in St Louis. He directed this film and was directing his wife of the time, Judy Garland. Minnelli was to go on to such successes as An American in Paris, The Band Wagon and Gigi as well as minor comedies like Father of the Bride and serious melodramas like The Bad and the Beautiful. Cole Porter wrote the score for this film.

1. MGM production values, Arthur Freed and his talent for producing musicals, Vincente Minnelli and his style?

2. The contribution of Judy Garland and her presence and singing? Gene Kelly and his dancing? A satisfying combination? The choreography, the insertion of the songs and dances?

3. Cole Porter and his particular style of music and lyrics? The big production numbers for this film especially 'Mac the Black' and 'Be a Clown?

4. The MGM fantasy world of Latin America? Corresponding to audience dreams? Manuela and her dreams of the Caribbean, girls' chatter, strict aunts, the mayors of towns, arranged marriages, formalities of behaviour, the role of viceroys, executions? The straight fantasy line of the film? Its conventions?

5. The comic approach to the screenplay? The glorification of Macaco the pirate? Manuela and her initial lyricism? The humour of the dialogue about her arranged marriage? The romance and her declaring her love for Macaco? The song 'Mac the Black'? The humour of the real identity of Macaco? Serafin and his pretence? The play with the wrong identities? The final hypnosis? How enjoyable a light spoof of such action films?

6. The garish colours and tone? The fantasies of Manuela and Serafin? The lavish unreal Latin America?

7. Judy Garland's presence as Manuela? A young girl of dreams, her attitude towards the marriage, longing to know the Caribbean, the encounter with Serafin, the hypnosis and the singing, the preparations for the marriage, her fear of Serafin, the mystery encounter, her wanting to save Serafin's life and giving herself for the town? The execution and its preparations? Her realization of the truth? The jewellery? Her false hypnosis and saving Serafin? The final song and dance act? Judy Garland's songs? love songs, 'Be a Clown'? An attractive romantic heroine?

8. Gene Kelly's vigour as Serafin? Actor, confidence man, the initial song indicating his attraction for the women? The members of his company? The hypnotism and his suggesting things to Manuela? The use of his knowledge about Macaco? The request for Manuela to go with him? The recognition of Don Pedro? The control of the town? The oneupmanship and his being overcome by Don Pedro? The trial? The final hypnosis? The fantasy sequence of his dancing?

9. The atmosphere of girls and a Latin American village? Aunt Inez and her strictness, the Viceroy and his pompous control, the people in the town?

10. Walter Slezak an Don Pedro? coward, unromantic? His tactics as Macaco? His being exposed by the play at the end? Jealousy and his comeuppance? Clashes with the Viceroy?

11. The style of the songs, dance, choreography, the finale with 'Be a Clown'?

12. The perennial values of romantic musical comedies American style?

PINK STRING AND SEALING WAX

UK, 1946, 89 minutes, Black and white.
Mervyn Johns, Googie Withers, Gordon Jackson, Jean Ireland, Sally Ann Howes.
Directed by Robert Hamer.

Pink String and Sealing Wax is a very good title for a potboiling Victorian melodrama set in Brighton. The film focuses on a pub managed by a drunken brute and his wife, played by Googie Withers. She decides to get rid of her husband and imposes on a very simple young man (played by a very young Gordon Jackson) to obtain poison to do the deed. Mervyn Johns portrays his stern patriarchal father.

The film is familiar material, life in provincial Britain in the Victorian era, respectability at the surface but passion underneath the surface erupting into murder.

The film was directed by Robert Hamer at Ealing Studios. Hamer tended to direct serious films at the studios including San Demetrio London, a segment of Dead of Night and It Always Rains on Sunday, also with Googie Withers. However, he also directed Kind Hearts and Coronets and directed Alec Guinness in Father Brown, To Paris With Love and The Scapegoat.

1. The appeal of Victorian period film, melodrama? Tone of the title? The film as an example of post World War II British film making: sets, the repertory of actors, characterisation, atmosphere and themes?

3. The study of evil in human nature: the opening and the condemnation of the murderers, Victorian justice, the chemist and his presence at the court and his decision, family life, the presentation of low life, the character of Pearl and her murder, Gay? How interesting and deceptive was this study of evil?

4. The film as a study of repression by good people who are self-righteous and disbelieving in evil? As illustrated in the Button home, the various emotional tangles, reactions and rebellions? The consequences of these tangles and a web of further evil? How credible was this?

5. The film's portrait of Victorian respectability, lovelessness, self-righteousness in the name of good and religion?

6. The film's focus on Button, as demonstrated in his work, his ability in the court, his mood as he returns from the court and his encounter with his wife, the reaction of his various children, his demands and interference in their lives and careers, his ridicule of David's love, his prohibiting the singing career, the inability to communicate with him, the nature of his harshness? Which sequences illustrated this best? The effect of his righteous harshness of his wife, her statement at the end about being willing to leave him? The humiliation of David and driving him literally to drink and to evil? His harshness on the girls and their inability to understand, their going behind his back?

7. The presentation of family life? Normality on the surface and yet the poison within the family? The evil that they could be driven to in terms of drunkenness, association with Pearl, deception?

8. The good side in the singing career, the interview with the singer, the audition, the winning of the scholarship? Sutton's reaction to the news about the scholarship?

9. How authentic was the atmosphere of the tavern world: people in the tavern, prostitutes and their jealous talk, the prostitute who protested to be a lady? Dan and his playing with women? Joe the big man who was so jealous? Pearl and her leading men on? How well characterised were these people?

10. The atmosphere of the emotional clashes? Amongst the people in the tavern, Joe and Pearl? Danny and the women? David becoming involved in this? His being used by Pearl and others in their fight? His naivete in believing this? The incident with taking Pearl to the laboratory and the consequences?

11. How credible a woman was Pearl? Her class and place in society, her work, relationship to Joe, leading on Danny, her motivation? The shallowness of her love and her hatred? Her determination to kill her husband and the charade she put on? melodrama at his death? Her tears and her naivete in her attempts at blackmailing Sutton? The build-up to her suicide and its dramatic portrayal?

12. How well drawn was the character of David? Credible in this kind of society, frustrated, the drinking, the response to Pearl? His kindness to her in taking her to the laboratory? Becoming her victim? His willingness to tell the truth to his father? The possibility of reconciliation with his father?

13. The build-up to Pearl's attempt to blackmail Sutton, his confrontation with her, with David? His calm approach and his ability to relent and find a solution?

14. The opening sequence of the Brighton newspaper and the conclusion with the same sequence? The importance of this? The historical note?

15. How valuable a portrayal of human nature, crime, evil, and the critique of an age?

THE PINK PANTHER STRIKES AGAIN

US, 1976, 103 minutes, Colour.
Peter Sellers, Herbert Lom, Lesley- Ann Down, Colin Blakely, Burt Kwouk, Leonard Rossiter.
Directed by Blake Edwards.

This is the fourth in the series of Pink Panther comedies with Peter Sellers. Introduced as one of the characters in the original The Pink Panther, Sellers’ Inspector Clouseau was given his own film in the very funny A Shot in the Dark.

Alan Arkin appeared in the 1967 film Inspector Clouseau directed by Buzz Kulik. It was not in the league of Blake Edwards’ comedies. When Peter Sellers fell on difficult times with his career, Edwards revived the Inspector in The Return, Strikes Again and The Revenge. They were moderately funny with Sellers doing his usual turns.

Edwards used outtakes from earlier films and included them in a further film after Sellers death: The Curse of the Pink Panther. He then directed Ted Wass and Roberto Benigni in Son of the Pink Panther.

In 2006, the Pink Panther struck again with Steve Martin as Inspector Clouseau but this did not work well – although Kevin Kline was good as Inspector Dreyfuss and showed how he might have made a good Clouseau.

1. How good a comedy was this? How good a parody of detective stories?

2. The fact that this was fourth in a series? How much did you presuppose the others? How well did it stand on its own? The importance of the opening and the filling in of the background about Dreyfus and Clouseau? The title sequence with the animation of the inspector and the pink panther? Setting a tone for the film? The humour of the satire on the various films with the pink panther as each character?

3. How much did the film rely on Peter Sellers and his characterisation, his comedy skill and styles? His accents, lines, visual jokes?

4. How intriguing was the plot? Interest, humour? The parody of gangster thrillers? The parody of mad scientists? Was it credible? Did this matter?

5. The initial focus on Dreyfus? The details of his character, his role as a policeman, the victim of Clouseau's stupidity, the way that he was harassed, the interview with the psychiatrist and his wanting to rehabilitate himself? His desperation at the visit of Clouseau? The fact that he was driven mad by Clouseau? A basis for the situations and the details of the plot? What happened to the character of Dreyfus during the film? Did he change into a type, or did he develop as a character?

6. Clouseau as central? Peter Sellers' characterisation? The self-opinionated man, not seeing the reality about himself, his vanity and self-assurance, his stupidity? His arrival home, the encounter with, his fear of Dreyfus? The scenes in England and the English police's reaction to him? His inefficiency in handling situations? His brutality and recklessness, at least in their effects? How sympathetic a character is the inspector?

7. The humour of the sequences with Dreyfus: his drilling holes in Clouseau's floor and the consequences of this, the kidnapping of the professor and his daughter, the arranging of the killers and their hiring, his installing himself in the castle, the sequence with his teeth?

8. The characterising of the English detectives? Their encounters with Clouseau and their coming off second best? The buckshot, etc.?

9. How much humour was there in the English sequences? Especially the sequences with the butler, the male impersonator? His death?

10. The humour of the death sequences of the killers in Munich?

11. The satire with Omar Sharif being one of the killers? The skit on sex appeal? The Russian spy and her involvement with Clouseau?

12. How humorous was Clouseau's invasion of the castle via the moat, his becoming the doctor, the laughing gas and the extraction of the tooth?

13. Did the film build up well to its climax? Clouseau and the Russian spy? The change into animation at the end and the satire on Jaws? What is the value of this kind of film? Humour, poking fun at self-important detectives? Was it a good example of the genre?

THE PINK PANTHER

US, 1963, 115 minutes, Colour.
David Niven, Peter Sellers, Robert Wagner, Capucine, Claudia Cardinale, Brenda de Banzie, Colin Gordon, John Le Mesurier.
Directed by Blake Edwards.

The Pink Panther series became very famous. The original film, directed by Blake Edwards and written by him, was a humorous crime caper spoof. David Niven and Robert Wagner received most attention. However, Peter Sellers' impersonation of the bumbling detective, Inspector Clouseau, captivated audiences. So did the credit sequence with the animated character of the Pink Panther. Henry Mancini's signature tune also helped.

These ingredients were transferred into a full vehicle for Peter Sellers with 'A Shot in the Dark'. There was a new theme tune, the credit sequence and the animated character of the Inspector. In the sixties there was series of Pink Panther cartoons and Inspector cartoons.

In 1967 Alan Arkin, under the direction of Bud Yorkin, impersonated Inspector Clouseau but the film was not a success. In the seventies there were three sequels, all featuring Peter Sellers and his bumbling style with Herbert Lom as the frustrated Police Inspector. One of the main features again was the Mancini music and more importantly the animated sequences at the beginning of each film which were quite delightful. A very strong and entertaining series.

By the 1980s, Peter Sellers had died but Edwards made two more Pink Panther films, one using outtakes from earlier films, The Curse of the Pink Panther and then, with Roberto Benigni, The Son of the Pink Panther.

2005 saw a remake with Steve Martin.

1. How enjoyable this comedy? Its qualities, classic status?

2. The film as the beginning of a series? The cartoon during the credits and the reputation of this cartoon character? The Inspector and continuing audience interest in Inspector Clouseau? A cartoon series from the Inspector? The music and its popularity over the years? The film's initial impact in its time? Since?

3. The importance of colour, Panavision, the Italian and Alpine settings, Rome, the musical theme, songs, animation? Their contribution to the film's success and enjoyment?

4. The atmosphere of wealth and opulence, international society, ski resorts, Rome as background for this robbery-comedy film?

5. The focus on the jewel itself and the princess? The background of her situation, her style, her assistants? Her being patronized and protected? Her character, romance, drunk scene etc.? Her planning of the robbery?

6. The film as a robbery film? The situation, the attempts, the nature of the criminals, their style? The film's enjoyment on this level?

7. Sir Charles and David Niven's style? His character, elegant jewel thief? His Phantom career? Robbery, morals, liaison with Simone? The challenge of George? His trying to outwit the Inspector?

8. George as a younger more modern version of Sir Charles? His reputation, reality, the playboy, discovery of the truth, attempts to rob? An important character for the film?

9. The importance of Inspector Clouseau for the success of the film? As a focus of the plot, his character, Peter Sellers' style of visual humour, verbal humour? His casual style of investigation and his mistakes? His interviews with people? His relationship with his wife and their comic scenes together? The comic scenes with his assistant?

10. Simione as a character, her relationship to her husband, to Sir Charles? Her involvement with the robberies? Her intercession at the end? Driving off with the Princess?

11. The comedy in the character of Tucker and his assistance to Clouseau?

12. The satire on Angela as the society hostess? The people at her parties?

13. The party atmosphere? In the Alps, in Rome? The disguises and fancy dress? The lights? The visual impact of the party and its revelry? As background for the robbery?

14. The comedy of the chase, the cars, the piazza, the old man observing the chase?

15. The satire on the trial of the thieves, the trick on Clouseau, and the irony of the ending with his taking the reputation of the thief?

16. The qualities of humour and audience response to these?

PILLARS OF THE SKY

US, 1956, 95 minutes, Colour.
Jeff Chandler, Dorothy Malone, Lee Marvin, Keith Andes, Ward Bond.
Directed by George Marshall.

An enjoyable and conventional Western. Jeff Chandler is quite at home in this kind of role supported by such stars as Dorothy Malone and Lee Marvin in an ordinary role. Ward Bond features quite prominently. Direction is by George Marshall who made very many Westerns and comedies from Destry Rides Again to Jerry Lewis films. Enjoyable and typical Western.

1. How well did the film present the conventions of the West: landscapes, Indians in the late 19th century, the Army, treaties? Military life, the outsiders, the clash with the Indians? Audience enjoying the predictable?

2. The quality of colour, location photography?

3. The focus on the Indians and the film's sympathy towards them and critique of tho Army and the government breaking off treaties? The presentation of the mission and the odder aspects of its Christianizing the Indians, for example, their names? How fair was the film in the presentation of Indian rights, Indian aggression? The presentation of the clashes and the violence in the 19th century West?

4. The presentation of the Army, its administering the breaking of treaties, the officers who lived by the book and made mistakes?

5. The contrast with Bell as hero? The officer who wouldn't conform, drinking, good fellowship, wisdom? His religious background and rebellion against that? His friendship with Holan? As head of a scout group and shrewdness in understanding the Indians? His emotional response to Callie? Rivalry with Jackson, his drinking, and yet his ability? How conventional a hero of the West - the rebel hero achieving success?

6. The portrait of Callie - a heroine for the film, yet the ambiguity of her relationship with her husband and with Bell? Being captured by the Indians, rescued, a source of clashing? Participation in the climax?

7. The portrait of Jackson as the conventional Army man, his participation in the mission, relationship with Callie, clash with Bell?

8. The presentation of the mission, Holan and his friendship with the Indians and service of their the Chiefs friendly with him, his Biblical names? The hostile Chiefs? His being forced into a position of taking sides?

9. The portrait of the soldiers, the Bell types and their skill, the contrast with the raw recruits?

10. Comment on the presentation of the action sequences, the stalking of the Indians, the skirmishes, the final clashes, violence? The portrait of the heritage of the West?

THE PIGEON THAT TOOK ROME

US, 1962, 103 minutes, Black and white.
Charlton Heston, Elsa Martinelli, Harry Guardino,
Directed by Melville Shavelson.

A light comedy tribute to the Allied presence in Italy during World War II. The title indicates the ironic tone. Yet the treatment of war is fairly realistic even with the comic overtones. The film looks like a piece of recreation for Charlton Heston and he gives an enjoyably light performance. He is supported by Elsa Martinelli and an American Italian cast.

The film was made by Melville Shavelson who had a reputation for light domestic comedies, like Yours Mine And Ours, Houseboat and so on. His only other venture into filming war was the spectacular Cast a giant Shadow about which he wrote a humorous but interesting book: How to Make A Jewish Movie.

1. A good comedy? The war comedy genre? The impact and importance of the opening?

2. The importance of the narrative technique, the highlighting of the jokes? the irony in the war setting, the foolishness of human nature?

3. The importance of a comedy with a real war netting, in a real war? How authentic did the war seem, the role of the Americans? the effect on the Italians, on Rome? The situation as right for poking fun at war, people in war? The overall effect of this?

4. How good was the picture of the Americans? Were they presented as stupid, too stupid? The contrast with the Germans, the contrast with the Italians? Which details highlighted this best? Heston and Guardino in themselves, the importance of their mission, the Americanness of their behaviour, their disguise, their linking with the Italians, their work in transmitting information? Their identification plans, sabotage? The importance of the pigeons? Their
ultimate success? As heroes of conventional war exploits?

6. The presentation of the girls, how attractive, Italian, the pregnant girl, relationship with the Germans, the household and the way of life, the father and the boy? The sentiment of the presentation of the Italians? The presentation of marriage, the banquet?

7. How appropriate were the love stories within the war and the comedy? Romantic, conventional, authentic?

8. The presentation of the pigeons, the pigeon mix-up, the consequent movement?

9. The picture of suffering and happiness in the war situation? Ultimate happiness?

10. Why do audiences enjoy such comedies? The human value?

THE PETTY GIRL

US, 1950, 88 minutes, Colour.
Robert Cummings, Joan Caulfield, Elsa Lanchester, Mary Wickes, Melville Cooper.
Directed by Henry Levin.

A very lightweight frothy comedy of the late forties. It is of some interest as a piece of Americana because it portrays, lightly, one of the artistic creators of cheesecake and the use of the glamorous girl for advertising. Petty belongs in a parallel kind of way to the popular art of Norman Rockwell.

The songs are by Harold Arlen and Johnny Mercer and are not particularly memorable. However, the original story was written by Mary Mc Carthy ('The Group', 'Memories of a Catholic Girlhood). Robert Cummings is easy in this kind of light comedy lead and Joan Caulfield, generally more demure, is a pleasant heroine.

1. An entertaining comedy? American froth? Its entertainment value and impact in the fifties? Now?

2. The film as a piece of Americana? A picture of America's past, attitude towards advertising, glamour, cheesecake? Comparisons with attitudes now?

3. The conventions of the musical comedy - songs, choreography, fantasy? The world of the prim school, the contrast with New York, night clubs etc.? farcical situations, mistaken identities? How well and entertainingly used were these? How attractive and sympathetic a couple were George and Victoria? and having the audience on side for the themes of glamour, cheesecake, the American way?

4. How enjoyable the gallery of supporting characters? Expected types, the way they were portrayed? Enjoyable?

5. The theme of sex and sexuality with the light touch? American reserve, prudery? Sensuality smouldering under the surface? Sexual fears, letting go? though lightly done, did this ring true?

6. The film's attitude towards cheesecake? The title, the credits and the various pictures of Petty's work? Seeing him at work sketching the glamour girls, the contrast with the attitudes of his patron and the various commissions? Victoria's pleasant reaction to the art? Her poses? Placing his work in the art gallery? The Petty Girl? Petty Girl and burlesque and bringing it into New York high society? Advertising with glamour girls? Audience response to this?

7. How light, how serious this treatment? The impact now? The change in attitudes from the forties and fifties with Women's Lib and the condemnation of exploitive advertising?

8. Robert Cummings' style as George Petty? As a character, advertising man, his work with his patroness, painting the commissions, hopes for art? The encounter with Victoria? The importance of his narrative giving a tone to the whole film? The encounter in the museum and Victoria spurning him, the outing and arranging it, the night club and the clash with Victoria and his leaving, Uncle Ben, The Professor? The shift to the more wild night club and Victoria's drinking, the mix-ups and the arrest? The compounding of this with the visit to the forbidden night spot and their arrest? The picnic and Victoria hiding in the tree? His painting her and her being caught? His confronting the two women and his decisions? His visit to the burlesque, the burlesque coming to high society and his making his choice? Comic routines, songs? The typical presentation of the light American hero?

9. The character of Victoria - as teacher, singing, fancy free with singing, dancing and glamour? Being transformed into the schoolmistress? In class, going to the convention in New York? Her relationship with the Professor? With the teacher who wanted to be chaperone? Her warding off Petty's attentions, changing after the drinking, the fantasy of dancing in the night club? The arrest and the repercussions, her reactions to George's following her to the school, going out with him, being arrested again, the enjoyment of the boat ride and its aftermath? Her smouldering sensuality and its breaking out? Her confrontation of the Board and the decision to marry George? The burlesque, the Professor, the happy ending?

10. Uncle Ben and the comedy of the British butler, the night out posing as Uncle Ben, good hearted, coming to the rescue? The Professor and her letting down her hair?

11. The portrait of the staff ? expected stiffness, making of prim and censorious remarks, attitudes being satirized? The pleasant change at the end?

12. Pictures of New York high society, the contrast with the burlesque world?

13. Contribution of songs, dances, fantasy, comedy routines?