LES PETITS FUGUES (LITTLE FLIGHTS)

France, 1979, 140 minutes, Colour.
Michel Robin, Fabienne Barraud.
Directed by Yves Yersin.

A very attractive Swiss film. It is slow moving, reflective and thoughtful. However, it captures life on a Swiss farm and the tensions between the old days and these days of modernisation. It shows the generation gap. It shows the needs of the Italian migrants working in Italy. However, it focuses on an old man, his buying a bike and the discoveries and little escapes that the bike gives him.

He goes into the town, he follows a glider, he travels to a motor racing carnival, he goes on a helicopter to look at the Matterhorn. This portrait of old age and the blossoming of an old man is most attractive and is reinforced by Michel Robin's excellent performance. Robin also performed very attractively in Claude Goretta's The Invitation. A worthwhile film, well recommended for thoughtful audiences.

1. An enjoyable and satisfying film? The nature of its appeal? Its humane qualities? A Swiss production with universal appeal?

2. The Swiss background of the film, the countryside, farm, town? The landscapes of Switzerland? The mountains and the Matterhorn?

3. The picture of farm life: work and its detail, life in the house, Pipe's room? The discussions about a takeover, modernising? Money and banks? The inevitability of change? The film's comment on the necessity of change, the manner of change and its effect on the people involved?

4. Pipe as the focus of interest and sympathy? The build-up to the arrival of the bike? The comedy in the sequences of his learning to ride? His following the glider and discovering new worlds? The humour of the buying of the petrol? The visit to the chocolate factory? The almost crash with the policeman? His encountering the group on the road going to the motorcross rally? his exuberance in watching the races, friendship with the winner and his family? The winning of the camera and his taking the photos? his getting drunk and annoying people and his being brought home? The sour reactions of the people at the farm? The confiscation of the bike and its effect on him? His joy in taking so many photographs – and the comedy in the way that he took them, arranged them? especially of himself and the Matterhorn? his final collage of photos? The nature of his little escapes and their effect on him in his old age? His discovering happiness, enjoyment?

5. The effect of the consequences of his being drunk, John's anger with him, the taking of the bike and its effect? his giving himself to the photos and the great detail of taking photos? His awareness of himself? his hiring the helicopter and the exhilaration of his going round the Matterhorn? The photos and his memories?

6. The photos and what they revealed about people's interest and his attitudes towards people? The cinematic effects of taking the photos? the pause, the centring on Pipe's interest? (and the effect of the cinematic style of the film itself echoing the taking of photos, the length of the shots and the audience supplying in their waiting the emotions of the sequence?

7. John and his sternness, the meals, the rules of the house, his anger towards Alain? His eventual resigning from the farm? The mother and her kindness towards people, the birthday cake for Luigi? her illness and going to the hospital? The portrait of an old couple and their old style in working and running the farm?

8. Josiane: the younger generation, her child? Moodiness, going to work and not going to work? The chocolate factory? Playing cards? The friendship with Luigi, the sexual encounter? her wanting to leave? her rudeness at home, her parents' reaction to her, Pipe's friendship? Her need to break out of this world? Luigi and his being Italian, his hard work on the farm, friendship with Pipe, the humour of the system of loading the bags on the truck? his birthday and the cake and the present? Playing cards? Sexual liaison with Josiane? The pathos of his being dismissed by Alain? The film's comment on the migrant workers? Luigi's comments about availability of work in Italy?

9. Alain and the new generation, the discussions with the adviser, his severe attitudes towards Pipe? Marianne and her love for Alain? Her work in the hospital, helping the family, looking after the home when the mother was in hospital?

10. The range of people in supporting roles: the policeman and his criticism of Pipe, the group at the motor-cross rally? The winners and their friendship with Pipe and his having a meal? The group criticising him when he was drunk?

11. The film's detailed presentation of the rally, the exhilaration of motorbike riding? The detail of Pipe's behaviour and annoying people at the carnival for example with the mustard? The long sequence of the helicopter ride around the Matterhorn, grandeur and beauty? The audience discovering its significance with Pipe?

12. The film's humane presentation of people, way of life, varying values?

13. The insight into an old man and his way of life, values, work, discovery of enjoyment?

PETE'S DRAGON

US, 1977, 130 minutes, Colour.
Mickey Rooney, Helen Reddy, Shelley Winters, Red Buttons, Jim Dale, Jim Backus.
Directed by Don Chaffey.

Pete’s Dragon is an ambitious Disney film, combining animation with live action. Elliott the dragon is quite an engaging character with his appearances and disappearances, his being accident-prone, but his ability to do good. This is an attractive, If sentimental film, about a young orphan oppressed by a horrendous family led by Shelley Winters (she and the family spend a lot of time falling in the mud, to the hilarity of the audience). Mickey Rooney Is a lighthouse-keeper, Helen Reddy as his daughter. Together they do a lot of wonderful things in the town, especially to the tunes of songs and dances. It is popular family entertainment, though not of the quality of such films as Mary Poppins. Directed by Don Chaffey, a veteran of so many English films, who made the Disney films in Australia Ride a Wild Pony and Born to Win.

1. An enjoyable film in the Disney tradition? The Disney values of plot, character, comedy, sentiment?

2. How well did the film blend reality and animation? Audience response to this fantasy?

3. The appeal of the film to children via the character of Pete and the character of Elliot and his exploits?

4. How enjoyable a cartoon character was Elliot: his look, personality, appearance and noises, his disappearances, the value of his presence and help, the humour of his mistakes, his ability to make havoc but also to rescue? His going off at the end to help others? The irony of a genial dragon?

5. How attractive a boy was Pete? As an orphan, fleeing from the Grogans, needing a home, at school, a victim of all the exploiters? Could children in the audience identify with him?

6. Nora as heroine, her niceness, her songs, kindness towards Pete, affection for Lempie, her yearning for her lost fiance?

7. How enjoyable a character was Lempie, his drinking, work at the lighthouse, with Nora, kindness to Pete, fear of the dragon especially in the initial encounters?

8. The contrast with Dr Terminus and his assistant? As a quack, their fake cures and their techniques for tricking the people? Dr Terminus and his greed, getting his assistant to do the dirty work? The villain of the piece and their styles? Their songs? Getting their comeuppance?

9. The Grogans and the loud backwoods Americans? Their continually falling in the mud and the river? Pete's fleeing from them? Their greed and Elliot's burning the document?

10. The people in the town especially the Mayor, the teacher and her crankiness and changing her opinion?

11. What were the best special comic effects? Why were they humorous?

12. The atmosphere of the lighthouse, the fire and Elliot's helping? The ship being out of danger and the joy for Nora?

13. The contribution of the music, the various songs and the way they were situated - with the children at school, cleaning the lighthouse, Dr Terminus's songs?

14. Nora's fiance returning, Elliot disappearing, the Grogans and Dr Terminus being outwitted, Pete finding a home? A satisfactory happy ending?

15. What are the values of good and evil, right and wrong, heroism and kindness that such Disney films promote?

PETE KELLY'S BLUES

US, 1955, 95 minutes, Colour.
Jack Webb, Janet Leigh, Edmond O’ Brien, Lee Marvin, Ella Fitzgerald, Jayne Mansfield, Andy Devine.
Directed by Jack Webb.

A musical gangster film. It has a lot of jazz music played by Pete Kelly and his musicians. There is also singing by Peggy Lee and Ella Fitzgerald. The plot concerns musicians in the prohibition era and their being managed by gangster groups. There are the inevitable violent clashes.

This was one of the earliest Cinemascope films and was directed by its star Jack Webb, responsible for the 'Dragnet' series. The screenplay is reminiscent of that series and its first person narrative. The heroine is Janet Leigh in an unusual role for her at this period. Edmund O' Brien is the villain. The film is a mixture of the conventional with moments of musical interest. Lee Marvin has a sympathetic role as a musician. The main attraction is Ella's music.

1. A piece of Americana, the fifties remembering the twenties? The jazz heritage of American music? beat, rhythms, popularity, how well re-created is the mood? The jazz and the twenties? Prohibition, ganisters? (did the screenplay blend these elements?

2. A film of the fifties, Cinemascope and colour, locations, period and decor?

3. The contribution of the score: the blues, the theme melody, the lyrics, the variety of songs from the period, Lee and Ella Fitzgerald? The interweaving of the songs and score throughout the gangster plot?

4. The picture of prohibition days? The background legislation, the police, the exploitation by gangsters? The tone of prohibition days and lawlessness and violence? Pressures, protection, gangsters and exploitation?

5. The importance of American music and of jazz? the opening sequence, the funeral and the introduction to Pete Kelly and his hopes? His skill, musical talent? the introduction to this period of his life (representing the ordinary American in this period)? Challenges, pressures, compromise, the hardships of life? The sustaining music?

6. The picture of Pete Kelly and his ensemble, their jobs, the speakeasies, the atmosphere of Kansas City? Parties and various job opportunities? Mc Carey and his decisions, influence, pressures? The counter meetings of the musicians? The importance of the percentages paid to the gangsters for protection? The violence perpetrated by the gangsters in order to gain the protection fees? Jelly Firestone and his clash with Mc Carthy, his being gunned down? Musicians trying to survive in this atmosphere?

7. The speakeasies, their atmosphere, the manager and the irony about his money-saving? The people who went there, the disguising of the liquor? The impossible police raids? Mc Carey as a type, his power, power hungry? Brutality and threats? How well was this illustrated in his feelings with Rose and his pressurising her, his abuse of her and violence, making audiences listen to her? The final confrontation, the betrayal by his associates, the irony of his death?

8. The contrast with the world of Ivy - wealth, extravagant parties, drinking? her presence at the speakeasy, her infatuation with Pete and buying him for the party, the dance and the falling into the pool? her continuous pursuit of him, proposals of marriage? his attitude towards her, love, pushing her away for example when she went to his apartment? The break? her following him, sharing in the danger? A woman of Kansas City of the twenties?

9. Rose and her association with Mc Carey, her drinking, her explanation of her story, her wanting a daughter? her singing, the fear fund? the response? The violence and her going mad in the asylum, playing with the doll, giving the information to Pete Kelly?

10. Clubs and "Fat Annie's" as a rendezvous for the meetings? The various attitudes of the musicians when confronted by the gangsters?

11. The character of A1 and his role as musician, friend of Pete, in the car with the pursuit and the crash, his leaving, and being tired of violence, the clash about Pete's surrendering and compromise, the bond? Joey and his brashness and his death?

12. Surviving in this kind of period? A picture of the American battlers and the violent American heritage?

PERSONA

Sweden, 1966, 85 minutes, Black and white.
Bibi Andersson, Liv Ullmann, Margaretha Krook, Gunnar Bjornstrand.
Directed by Ingmar Bergman.

Persona is considered one of Ingmar Bergman’s finest films – though that is not difficult because he is the director of so many fine films. Persona came in the mid-1960s after his significant trilogy of the early 60s, Through a Glass Darkly, Winter Lights, The Silence. He then made the light-hearted Now About All These Women (also in colour). In the late 1960s he was to make another trilogy about suffering as well as echoes of war including Shame and The Hour of the Wolf.

Liv Ullmann appeared in a number of films at this period. She is joined by Bibi Andersson and Gunnar Bjornstrand, regular Bergman performers.

The film is a psychological study. Liv Ullmann plays an actress who is in psychiatric care but will not speak. Bibi Andersson plays Alma (the Latin word for soul), her nurse. She begins to confide in the actress – and finds her own personality being submerged in the personality of the actress.

The film explores themes of talk, communication, silence. It is also a study of the psyche, the psyches of the two women and their interrelationship. It is about the interpenetration of personality. With the hospital setting, the film also has echoes of issues about health, mental health. The kinds of conversations and problems also lead to spiritual dimensions, religious dimensions about the presence and the absence of God.

The film is brief, but is a powerful portrait of women and an example of Bergman’s skill in presenting themes of depth in the medium of cinema.

1. The meanings of the title, the mask, the reference and the relationship of acting to life, the person? The psychological overtones of the aspect of the personality through which we present ourselves, truthfully or artificially to others?

2. The film in the preoccupations of Ingmar Bergman? Life, acting and art and reality and life, psychology, suffering, God and his presence and his absence, relationships, war? The interpenetration of personality in relationships?

3. The importance of the cinematic techniques? The opening and the film and poem? the accent on film and the look of film, projector, breaking film, light? The various styles of acting, for instance old comedy? The sheep as the Lamb of God, the hands being nailed? The motif of the boy lying as if dead in hospital? Reading his book? Tracing the face? The recurrence of this theme at the ending? Where did this cinema poem put the audience? the importance of the break of the film in the middle? Its timing? Thematically? The importance of dreams? The glimpses of Elizabeth Vogler and her acting in Electra? The importance of the dream fantasy sequences and the styles for the superimposition of the two women's faces? The editing, the amount of talk instead of visuals, especially in Elma's stories? The technique of repetition, especially in Elma's recounting the story of the birth of Elizabeth's child? The visual presentation of the letter? The emphasis on profiles? The ending? The brevity of the film? What was the overall effect for the audience in terms of identifying, being distanced? Intellectual understanding? Emotional involvement and response to the images?

4. The basic situation of the plot? As explained by the matron to Elma? As explained in the confrontation of Elizabeth by the matron? The matron's playing God, explaining the experience and yet empathising? The relationship of the neurotic state of Elizabeth Vogler with her acting?

5. The character of Elizabeth? As an actress her performance, her laughter, the later explanation? Her going to hospital and withdrawing? Her presence in the ward, her not speaking? An actress with a habit of alertness, understanding emotions, exposing and exhibiting herself? The relationship of acting and life? The possibility of withdrawing and not acting? yet having to react? Such reactions as tearing the photo of her child? The technique of the letter to her husband as revealing her actions without her vocally speaking? The significance of her not speaking, not communicating by speech? The brief times when she did actually speak? towards Elma defending herself from the scalding water? A strong character as Elma explained who has decided to be ill and therefore cam control? How selfish a person?

6. The atmosphere of the hospital - from the boy lying in the hospital during the opening poem, the look of the place, Elma and her attentions, her description of Elizabeth's face? Elizabeth watching the television? The long sequence of her watching the Buddhist burnt alive? Her being horrified by this aspect of real life?

7. The contrast with Elma? Elma as the word for soul? As a nurse, her fears about coping with Elizabeth? Her tenderness towards Elizabeth? Her capacity for giving?

8. The change of mood as they went to the beach house? How important for the audience to know so much because of the explanation to the matron? Sharing their holiday together? Elma's talk, the effect? Elizabeth coming alive, her way of looking at Elma? Elizabeth becoming the therapist for Elma? What did this experience mean for Elma, her need to talk, her ability to talk, her going back over the details of her whole life and the important details, her relationship of love? The importance of the long explanation of the beach sequence, the sensual and sexual experience? The aftermath and their description of the abortion? Her saying, it didn't matter yet her tears? Her hopes? The varying moods as she spoke? The therapeutic effect?

9. The importance of her plea for Elizabeth to speak? Her reaction to the letter and her being hurt, her Wanting Elizabeth to be cut by the glass? The importance of the mood of this sequence with the camera watching from a distance, the breaking of the glass, Elizabeth walking backwards and forwards, Elma leaving the glass there, finally the pain?

10. The credibility of Elma's violent reaction to Elizabeth? Especially after the experience of sharing? The physical and violent reaction? Her chasing Elizabeth along the beach? Her confusion, her anger and yet her love? Her grieving? The threat of scalding her and the vindictive remarks after this?

11. The importance of the night after Elma's communication, Elizabeth's presence, the interchange between the two women? The way this was visualised? Faces, Profiles, superimposed faces? Touch? Words?

12. The transition to the more hospital like behaviour of Elma, again the long description of Elizabeth's hard face?

14. The significance of the husband's visit? His speech, his blindness? The fact that he mistakes Elma for Elizabeth? Elma telling Elizabeth's story truly? The three heads and their patterning? Elizabeth listening and allowing Elma to communicate?

14. The thematic and psychological importance of Elma understanding and empathising with Elizabeth and telling the whole story about her wanting to be a mother, the conception, the bearing of the child and her dislike? The significance of the long repetition and the effect on the audience?

15. Elma's wanting to keep her own identity, her self assertion? Wanting to be herself? Her comments on life, what it is to be an actress?

16. What happened to Elizabeth Vogler throughout the film? Will she breakout of her withdrawal? Her future?

17. Themes of the self, identity, the mask, the real, fantasy? The possibility of one person so united to another? The relationship between psychology and life?

PERMISSION TO KILL

UK, 1977, 93 minutes, Colour.
Dirk Bogarde, Ava Gardner, Bekim Fehmiu, Timothy Dalton, Frederic Forrest.
Directed by Cyril Frankel.

Permission to Kill is a 70s-style espionage film – not so bleak as the cold war espionage films of the 1960s like The Kremlin Letter and The Quiller Memorandum, but grim nonetheless.

Bekim Fehmiu portrays the leader of a revolutionary group who wants to return to his country (presumably behind the iron curtain). However, western powers want to prevent him – and they are led by the British in charge, Dirk Bogarde. Various friends and collaborators from the past are assembled in order to persuade him not to return – and they include Ava Gardner and Timothy Dalton. However, they change their mind, something which was also anticipated by the western powers. This leads to cat-and-mouse activities, the dirtier side of espionage, intrigue and permission to kill.

The film was directed by Cyril Frankel who directed a number of small-budget films in Britain in the 1950s and worked mainly in television.

1. The meaning of the title, its tone? A good and satisfying thriller, the use of thriller and espionage conventions?

2. The importance of the colour, Panavision, Austrian locations? The international stars, international espionage?

3. Dirk Bogarde's portrayal of Curtis? The stiff upper lip, British type? The cold blooded British involved in this kind of espionage and control? The satire of the CIA type of investigator? The involvement of official espionage people in such ruthless programs? The temptation to play God, to have the truth? The inhumanity of Curtis? His ruthlessness, contriving people into places, their feelings? The irony of his telephone calls to his wife and the humanity of his cover and his saying 'God bless' etc? How conventional a type? A good portrait of this kind of conscienceless spy?

4. The importance of the introduction, the photos of the five people, the explanation of their various backgrounds? Curtis's hold over each of them? His moving them like a puppet master, their being aware of it? His contriving their presence in the one place? His self assurance for success? The variety of people involved and audience curiosity about them?

5. The organisation to which he belonged, their engineering of plots and double crosses? Their contacts, intelligence service, using of all the people?

6. Diakin as the opposite of Curtis? A filling in of his personality? Were his political aims and background clear? His plans? Why the interest in stopping him returning? The employment of Curtis and his organisation? Curtis as wanting to use pressures before violence but ready for violence? How genial a personality, as a political hero? His following, his group of close associates? How was he influenced by each of the persons under Curtis's control? How much did they influence his decisions, cause him to waver? The build-up of security and his return? The waste of his death?

7. Ava Gardner's portrait of Katina? Her role in Diakin's past, the child and her having him adopted out, Diakin's not knowing this? Why did they break? The presence of the child in Austria and its affect of Katina? Her not wanting Diakin to see the child? His actually going to seek out the child to see him? The emotional reaction when they both saw him? Her relationship with Allison and the plan? The build-up to the press conference, her helplessness as she watched Diakin die?

8. Lascarde, a portrait of the modern terrorist, as a girl involved in such violence, the interplay with Curtis with the sexual Innuendo? Her role in Curtis's plan? Her joining with Allison for the money? Curtis's control in getting the money back and using her Arab boyfriend as blackmail? Her not assassinating Diakin in the airport? The irony of her finally being shot?

9. Scott Allison as an American journalist, his past and friendship with Diakin, his being saved? His work for the paper and the promise of an interview? His wanting to take the money and his friendship with Lord? The ironies of their meeting in the church? Getting the money, his run through the snow, the build-up with Katina and almost saving Diakin's life?

10. Lord and his being blackmailed because of homosexuality? His role in Curtis's plan with the foreign office and the money? His hostility towards Curtis, his bowing under pressure, his change of attitude, meeting with Allison in the Church? The taking of the money, the chase and the brutality of his death without being operated on?

11. The world of power, politics, organisation, money? The irony of the way Diakin was killed with the simple press of a button from Curtis?

12. How real did the people and the events seen? How unreal? Is this the reality and unreality of the world of international espionage?

THE PERFECT FURLOUGH

US, 1958, 93 minutes, Colour.
Tony Curtis, Janet Leigh, Linda Cristal, Keenan Wynn, Elaine Stritch, Marcel Dalio, Troy Donohue.
Directed by Blake Edwards.

The Perfect Furlough is a comedy about the armed forces - with a touch of satire, directed by Blake Edwards who was to go on to make quite a number of comedies from The Great Race to the Pink Panther series. Tony Curtis and Janet Leigh, married at the time, had worked together in a number of films and are good for light comedy. The film is forgettable, a piece of Americana, but lightly satirical and enjoyably so.

1. The qualities of this comedy, the conventions of its genre?

2. The importance of the situations, the humour of the dialogue, the characters and types, the ambiguities? The importance of the happy ending?

3. The film as a product of the fifties? Its view of the army, army personnel, army morale, American patriotism?

4. Comment on the impact of the basic situation for the men, their needs, the emphasis on psychiatry?

5. The emphasis on psychiatry for jokes, application to the army, for the success of the plot?

6. The hero, the importance of his getting the ticket, the way that he did it, an ideas man, his reputation? The way that he was misunderstood, his wanting to be a hero? Comic overtones of his character? The prevention about his going to Paris? The impact of Paris, the fascination of the star? His escape? Final happiness, marriages, love? Was he a well delineated character or just a presentation of comic foibles?

7. The psychiatrist, as a woman, her very properness, success in her work, her role as a chaperone, her behaviour in Paris, bonding, jealousy, happy ending? A well delineated character?

8. The star: her wanting publicity, the explanation of her background, the trip, the various misunderstandings, the husband, enjoyment and the wedding?

9. The humorous presentation of the army personnel? Realistic, satiric?

10. The role of the chaperone?

11. Wynn?

12. The atmosphere of France, the French and romance?

13. The implications of the film about happiness, right and wrong, love?

14. A good comedy? Its reliance on audience presuppositions about what is good and right?

PEPE LE MOKO

France, 1937, 94 minutes, Black and white.
Jean Gabin, Marcel Dalio.
Directed by Julien Duvivier.

Pepe Le Moko is a French classic and a classic gangster film. Made in the late thirties in France, it features Jean Cabin in one of his celebrated roles as a famous thief in the Casbah. The black and white photography, the acting and the re-creation of the atmosphere are fine indeed. The imprisonment of the thief within the Casbah is dramatised and symbolised by a gallery of interesting characters. There was an American remake with Charles Boyer called Algiers. There was also a musical remake, of some success, with Tony Martin and Yvonne de Carlo called Casbah, 1948.

1. The film as a French classic of the thirties? The gangster tradition? The French view of the gangster tradition in its Algerian backgrounds? Reputation now?

2. Quality of the black and white photography, musical score, the atmosphere of Algiers and the Casbah? Atmosphere and attention to detail?

3. The gangster tradition in film by the late thirties? American models, French variations? The world of gangsterism, Algeria, and its atmosphere of international intrigue and crime? Characters in the gangster film, the clash with the police?

4. The way the film introduced the audience to the Casbah? The attention to visual detail, the streets, the buildings, light and darkness, narrowness and constriction? The appearance of the Casbah as a kind of prison for those who lived there? The barrier and coming out of the Casbah as from some kind of imprisonment? The range of people who lived there?

5. The picture of the French police and their detection work, collaboration with the Algerians? Regis and the leads and what the consequences were?

6. The film's introduction to Pepe? Jean Gabin's quality of interpretation of Pepe? His dominance in the underworld, his skill at crime? His relationship with the gangs and his helps? Carlos, Pierrot, Grandpere etc.?

7. The violence of the Casbah and the attention given in the film to the shootout? Its impact, implications of the way of life?

8. The portrait of the women in the film? Inez, her hold, jealousy and the repercussions for Pepe?

9. The contrast with Gaby? Elusive, vision, sharing? Coolness of approach?

10. Loyalties, betrayal. fear? Vengeance murders? The attention given to Pierrot's plot and the inevitability of Regis' death? The consequences of this for them all?

11. The plot with Gaby and the further complications?

12. Slimane, his presence, skill, tracking? The screenplay's use of the cat and mouse technique?

13. The growing inevitability of the trap around Pepe and his followers? Carlos, Tania and the various deaths?

14. The irony of the bid for freedom, the openness of the wharf, the contrast with the Casbah? The possibility of a new life? Nemesis and fate closing in on Pepe?

15. How interesting a French character study of criminal types? The presentation of the criminal world, imprisonment? The yearning for escape? Men and women and their roles in mutual downfall?

THE PEOPLE THAT TIME FORGOT

UK, 1977, 90 minutes, Colour.
Patrick Wayne, Doug Mc Clure, Sarah Douglas, Dana Gillespie, Thorley Walters, Shane Rimmer, Tony Britton.
Directed by Kevin Connor.

The People That Time Forgot is based on a novel by Edgar Rice Burroughs, the author of the Tarzan stories. It is a sequel to the popular The Land That Time Forgot and has the same star, Doug Mc Clure. He is joined by Patrick Wayne. However, the rest of the cast is British.

The film is a fantasy adventure, set after World War Two, with the group setting out to explore a lost world – only for their plane to be attacked by a pterodactyl and their landing on the island where they encounter strange people, strange creatures – and many special effects.

The film is entertainingly written and performed – and the two films provide entertainment in the Edgar Rice Burroughs tradition.

1. The appeal of science fiction, science fantasy? Strange worlds within this world? Strange peoples, animals, dangers and adventure? The nature of the appeal? The quality of this presentation?

2. Edgar Rice Burroughs and his imaginative world of stories? How appealing, for what audience?

3. This film as a sequel? How much did it presuppose of the original? A continuation of the same? Similar quality?

4. The importance of the barren locations, the artificial world in its colouring and landscapes, the decor, the special effects, the otherworldliness? The strange animals and peoples?

5. The importance of the British framework? The expeditions? The English tone given? Charlie and her father financing the expedition? The contrast with the Americans especially Mc Bride and Brogan? The tongue-in-cheek aspects of international relationships?

6. The very British nature of the Navy sequences and the decisions for going in and for going out? The contrast with the bland humour of the American pilot sequences, his being left alone, dangers and rescue?

7. The importance of the theme of the quest? Mc Bride and his personality, his attachment to Charlie and their clashes, seeking out Tyler, encountering the animals, the enemy, the deceptive Nargas? Could the audience identify with the quest, the dangers and the escape?

8. The types represented especially by Tyler and Mc Bride? Conventional film heroes?

9. The importance of the landscapes and the dangers, the final explosions?

10. The portrayal of strange peoples and the contrast with human expectations?

11. The effectiveness of the monster sequences, the sacrifice of Charlie and Ajor?

12. The vitality of the battles and their effect?

13. Ajor and Charlie as contrasting women?

14. The death of Tyler and its effect on the quest?

15. The purpose of this kind of entertainment? Escapism? Some kind of insight via science and fantasy?

THE PEOPLE AGAINST O'HARA

US, 1951, 102 minutes, Black and white.
Spencer Tracy, Diana Lynn, John Hodiak, Eduardo Cianelli, James Arness, Pat O’ Brien, William Campbell, Arthur shields.
Directed by John Sturges.

An interesting Spencer Tracy vehicle. It is competent but was not an outstanding success in its time. It was made after The Father Of The Bride series and at the time of working with Katharine Hepburn in Adam's Rib and Pat And Mike. Tracy was being directed by John Sturges - he was to work with him later for Oscar nominations for his roles in Bad Day At Black Rock, 1955 and The Old Man And The Sea, 1958.

There is a very strong supporting cast with typical performances by Pat O'Brien as the detective, John Hodiak as a strong-minded lawyer, Eduardo Ciannelli as a mafia boss. James Arness is the victim. The film captures the atmosphere of New York, the atmosphere of law and the court. It is also a portrait of a lawyer alcoholic trying to ask something of himself at the end of his life.

1. An entertaining crime thriller? Murder mystery? Portrait of a lawyer? Spencer Tracy vehicle?

2. M.G.M. production values: black and white photography, musical score, sense of New York locations? Strong supporting cast?

3. The tradition of New York police dramas? Crime in the streets? Drugs? Mafia? The importance of the police precincts, detective work, suspects? Court cases? The work of lawyers and the contacts? How well did this film fit in with this police and court tradition?

4. The persuasiveness of the plot, the opening murder and its being witnessed by the sailor? The setting up of Johnny O'Hara? Frankie and his brothers and their story? The background of the murder, drug-running, the mafia? Johnny and his alibi and his not using it? The poverty of the Irish in New York? James Curtayne and his daughter, his alcoholism, his failing in court cases? His friendship with the O'Hara family and his work? Success and failures? Attitude of the judge? Louis Barra and the confrontations in court? The discovery of the truth? The deals? The trapping of the killer? Curtayne's death? A sense of achievement for him in his death?

5. Spencer Tracy's portrait of Curtayne: fighting alcoholism, the scenes where he was tempted to drink, where he did drink? His relationship with his daughter, her caring for him, not marrying, his attacks on her, their reconciliation and her support? His bequest to his son-in-law? Friendship with the O'Hara family and his decision to take on the case? His difficulties in preparing it, his skill at contacts and picking up information, the contacts with Knuckles and getting the truth? The talks with Johnny O'Hara and his not giving the full truth? His disappointing performance in court? The clashes with Barra? His techniques in the court? Discussion with the judge and the judge's disappointment? The losing of the case and the reaction of the family? His discovery of the, identity of the other woman? The exoneration of Johnny? The decision to contact Knuckles, set up the meeting place for the retrieving of the case? His courage, the violence of his death? A sense of achievement?

6. The confrontation with Barra? his work as a lawyer, ambition, skills? His witnesses? especially the sailor (and the contrast with Curtayne's drinking and paying off the sailor who doublecrossed him? The conduct of the case? Respect for Curtayne? The deals at the end and collaborating with the trapping of the killer?

7. Detective Wrix and Pat O'Brien's style an the New York detective? The judge and his discussions with Curtayne and the managing of the court case?

8. The criminal world? Frank and his brothers, the drama of Frankie's continued talking in the witness box? Rehearsing his lines for Barra? The confrontation with Curtayne? The irony of his brother being the killer? and the background of the visit to the family? The murdered man, his wife, Knuckles and the mafia? The background of New York crime?

9. The contrast with Curtayne's daughter and her looking after him? Her exasperation? Her fiance?

10. Johnny O'Hara himself? ordinary young man in New York, company, his liaison with the married woman, standing by her, the court case, his parents? His being vindicated?

11. American themes of crime and detection, law and order, the American battling against his weaknesses and achieving something in life?

PENELOPE

US, 1966, 97 minutes, Colour.
Natalie Wood, Ian Bannen, Dick Shawn, Peter Falk, Jonathan Winters, Lila Kedrova, Lou Jacobi.
Directed by Arthur Hiller.

Penelope is a star vehicle for Natalie Wood at the time that she was making such films as Sex and the Single Girl and The Great Race. It is a comedy, she is married to Ian Bannen, he is neglectful and is promoted in his bank, she decides to rob his bank. She discusses her problems with a psychiatrist, played by Dick Shawn. Peter Falk – before Colombo – is the investigating lieutenant. The trouble is with Penelope, she is so charming that nobody believes that she did the robberies.

The film is light and witty – and has some serious reflection on people being overwhelmed by the rat race. It was directed by Arthur Hiller who was beginning his career and was soon to make Love Story. It was written by Howard Fast, author of Spartacus and of a number of other novels on which films were based including Cheyenne Autumn, Sylvia, Mirage.

1. How entertaining a robbery comedy? The ingredients for enjoyment? The harshness of the critics? justified?

2. The style of the opulent and affluent comedy? The humour and style of the credits sequences? Use of colour, New York backgrounds, Panavision, bright music? Natalie Wood and her impact?

3. A robbery comedy of the sixties reflecting the values, the atmosphere of counter-culture, money?

4. How well did the film fit into the robbery genre? The visual presentation of the hold-ups, the impact and effect of robberies, banks and money? The introduction to Penelope in her various disguises, for example, the old lady? Her other disguises and her relish of them? Why do audiences enjoy robbery films? especially with the comic touch?

5. The presentation of the banks and the paraphernalia of security? The continual temptation to break through this? What motivated Penelope? the bank, her husband, the risk? The combination of these? Can audiences identify with Penelope and her reaction to banks?

6. The psychological aspect of the film, the psychologist and his motives, the humour and seriousness of the sessions, jokes, the theory of compulsion? How enjoyable were the pop psychology solutions? (how seriously were they to be taken?)

7. The film as a Natalie Wood vehicle? her attractiveness, her enjoying of the disguises, the singing, the fooling about? The light touch and audience response?

8. The presentation of Penelope as a kook of the sixties? The various sequences with her husband, the comedy attitudes, the erratic and seeming amoral behaviour? The testing and denting of traditional values?

9. The contrast with the portrait of her husband, his stuffiness especially about the bank? Could he believe that his wife would be robbing him? As a target for the satirical touches and the parody of the film?

10. Peter Falk as the detective? anticipating his Columbo style and audiences enjoying this? Character, humorous attitudes and styles? Did the audience believe that he realized that it was Penelope doing the robberies?

11. The character of the psychiatrist and his effect on Penelope, infatuation with her? The parodying of psychologists and psychiatrists and their influence?

12. The gallery of Penelope's wealthy friends, the society sequences, robbing them and the humour? The details of Penelope's kleptomania and their humorous consequences?

13. Even though the film had the light touch, how well did it portray aspects of the pressures of modern life, society? Comedy as a vehicle for presenting these touches?