A PAIR OF BRIEFS

UK, 1962, 90 minutes, Black and white.
Michael Craig, Mary Peach, Brenda de Banzie, James Robertson Justice, Liz Fraser, Roland Culver, Ron Moody, Bill Kerr.
Directed by Ralph Thomas.

A Pair of Briefs is an a typical English comedy of the early sixties with the innuendo in the title, the tone of the film is apparent. However, it has a legal setting and provides an amusing satire on the law in England, the administration of the law, and provides comic characters of typical English humour in legal situations. Michael Craig was the leading young British actor at the time. It is quite an amusing example of this period of English comedy.

1. The humour and ambiguity of the title? The indications of the tone of the film? Its style?

2. The characteristics of British comedies in the fifties and sixties? Black and white photography, the stars, Interior comedy, the qualities of the wit and humour, situations and style?

3. The characters in this type of film? How well done? Types? The contrivances of the plot? How important was realism? How important the conventions of humour?

4. The humour as focussed on the law in this film? the value of law and British justice? The mockery of British justice and its application? The barristers and their style, performances in court? The overriding bullying of the judge? The solicitors and their deals? The value of the case? Briefs, money, the barristers learning? The serious side of this plot? The humour in the satire?

5. The case itself and its double-dealing? Rich and poor, truth and lies? The stance of the innocence of the barristers and the shrewdness of the lawyers, in the court? Sid and his girlfriend and their style? The poor widow who was really rich? Audience response to the complications of the plot and the administration of justice? Using the law for their own purposes?

6. The conventions of the love story? How obvious? How enjoyable and sentimental?

7. Characteristics of the comedy of situation, dialogue? The importance of Britain's capacity for light-hearted self-mockery?

THE PACK


US, 1977, 95 minutes, Colour.
Joe Don Baker, Hope Alexander -Willis, Richard B. Shull, R.G. Armstrong, Bebe Besch.
Directed by Robert Clouse.

The Pack is a product of the mid-1970s. In the wake of Jaws, there was a huge trend in animal disaster films ranging from Grizzly to The Manitou and films like this. A pack of dogs terrorises tourists on a vacation island – and it is a message film against people discarding their pets.

Joe Don Baker was a strong lead at this particular time (the Walking Tall films). The film was directed by Robert Clouse. After making the private eye thriller, Darker Than Amber in 1970, with Rod Taylor, he teamed up with Bruce Lee for Enter the Dragon. He made a number of martial arts films, Black Belt Jones, Golden Needles, The Ultimate Warrior, Game of Death. In 1980 he teamed with Jackie Chan for The Big Brawl. He also directed a number of programs for the Disney channel.

1. Audience interest in animal disaster films? The appeal of animal menace and terror? The analogy with horror films, fear? Fear fantasies and coping with them? The quality of this animal menace film?

2. The significance: focus of the title? The photography of the dogs at all stages of the film, atmosphere, menace, sense of their presence, violence, hunger and viciousness?

3. The importance of the isolated island atmosphere? The holiday haven and the tourists going away? The few people left with their occupations the store, fishing, testing for marine biology etc.? Their homes? The use of the island locations for the human beings, for the pack, forests, the water and cliffs? The plausibility of having, only one boat for the mainland? Radio and the communications links? cross-section of people presented?

4. Gerry and Milly and their two boys, Hardiman, Cobb? The visitors and the world of finance and implications of corruption that they represent? The goodies and the baddies for this kind of film? The pack's treatment of those considered good, those bad? Attacks, deaths?

5. The push of the visitors - the bank manager and his arrogance, the vice-president, Marge the secretary, Lois the girl friend and her instructions for Tommy? Their purpose In the holiday? Their attitudes towards one another, to Gerry and the inhabitants? The deaths, especially of Tommy at the cliff, Lois and her seeking refuge in the shed where the dogs were? The manager and his being savaged? Poetic justice for their attitudes towards life?

6. The importance of the explanation at the beginning where the tourists left their dogs behind saying they would be safer on the island than in the city? The focus on the dog left behind at the beginning, its running along with the pack, its being spared at the end? How appropriate, sentiment? The plausibility of the explanation and the starving dogs banding together to become a pack? The implications of their hostility towards the human beings?

7. How well did the film build up suspense, the use of night and day, the buildings, the particular incidents of menace especially for Gerry and Milly, the two boys and their rescue after their disobedience, Tommy and the pursuit, Lois and her death? The importance of the weather and communications with the mainland, Cobb and his boat?

8. The parallelling of the dogs and their cunning with human cunning? The car sequence with Lilly, the windows, the atmosphere of siege?

9. The importance of the vigils and each taking turn? The importance of the boat and the holiday makers and the open door, the rescue of the vice-president and his foolhardiness in exposing all to death?

10. The importance of all learning to work together for self protection?

11. The final heroics, Gerry's command over the people and their reliance on him. the background of his building a house and planning a happy marriage with Milly and the bringing up of the two boys? The device of getting the dogs in the house and burning it down? The pacing of the final climax with the dogs attacking Gerry and Hardiman lighting the fire?

12. The emotional effect of a film like this, interest in the theme, the plot? Thriller aspects, horror aspects? human sentiment? American style? A good example of its kind?

THE PISTOL: THE PETE MARAVICH STORY

US, 1990, 100 minutes, Colour.
Adam Guier, Millie Perkins, Nick Benedict, Boots Garland.
Directed by Frank C. Schroeder.

The Pistol is an inspiring film. It is a kind of pep talk film, motivational both for sport as well as for life. Peter Maravich was a born-again Christian. A champion basketball player, he died suddenly at the age of forty from a heart attack.

The film was geared to Americans, especially the communities of born-again Christians. The DVD also has his faith testimonies.

1. A pep-talk of a film? Motivational film? For sport? For life?

2. The South Carolina setting, the 1950s, the comment that it was a safe and hopeful environment? Race relationships, sport and achievement?

3. The film as a true story, Pete Maravich's life, the retrospect with his father? The voice-over and his reflections on his life, dreams?

4. Pete and his relationship with his parents, his father as a coach, optimistic, urging him on, advice, pep-talks? His mother and her car, support of him in his games, at home, the dancing? Supportive parents? Their characters, the American style, the American dream and optimism?

5. The teacher, her getting the students to write on their dreams, her explanation of the American dream, 50s style? Pete and his own personal dreams, presenting them to the class, their laughing? His achievement?

6. The character of Pete, his age, experience, short height? At home, at school, feeling a misfit? His skills at basketball, his father training him, the particular techniques? The collages of his training, practising? His skill on the basketball court, the initial throw and hitting Buddy's nose and losing the game? The admiration of the crowds, the photographer and the article, the coach and his wariness? His coaching Moose and Moose's admiration? The scorer and his continued support? Sandy and her giving him encouragement?

7. The games, the play on the courts, the techniques, the manoeuvres? For basketball fans? For those who don't know basketball?

8. Press and his going to the coach, trying to persuade him to give his son a chance? The coach allowing him to go on after questioning him? The success and the season? Press and his taking the coach to see Cleveland High, the black players? Asking him to look into the future of 20 years' time? The challenge for playing the team? Pete and his wanting to play? Buddy, his antagonism towards Pete, humiliating him, violence with him? The issue of the game, Buddy confronting his father, confronting Pete, Pete's challenge, one-on-one? Pete winning, the other members of the team turning against Buddy? His change of heart while watching the game, Press's comment to him? His apology and his joining in? The final basket, losing the game - the achievement of Cleveland High, the applause and people calling out "Pistol"?

9. Pete and his personality, relating to people, the party, the dance, Sandy? The bet for the hour of spinning the ball on his finger? The grounding so that he would have a successful career and the details given in the postscript?

10. The audience for this kind of very positive, feelgood, motivational kind of film?

THE PARADINE CASE

US, 1947, 110 minutes, Black and white.
Gregory Peck, Ann Todd, Charles Laughton, Alida Valli, Louis Jourdan, Ethel Barrymore, Charles Coburn, Leo G. Carroll.
Directed by Alfred Hitchcock.

The Paradine Case is one of Hitchcock's films that has created controversy among critics. However, it is a most interesting example of Hitchcock's work. The film has a court case background and, with Charles Laughton in court (as he was in Witness for the Prosecution), these sequences are compelling. The details of the murder are difficult to follow as are the tangled relationships of the protagonists, played by Alida Valli (who was intended as a new Ingrid Bergman) and Louis Jourdan, who was at the beginning of his Hollywood career. The focus of interest is the central hero with a dilemma which he does not entirely see - like the hero of Vertigo he is fascinated by the surface innocence of a woman and is led far beyond his intentions. The hero is Gregory Peck, who had just made Spellbound for Hitchcock, and although he is not entirely convincing as an English lawyer, the film on the whole is worthwhile.

1. Was this a typical Hitchcock film?

2. Why do people find court-case films interesting? Was this a good example?

3. The theme was appearances versus reality. How was this illustrated in the film? It opened showing sympathy towards Mrs Paradine. Was Keane deceived by appearances and almost destroyed by reality?

4. Was conscience an important theme? People said they sought the truth in the name of conscience. How did the film show that people can deceive themselves in the name of conscience? Loyalty was also important. Comment on the loyalty of Mrs Paradine, Latour, Lady Sophie.

5. How did Hitchcock successfully manipulate audience sympathy? With whom were your sympathies during the film? Why did they change so much?

6. Did Hitchcock make the proceedings more credible by giving background to the trial? Give examples.

7. Was Anthony Keane a sympathetic hero? Could audiences identify with him? Was he successful?

8. Gay Keane - was she sympathetic? What qualities did she have as a wife and as a support to her husband?

9. Mrs Paradine - the initial dignity of her going to prison contrasting with the truth of the matter at the end? Did Mrs Paradine really try to deceive Keane? Whom was she protecting - herself or Latour?

10. The judge - your impression of him at the initial dinner, his supercilious attitude towards Keane, lascivious attitude towards Gay Keane, boorishness towards his wife? The irony of such a man conducting the trial and passing judgement? Why did he try to intimidate Keane?

11. Lady Sophie - a bewildered ordinary woman, subdued by her husband, sympathetic towards Mrs. Paradine?

12. Andre Latour - what kind of man was he? His infatuation with Mrs Paradine?

13. What did Sir Simon and his daughter add to the film?

14. Obsession - how was this illustrated by Keane during the film?

15. Trace Hitchcock's skill in showing the changing relationship between Mrs Paradine and Keane - in the prison interviews, in court, in the final court revelations.

16. Was the ending successful?

THE PROFESSIONALS

US, 1966, 106 minutes, Colour.
Lee Marvin, Burt Lancaster, Robert Ryan, Woody Strode, Jack Palance, Ralph Bellamy, Claudia Cardinals.
Directed by Richard Brooks.

The Professionals has been a very popular action packed western, an adventure with an ironic twist at the end. Popular heroic stars do their thing well in beautiful western scenery and spectacular incidents. Nothing startling in description, but excellent of its kind. This was a change of pace for Richard Brooks and came between Lord Jim; In Cold Blood; amongst his films which include Cat on a Hot Tin Roof; The Brothers Karamazov; Sweet Bird of Youth, Elmer Gantry (in which Burt Lancaster also appeared).

1. What is the meaning of the title?

2. The Professionals was one of the earliest westerns with a group as the central theme. Is this obvious or does the film seem fresh today?

3. The group was ageing. How does this tie in with a changing west of 1917 and old styles and myths dying?

4. Grant - what did he really want?

5. Give your impressions of each of the four men - were they 'professionals'? How did the credit sequences indicate this? Why did they take on the job, and get on so well?

6. How professional were they in getting through the desert to Raza's hacienda? Were their exploits interesting? What mistakes were made? Did they really understand Raza? Was the Mexican setting well done, the revolution, Raza's motivations and involvements?

7. What was the significance of the train ambush? Was the raid well planned and executed? Capturing of Maria? Why could they not kill Raza?

8. Was the chase exciting?

9. Was the final ambush and killing necessary? What did this sequence reveal about Raza?

10. Was the character of Maria well drawn and developed? Did you understand why she acted the way she did?

11. What did the finale reveal about good and bad men, the cynical use of others? Were the Professionals right in their final decision? Why?

12. What kind of western was this? What did it add to the genre?

THE PASSIONATE FRIENDS

UK, 1948, 87 minutes, Black and white.
Ann Todd, Trevor Howard, Claude Raines, Betty Ann Davies, Isabel Dean.
Directed by David 'Lean.

The Passionate Friends is an early David Lean film, just after his Brief Encounter, and at the same time as Great Expectations and Oliver Twist. It is a love story centring on a woman who is loving but selfish. The man she really loves tells her that her life will be a failure. It almost is. This is a fine, short film (much shorter than the films David Lean has made in recent years) and Ann Todd (Lean's wife) gives an excellent performance. (Ann Todd also appeared in Madeleine; The Sound Barrier). At the beginning of the film she appears as quite girlish, going on holiday, but at the end appears at the brink of despair. Lean uses her expressive face to convey much of her turmoil. A young Trevor Howard (Brief Encounter; Ryan's Daughter) is excellent, as is Claude Raines. The screenplay was by novelist, Eric Ambler. As a product of talented artists, and as a moving human drama. The Passionate Friends is a good film.

1. What made this version of 'the eternal triangle' different from others?

2. How did Mary's personality appear at the beginning and at the end of the film? What had happened in the meantime and how had this change been communicated to the audience?

3. How did the flashbacks work? How many levels were there? Was this structure effective?

4. Why did Mary refuse to marry Steven even though she loved him?

5. Explain Mary's personality, wanting to be herself and belong to no one but herself? Steven said she could never be happy this way - her life would be a failure. Was he right?

6. Compare the characters in the New Year's Eve sequence - Mary, Steven, Howard.

7. Discuss the use of close-ups of faces to convey moods, thought and development of character, especially Ann Todd.

8. The love affair - was the confrontation of Howard and Steven well presented? Why didn't Mary leave Howard?

9. After fifty minutes of flashbacks, the Swiss section resumes. How does this affect our appreciation of the scene begun so much earlier?

10. Nine years after the affair both are happy - almost strangers to each other. How does the picnic sequence show this?

11. Discuss the irony of Howard discovering their meeting - watching Mary wave goodbye and her tears.

12. Was Howard justified in seeking a divorce?

13. What future did Mary have with Howard divorcing her and Steven happily married?

14. Why did Mary try to kill herself? The irony of Howard telling Mary that he loved her?

15. Here you satisfied with the ending of the film?

16. In recent years, David Lean has made films of about three hours' length. This film is just under half that time. Comment on the amount of information, mood, atmosphere and character development given in such a comparatively short running time.

THE POWER AND THE GLORY

US, 1962, 98 minutes, Black and white.
Laurence Olivier, George C. Scott, Roddy Mc Dowell, Martin Gabel, Julie Harris, Patty Duke, Keenan Wynn, Cyril Cusack, Mildred Dunnock, Fritz Weaver.
Directed by Marc Daniels.

The Power and the Glory is a feature film made for television before the development of telemovies in the late 1960s and 70s. It is certainly not a great film, but it has many good points. Audiences are generally moved and find the film helpful for discussion on the Catholic Church, priesthood, conscience and responsibility.

There was a film version of Graham Greene's novel in 1947, directed by John Ford and starring Henry Fonda. It was called The Fugitive. Here Laurence Olivier gives a successful, studied portrayal of Greene's whisky-priest. George C. Scott also gives a good performance as the policeman pursuing him. The minor roles are taken by a number of stars who appear briefly but effectively. This film is a good introduction to the world of Graham Greene.

1. Meaning of the title, religious overtones, summing up of the themes?

2. What was the final emotional impact of the film on audiences? Was there sympathy, understanding?

3. Even if an audience is not religious, how does it identify with the priest? Was this a genuinely religious film? Why?

4. How successful was the structure of the film, and what did the journey represent? Comment on the use of black and white photography, music. Mexican atmosphere and overall atmosphere?

5. How impressive was the priest, his humanity, fears, courage? Did your opinion change when he escaped, was feted and returned to the style of life he'd once lived? How disturbing was this? How did he contrast with Father Jose?

6. How did the lieutenant contrast with the priest - pursuer and pursued? Was the lieutenant a man with a strong sense of duty, sense of right and wrong, antipathy towards religion? Was he kind to the priest? Effect of the priest returning, dialogue About life and death, concern for the priest in prison, reaction to the priest's death at the end? How did this add to the significance of the film?

7. Comment on the encounters the priest had with various people - the dentist, the old villager, Coral, the little girl, Maria, the priest's woman, a Judas peasant, the man who sold the priest the wine.

8. What impact did these encounters have on the priest and the people?

9. What were the important themes of this film?

10. What opinions did the film give about good, bad, grace, sin, forgiveness, legality, mercy, legalistic religion, God and his relationship with men?

11. How impressive was the priest as a martyr? the fact that he died drunk? The fact that he died feeble? The fact that he was there to die as a martyr? Why did he stay in the country? Did Graham Greene intend to present him as a saint? How saintly a man was he? How good a man was he? (in his own eyes? In the eyes of the lieutenant? In the audiences' eyes)

12. How did this change him? How did these encounters change others - as persons, as religious people?
- the Dentist and his helping the priest, despite his fears?
- the boy who was glad that the priest returned to his dying father?
- the old villager who appreciated the priest's presence and exchanged clothes with him, later to be shot?
- Coral, the little girl, her attitude towards religion, yet her kindness towards the priest and helping him on his way.
- Maria, the fact that she was the priest's woman, the effect of this on her, her daughter and her difficulty in raising her daughter, the tension when the lieutenant asked the little girl about the priest, the villagers and Maria and their appreciation of the Mass.
- the Judas peasant, in himself so unsympathetic, the priest seeing through him, the priest's reliance on him for wine, his turning up over the boarder and leading the priest into the trap, his final whingeing when the priest went to execution.
- the man who sold the priest the wine, the drinking of the wine, the heartlessness towards the priest, the police chief entering into this party (the police chief as corrupt and incompetent)
- the experiences of the priest in prison, his sharing the conditions of prisoners and their humiliation, the woman venerating him as a priest and then turning on him when she understood the truth? What kind of religious woman was she? What point was being made - the sequence with the dead little girl and the woman?
- The priest's encounter with the people at the village where he was free, his returning to his old style and asking for money for ceremonies, his pleasure in being vested again, his relationship with the head of the village, his bargaining for the drink, the reaction of the teacher who despised the priest, the priest's giving his money back to the teacher.
- the Gringo and the comfort that the priest brought him
- Father Jose, the appeal for help by the priest in the middle of the film, the lieutenant's asking him to come for his confession.

THE PAPER CHASE

US, 1973, 100 minutes, Colour.
Timothy Bottoms, Lindsay Wagner, John Houseman.
Directed by James Bridges.

The Paper Chase is about University students. It is an interesting contrast to the films of the late 60s such as - Getting Straight; The Strawberry Statement - which showed revolution and unrest on the American University campuses. This film of 1973 shows students willing to study, a rather quiet campus, the main unrest being the pressure of study and the pressure towards attaining degrees - the paper chase. Thus, as a picture of changing attitudes of young Americans, the film has strong interest
.
However, the film is enjoyable, although people who have not been involved in studies may not find it so interesting. It was written and directed by James Bridges who made another very interesting film about young people - The Babymaker. Timothy Bottoms had become established as a young actor by the time this film was released. It came after Johnny Got His Gun; The Last Picture Show; Love and Pain. John Houseman won the Oscar for the Best Supporting Actor for his performance here. He has been a veteran Hollywood producer rather than actor.

1. How did the title indicate the theme of the film?

2. Was this a good picture of American universities? The contrast of the students studying in comparison with the revolutions of the early seventies?

3. The University shown was Harvard. Was this representative of the United States? What comment on previous students, potential of present students and their role in the future of America did the film make?

4. How well was the theme of study developed - its values, drawbacks?

5. Did Timothy Bottoms portray Hart as a sympathetic hero? Was he a typical student? Was he ambitious, dedicated? Do you think Kingsfield may have been like Hart in his youth?

6. Comment on the presentation of college life - the fraternities, study groups, university personnel, libraries. Did this give some insight into life at Harvard?

7. How well were the lectures presented in the film, shots of the students? The impact of Kingsfield on the students, unable to remember their names?

8. Kingsfield - was he too academic, dedicated? Why did he keep his distance from the students? Why did he command such loyalty? Was he likeable?

9. Was it surprising that Hart fell in love with Susan - Kingsfield's daughter? What effect did it have on his studies and ambitions?

10. What insights into students did the film give - Ford, Brookes, Bell? Their discussions and indication of pressures? Style of group discussions?

11. How well did the film show the passing of the year?

12. The drama of Brookes and feelings of inadequacy? His attempted suicide? Did Hart relate to him well and sympathise? What should Hart have done?

13. How did the film communicate the atmosphere of examinations and their importance?

14. How realistic was the ending with Hart tossing away the grade? Did you think Hart would do well in his second year? What did this indicate about the paper chase?

15. What human values did the film explore? What insight did it give into the younger generation, studies and ambitions, vocation in life?

16. How ironic was the sequence where Hart met Kingsfield in the lift and Kingsfield does not know him? Considering in retrospect: Kingsfield assigning of work to Hart, Hart's ambitious trying to fulfil the paper, Hart's looking at Kingsfield's old study notes. Hart's reaction to Kingsfield in the class and talking back to him with Kingsfield's reply etc.; what did this finally say about Kingsfield and his academic world and his personal relationships?

THE PLOUGHMAN'S LUNCH

UK, 1983, 107 minutes, colour.
Jonathan Pryce, Tim Curry, Rosemary Harris, Frank Finlay, Charlie Core, David De Keyser, Nat Jackley, Ken Shorter.
Directed by Richard Eyre.

The Ploughman's Lunch made an impact in Britain in 1983. With a small budget and in collaboration with Channel 4 television, it received a deal of attention as indicating the kind of film Britain could make in the '80s.
The title refers to the allegedly traditional British lunch - but seems in fact to have been a concoction for commercial purposes in the '60s. There is a sardonic, even cynical tone, about the film. The hero is a radio news editor who wants to write a book about Suez. Disowning his working-class background, he insinuates himself into middle and upper class circles. He is not above using people and betraying people. Jonathan Pryce gives a very good performance as this central character, James Penfield. The supporting cast is very good.

The film is also a comment about the political situation under Margaret Thatcher's Prime (Ministership. The end of the film takes place at the time of the !Falklands War, even incorporating newsreel material from the Tory Party I Conference of 1982 with its strong sense of patriotism because of the I Falklands. Another symbol of the times is used - a portrayal of the women at Greenham Common with their protest. The film presents them sympathetically - and then shows the hero cutting them at the Tory conference. The film portrays and criticises the hawkish and right-wing stances of the British government and Britain of the '80s.

1. An interesting and effective drama? The sardonic point of view? The authentic atmosphere of England in the '80s? The world of the media? Of politics? Of British patriotism and right-wing stances under Margaret Thatcher's prime ministership?

2. British film-making of the '80s: small budget, for British audiences, world-wide audiences, specialist touch? The impact of British skills in making television dramas? Efficient film-making: locations, set-ups, characters, drama, comedy? The blending of news footage with the drama of the film - the atmosphere of Greenham Common, the Tory Party Conference?

3. The title and its meaning, as a metaphor? British traditions and enthusiasm for them? Lack of real knowledge about them? British traditions exploited, especially by the media for commercial gain, for political stances?

4. The British background, memories, traditions, past world eminence? The continued reference to the Suez crisis? The decline of British Empire and power? Influence? The nature of history, research and interpretation? Britain in the '80s wanting to rediscover its past, re-live it? The stances of the Tories? The significance of the Falklands war and the British response? How is the Falklands background used in the film? Britain in the '80s: society, the world of media, the commercial world, gossip, ambition? The background of protest: Greenham Common, women, ordinary people, the protest against war, American occupation of Britain, nuclear weapons and deployment?

5. James as the centre of the film: an ordinary middle-aged man, his radio work, ability, interest in history, wanting to write a book? The discussions with the publisher, the deals? Jeremy and his friendship and contacts? The parallel between James and Jeremy? Who exploited whom? His visits to his mother and father, the awkwardness, the silence, his mother's illness, father's devotion? His denying their existence, betraying his background? His relationship with Susan, the affair? Wanting to foster the affair by interest in her mother and the Suez background? The visit to the family home, the stylish way of living in the country, smooth, polite? His not making headway with Susan? Her avoiding him? Anne's interest, the walks, sharing, understanding of the Suez crisis? Matthew and his detachment, encouraging James? The family? The trip back to London, the car breaking down, the encounter with the women at Greenham Common, their friendship, help, cause? The discussions about doing a programme on them? Contact with them because he was stranded? His return, the changes in his life, political involvement, the Tory conference? Susan going with Jeremy? His mother's death - and his reflection on his life? A shallow hero? A political coward? Cynicism and contempt?

6. Jeremy and James? Professional skill, contacts, talk, introductions, cynical? Setting up James? Relationship with Susan?

7. Susan and her strength, background in media work, relationship with James, the affair, relationship with Jeremy? The introduction to her mother? Her aloofness from James at her home? Her final betrayal of him?

8. Matthew Fox - home, family, lifestyle, his television work, the sequence of the commercial being made - and the comment on artificiality, contrivance, financial gain? Commercials as exploitation? Matthew's story of the Ploughman's Lunch? His relationship with Anne? Anne and her family, relationship with Susan, the background of her research, socialist interest and commitment? James' feigning interest in the Left - and as easily having interest in the Right? The walks, talking, her exhilaration? Passion, the affair? Her being used?

9. The book and James' ambitions, status, the discussions with the publisher, having to adapt his book to American college students?

10. The supporting characters and their delineation - the newsreader and his anguish over his broken marriage?

11. The film as a mirror of English society, critique? History and politics? The Ploughman's Lunch as 'a completely successful fabrication of the past': food for thought indeed (Monthly Film Bulletin) ?

THE PEACE GAME (GLADIATORENA)

Sweden, 1969, colour.
Directed by Peter Watkins.

The Peace Game was another attempt by documentarist Peter Watkins to alert cinema audiences to the realities of war and nuclear war in the '60s. He had dramatised the Battle of Culloden with the media reporting techniques of the '60s and made vivid comment on the futility of war. His documentary for the B.B.C., The War Game, was banned from television screening but achieved fame in cinemas. He made a feature film with Paul Jones and Jean Shrimpton about mass manipulation and ideologies, Privilege. After The Peace Game he looked at totalitarianism in the United States in Punishment Park and made a film about Swedish artist Eduard Munch. In the 1980s he was involved in making an international feature, The Nuclear Film.

This film has an ironic title - while referring to the gladiators fighting to the death in Rome, he likens the peace games he portrays (actually deadly war games to the death) to gladiator events of the past. Real soldiers are involved in computer-controlled battles and missions. They are watched by officials from the various nuclear powers throughout the world. The whole thing is televised -even with sponsors ringing in to ask for better slots for their commercials. While the games are not easy to follow, the ironic comment about war, the channelling of aggressive instincts into such peace games is quite evident. Watkins has been a consistent critic of war in films over two decades.

1. The work of Peter Watkins, his attitude towards war, peace causes? The world situation of the late '60s? Detente, nuclear strategies? The film as didactic, as a warning?

2. The irony of the peace game title? Deadly war games? The focus on the symbolism of gladiatorial combat, to the death? A sign of decadence in the Roman Empire?

3. Watkins working in Sweden? Swedish production? Impact for European audiences? World-wide audiences? The focus on both East and West?

4. The impact of the film as a docu-drama? The technique of focusing on places, times, detail? A sense of actuality? Professional and amateur cast? Quality of the acting? The simulation of war situations, battles, interviews? The range of interviews and their touch of authenticity - the feelings of the soldiers involved, their motives for joining in, their hopes? The importance of the television influence? Television technique? The irony of the peace game being sponsored - and sponsors ringing in about their commercials?

5. The film in colour rather than black and white? Swedish locations. Scandinavian atmosphere? The set, the echoes of war films? Musical score?

6. The titles and the reference to war games? The introductory information about the status of the peace games? The cast involved and their background, nationalities? The players: the Generals with their theory and their strategy? Serious war games? The film's comment on the players, playing the game, gamesmanship, gladiatorial games, the power of life and death? Where did the audience stand - with the actors, with the game-players?
7. The sense of urgency, growing horror? Involvement in the peace games and reasons given? The choices for strategies and behaviour - human or not? The hawkish attitudes of the players? The role of the computer? The process of the game? The role of the protester? Who was using whom? Who was the exploiter, the exploited?

8. Human instinct for war and destruction - siphoned off by the players and actors in peace games? For television audience as spectators? For the sponsors? The irony of the use of television? The audience of the '60s watching the Vietnam war - an audience geared for watching wars on television?

9. The players: their solemnity, going to the castle, the nations represented with the various characteristics (even stereotypes): British, U.S., U.S.S.R., China, Italy, Sweden, East Germany, West Germany, India? Traditional hostilities, East and West, rivalries? A mission to be accomplished, a war to be won? The attack on the Chinese?

10. The players/actors: reasons for participating, aggressive instincts, money, family, belief in national pride? The two rebels - the Chinese, the British? The experience of war and its danger evoking human concern, tenderness, compassion? Their being considered as not playing the game?

11. The role of the computer, the controllers, orders, strategies? The detached observation and comments by the engineers? The protester and his reaching the computer - seeming to win, setting the game in motion again, really being exploited?

12. The progress and process of the game: the sets, the goals, the parallel with war film sequences, injury, brutality, loyalty, group psychology, code numbers and names? Points and scoring? The tying of the game - the loss of points for humanity?

13. The Chinese prisoner, the soldier and his compassion, the two disrupting the game - humanity as the only way of halting the processes? The players eliminating these actors?

14. The French student as protester, the computer control, his decision, his being used - the aggressive protester keeping the war going?

15. Themes of war? Futility? National pride? The film as a means of raising consciousness about war issues? Was it a diagnosis or a prognosis?