YOUNGBLOOD HAWKE

US, 1964, 137 minutes, Black and white.
James Franciscus, Genevieve Page, Suzanne Pleshette, Eva Gabor, Mary Astor, Lee Bowman, Edward Andrews, John Emery, Don Porter.
Directed by Delmer Daves.

Youngblood Hawke is a lavish melodrama of the early '60s. It was written and directed by Delmer Daves who had made a number of excellent westerns in the '50s (Broken Arrow, 3.10 to Yuma, Cowboy) but who moved in the early '60s to melodrama like A Summer Place, Susan Slade. He also made The Battle of the Villa Fiorita.

This film is adapted from a Herman Wouk novel. In later decades it would be a mini-series (as Wouk's Winds of War). There is enough incident crammed into 21-4 hours for quite a substantial mini-series. It would be substantial in the sense of amount of plot ~ not necessarily in terms of quality. This film is soap opera in the stylish fashion rather than a solid drama. The cast is interesting - with Edward Andrews a stand-out as a caustic critic. The film has excellent Warner Bros. technical credits and a score by Max Steiner.

Entertaining enough in itself, it seems particularly farfetched and does not compare well with the full-blooded mini-series of later decades.

1. The popularity of soap opera? Perennial interest in the life of the rich, their struggles, scandals? Best-seller novels as bases for such films? The '60s treatment? Still enjoyable?

2. Production values: black and white photography, Kentucky, New York, the Bahamas? The background of Kentucky industry, the world of New York and arts and critics, theatre? The world of the poor, the world of the rich and fashionable? Real/unreal? Max Steiner's score?

3. The title and the focus on Hawke? His name, pride, family, role as an author, reputation, Image - and reality?

4. The screenplay and its compressing a best-seller novel into its length? Treatment of situations and characters, suggestions of motivation - more suited to mini-series?

5. Audience response to such melodrama, soap opera situations? The style, emotional response? Resolution of conflicts?

6. The opening situation: Hawke and his writing, driving the truck, relationship with his mother, her strength, his strength? The uncles and their double-dealings with wills? Deals? Family stubbornness? His mother and her pride, her not believing in his work, her adaptation to his celebrity, her disappointment in finding him with Frieda? Accepting his failure - support at the end?

7. James Franciscus's style as Youngblood Hawke: strong yet bland, pleasant? Dedicated to his mother? A hard worker, a workaholic? The writing of his novel and his belief in himself? The move to New York? His being well received by Jason Prince and his wife? By the critics, - especially Quentin Judd? His being assigned Jeanne for editing his work? Her arranging the apartment? Jeanne and the bond between them, her skill in helping him? Society and the encounter with Frieda? Her changing his apartment? His being caught up in the world of the celebrities - interviews etc.? Self-deception, glamour, relationships with the two women? His indecisiveness? His further work, lack of success, compromise? Going to the Bahamas - and the request by Irene Perry to write the play? His writing it - the scene of his reading it and the applause? The liaison with Freda, at home? Being caught by Paul - and Paul's admiration of him? The absence of Frieda's husband? Frieda going to the Bahamas? Jeanne and her devotion, the phone call, her going to the Bahamas and finding the two? Her decision to change firms, to become engaged? The build-up to the gaining of the printing house, his agent and his pushiness, the opening of the play, the publishing of the new novel? His uncles and the deals, the bank men and their hold? The cocktail party and Quentin Judd's denunciation? The humiliation, Hawke’s acceptance of it and admitting the truth? The failure of the play? The news about Paul's suicide? The reviews? His opting out - going home to complete the novel for financial success? Completing his work, collapsing in the snow, his illness? Frieda's visit and his rejection of her? His mother and Jeanne? The rather pat resolution? A portrait of a popular novelist - credible or not?

8. Jeanne as pleasant, skilled at her work, attracted to Hawke, arranging the apartment, their collaboration, her falling in love, being hurt by him, seeing the relationship with Frieda, going to the Bahamas, seeing the truth about him, still believing in him, her reaction to Judd's denunciation, her going to him in the hospital? His choice of her? Did he deserve her?

9. The contrast with Frieda - at home, place in society, her children and their manners, her husband and his wealth, the beginning of the affair, the apartment, the liaison at home, Paul and his catching the couple, his admiration for Hawke? Frieda going to the Bahamas? Her taking on the new novelist when he rejected her? Paul and his knowing the truth? His suicide - the school, covering it up, the note and the mockery that he received? Her decision to leave her husband? Her husband and his undermining the publishing house to gain revenge? Her going to Hawke in the hospital - his rejection of her?

10. Quentin Judd as a self-opinionated critic yet with insight, his speeches, their accuracy timing and directness?

11. Irene Perry and the actor their faith in Hawke, the writing of the play, the Bahamas, rehearsals, the failure and their ability to accept it?

12. Paul and his sensitivity, his going to school, the letter and the truth, the pathos of his suicide?

13. The world of publishers, agents, deals, double-dealing, hypocrisies?

14. An atmosphere of unreality - yet enjoyment? Soap operas taking basic human values and presenting them in an entertaining if melodramatic way?

YOUNG BILLY YOUNG

US, 1969, 89 minutes, Colour.
Robert Mitchum, Angie Dickinson, Robert Walker, David Carradine.
Directed by Burt Kennedy.

Young Billy Young is a light western from Burt Kennedy who specialises in small westerns, especially comedies like The Rounders & Support Your Local Sheriff. He can be serious in such films as Welcome To Hard Times or The Deserter. This particular example is a take-it-or-leave-it, enjoyable kind of western pitting elderly Robert Mitchum with young David Carradine. Angie Dickinson supplies the glamour. One striking feature is that Robert Mitchum sings the title song. A passably enjoyable and humorous western.

1. Was this a good western, enjoyable? How ordinary and conventional? In what aspects? Did it use any of the western conventions in an original and striking way?

2. How serious a western was this? In tone and themes? Comment on the light touch of the film? The humorous touch? The impact of the initial song and Robert Mitchum's singing? The fact that the film was a ballad and had a ballad style? The conventions of the ballad contrasting with straight narrative?

3. How central to the film was Billy Young? The initial impact at the shootout, the plot and the killings? Billy as a drifter and his self-opinion as rotten? Billy as a picture of the heritage of the American West? His skill. shooting and violence. capacity for escape and survival? Billy as a gambler and shooting? The effect of death on him? Sense of justice? The importance of the impact with Kane? The generation gap? The hostility and the support? His loyalty, discovery of the truth about Kane the clash with Jesse? His supporting Kane? The fact that he became the Marshal at the end? What insight did the film give into western characters like Billy? Young western heroes?

4. How was Kane the centre of the film? The importance of his background as a gunfighter. law man. bounty hunter? The rugged individualist in the west? Rescuing the young man? The father and the son figure? His sense of justice? The importance of his memories and the flashback style? How strong was the motivation of his vengeance? His fighting? His relationship with Lily? How important was it for him to achieve his vengeance at the shoot out? What judgment did the film make on this? How real was the ending with his marrying Lily?

5. Comment on the film's portrayal of the west: soldiers and raid, outlaws and drifters, the life of the towns and the saloons, gambling, law and order, powerful families and brutality? The violent west?

6. The comment of the film on the families and their power and their ruling the towns? The way they owned people? Behan and his running the town? The Boon family and family loyalties? Jessie, and his loyalty to Billy Young?

7. The importance of the character of Lily? Angie Dickinson's style? The conventional good-time girl with the heart of gold? Her importance for the plot? The ending?

8. The significance of the fights and the shooting?

YOUNG BESS

US, 1953, 112 minutes, Colour.
Jean Simmons, Stewart Granger, Deborah Kerr, Charles Laughton, Kay Walsh, Guy Rolfe, Kathleen Byron, Cecil Kellaway, Elaine Stewart, Dawn Addams, Leo G. Carroll.
Directed by George Sidney.

Young Bess was one of the best costume dramas made by MGM in the early fifties, the Days of Ivanhoe and Quo Vadis. It drew on a large English cast most of whom had moved from England to America: Stewart Granger, Jean Simmons, Deborah Kerr. These players appeared in quite a number of MGM films at the time, e.g. The Prisoner Of Zenda, King Solomon's Mines. The film is an imaginative re-creation of the early years of Princess
Elizabeth before her accession to the throne. The period is that of Henry VIII, played once again by Charles Laughton reprising his Oscar-winning role in The Private Life Of Henry VIII, by Deborah Kerr as Catherine Parr and the Seymour family is prominent. The film works on a light historical level, beautifully re-created, enjoyably acted and throwing some light, albeit romantic on the period.

1. What are audience expectations of historical spectaculars? The basic enjoyment. interest in historical people, attractiveness of spectacle, the contrast of different times, the issues of the time, comparisons with the present? Which were evident here?

2. Audience presuppositions about Henry VIII and Elizabethan times? The patriotic overtones, political questions. religious questions?

3. The flashback structure of the film? Mrs Ashley's memories? The importance of style: sets, colour, music, Elizabethan atmosphere, the use of popular stars?

4. How did the film focus on Bess: Jean Simmons' performance, presented as Henry's daughter, imitating his style even to stance and shouting, the impact of her exile, the memory of her mother. the continued risk to life, the quality of her relationship with Edward and their dependence on each other, Katherine Howard's death, the support of Katherine Parr, the support of the Seymour’s, Tom Seymour's affection, her growth in love of him?

5. How did the film say that Elizabeth grew: the hurt, the protectiveness of the Seymours, the influence of Seymour's love for Katherine Parr, the memory of her affection. her becoming Queen?

6. The film's implication about the nature of ruling. power, loneliness, one's life not being one's own?

7. How interesting were the Seymours? Ned Seymour and his power plots, sinister style, his wife and her spreading of rumours? The contrast with Tom Seymour and his straightforwardness, his achievement, being victimized?

8. The relationship between Catherine Parr and Henry VIII? Henry in his old age, blustering, decaying, his sense of achievement, the importance of the death sequence? Catherine Parr as humane with her support? Her devotion to Tom? Her mothering and helping of Elizabeth? Elizabeth's hurt in Katherine Parr's regard? Her death?

9. The portrayal of Edward? Edward as a boy in such a Court, dependence on Elizabeth, a 'puppet' king of the Seymours, overpowered by the situation?

10.The importance of the small details of Elizabeth's life. e.g. her lessons. maids. relationship with Mrs. Ashley. stay in the Tower,, the minor characters around the Court?

11.The film tampered with the historical facts. Does this matter? what image of history does this kind of film communicate to its audience?

YOUNG AND INNOCENT

UK, 1937, 80 minutes, Black and white.
Derrick de Marney, Nova Pilbeam, Percy Marmont.
Directed by Alfred Hitchcock.

Young and Innocent is a slight romantic melodrama by Hitchcock in his English period - the film reflects the limitations of budget and English production in the 30s with its stylised presentation and reliance on sets and studio work. However, the film is very enjoyable, has anticipations of so many of Hitchcock's films, especially the chase of the innocent hero e.g. Saboteur and North By North West. Nova Pilbeam also anticipates the attractive blonde heroines of Hitchcock's Hollywood period. There are many technical innovations in the film which are quite striking, especially the long tracking sequence in the restaurant.

1. The focus of the title? The American title was A Girl Was Young. Which was the more appropriate? Why?

2. The impact of the film as a Hitchcock film, from his British period? Budget, studio and location work, British stars? Quality of the black and white photography and styles of the '30s? Music?

3. The relationship of this film to his others, especially with the chase, the innocent victim? The journey theme? How good a chase, journey, innocent victim thriller?

4. The importance of the audience seeing the prologue. the atmosphere of the murder, the murderer himself, the circumstantial evidence for Robert? The body, the beach, the women, the hero running? The irony of the truth? The importance of the audience knowing the truth? The indication of the murderer's blinking?

5. Robert's predicament, the ordinary young man, being made to prove his innocence, the encounter with the police? The device of his fainting and the introduction of Erica to help him? His decision to go on the run? A right decision or not? The need to prove innocence?

6. The film's using the structure of the journey: the build-up of the suspense, the number of predicaments. the town. the countryside. hiding in the hayloft, the car? Which particular incidents were the most enjoyable, comic, suspenseful? His seeking of information, the information spreading about his guilt? The move towards finding his coat, the search and the various details of the search, leading to the old tramp? The urgency of the quest?

7. How attractive a heroine was Erica, British heroine of the '30s, her relationship with her father, the first aid situation, her encounter with Robert, attraction but not believing him? The sequences in the family, especially the nature of the talk, comedy, the meal? The tension with Erica's helping Robert and her loyalty to her father? Hiding him in the loft? The decision to help him with the car? The various devices she used to hide him? Why was she helping?

8. The key sequence of the party with its suspense? The humour of Robert's giving a gnome as a present? The chatter, Uncle and Aunt, Aunt's overpowering character, the children's games. Blind Man's Buff, the ambiguity of introductions and explanations of work etc.? Their escape?

9. Old Will and his importance for the plot? His helping? The sequences of the railway yard?

10. The build-up to the restaurant sequence. the police searching for Robert and Erica. old Will dressed up, the impact of the special tracking sequence across the restaurant and the dancers to the orchestra. culminating with the blink? What was the impact on the audience of the blink? The murderer becoming fearful, the chaotic band-playing, his fainting and the discovery of the truth with Erica present? The revelation of the identity?

11. How effective a comedy, thriller? Blend of both?

YOU LIGHT UP MY LIFE

US, 1977, 91 minutes, Colour.
Didi Conn, Joe Silver, Michael Zaslow, Stephen Nathan.
Directed by Joseph Brooks.

You Light Up My Life is perhaps no more nor less than an enjoyable telemovie, but this pleasing film has something to entertain as well as to say to the young audience (especially girls) and to their parents. Written, music composed, produced and directed by Joseph Brooks, it is set in Los Angeles and the world of media - TV and records. Young girl, with talent, lives in the shadow of her loving father's expectations. Capable, she is disappointed and disillusioned by people she trusted. She learns the lesson that she herself if capable, reliable and trustworthy and she sets off in life with these hopes and the attractive title song. Nothing new, but nicely told.

1. The appeal and interest of this film? To feminine audiences, teenage girls, parents? To American audiences, non-American?

2. How particularly American is the film in content and its style? American dreams of success, American show business and records and music? The universal themes within this American context?

3. The film as the unified work of Joseph Brooks? Writing. production and direction, musical composition and production? The point of view of Brooks about his characters, his life experiences and dreams?

4. The importance of the opening prelude? The introduction to Cy and Laurie? Show business, stand-up comics, jokes? The effect on the audience? Laurie and her lack of timing and Cy's emphasis on timing? This recurring theme throughout her years? The effect of Laurie living this kind of life, of the mood with her father? Her enjoying it, it moulding her life?

5. How did the film show the effect of the past on Laurie's life? Her failure at the Komedy Hour? Her father's continued emphasis on timing? Its covering over her true self. a need for a career, her ambitions for acting, her way of relating, her not wanting to hurt her father? Her covering over of her true self?

6. How good a man was Cy in himself? His skill at entertaining, his own timing, the jokes? Seeing him in action at the roasting? Yet his holding on to his daughter. the bonds between them, supervising her Komedy Hour? Expectations for the marriage and the performance of the marriage (Los Angeles kitsch style?), his disappointment in her? The importance of the conversation at the party and his awareness that something was wrong?

7. How was the final talk with her father significant for the meaning of the whole film? Her failure at the Komedy Hour, his insistence that she could rectify things and her insistence that she couldn't? The fact that he had never heard one of her songs, her hopes for New York, going alone, asking him to let go? His ability to let go? Their mutual love? Giving a validity to the whole meaning of the film? Setting a tone for its meaning?

8. How attractive a girl was Laurie? Her work in acting, the television commercials and the comic side of these, the people at the television world and the commercial world, the directors preoccupied about success with their commercials? The contrast with her feelings as she recorded her songs, her work with the group, discussions with Hanny, the effect of this on her life? Her personal style, way of speaking, reverting to being a little girl? Her becoming more mature when she sang? When she read her script for acting?

9. The importance of the chance encounter with Chris? The telephone call? His inviting her to go home. her surprising herself and the audience that she went? What did she hope for the night? Her shyness? The revelation that she was going to marry? The effect on Chris, on the audience? The significance of this event for her life? The comparison of Chris with her fiance and his talk,, preoccupation with the work,, inability to touch her? The rehearsals for the wedding and their comic aspects? Emerging from the clam? Meeting the fiance at the hamburger place, at his coaching? Having to ask him to hold her? The comparison of Chris and the fiance?

10. The breaking of engagement scene, the effect on her, for her to her fiance? How real did this sequence seem?

11. The irony of Laurie's meeting Chris at the film direction? The build-up to the big scene and her singing her song with the orchestra, the effect on her and the exhilaration? The hopes for the film, the importance of the reading and her ability, their working together on the music the walk along the beach? Her hopes for the film, for marriage? Chris's influence on her life? The effect of the consequent disillusionment and disappointment?

12. Chris's manner of communicating and the impersonal phone call, the effect of losing the part, confronting him at the hotel and seeing the new star? Her not being able to cope with the Komedy Hour and breaking down? The fact that the expectations of her life were breaking up?

13. The importance of what she learnt and her positive attitude? Her explaining to her father that she couldn't rely on others but that she could rely on herself and that she was good and that she had value and talent? The value of this positive outlook?

14. The authentic detail of the Los Angeles world, the streets, the recording studios? The types? The attention to detail, authenticity? Nevertheless the universal appeal and message?

15. Themes of work, independence,, age, relationships,, disappointment and self-reliance. vision?

16. The contribution of the songs? Their importance for Laurie, their placement during the film. the quality of the music and the lyrics? The finale and her reaching the top of the Top Hundred? Did this seem real, optimistic?

17. The overall effect in terms of entertainment,, in the exploration of values? For younger audiences,, for parents?

YOU CAN'T RUN AWAY FROM IT

US, 1956, 96 minutes, Colour.
June Allyson, Jack Lemmon, Charles Bickford, Jim Backus, Stubby Kaye, Allan Joslyn.
Directed by Dick Powell.

You Can't Run Away From It is a mid-'50s remake of Frank Capra's famous and Oscar-winning comedy, It Happened One Night (Clark Gable and Claudette Colbert starring and also gaining Oscars). This time the film is geared as a vehicle for June Allyson by her husband and director Dick Powell. June Allyson gives a lively performance and is matched by Jack Lemmon in his early days of film comedy. There is a strong supporting cast including Charles Bickford and Stubby Kaye. The film is also in Cinemascope and colour. There are songs by Johnny Mercer and Gene de Paul.

The film follows the original screenplay by Robert Riskin and has been adapted with the help of Claude Binyon, director of a number of pleasant comedies of the '50s: Mother Didn't Tell Me, Aaron Slick from Punkin Crick etc. For those who have not seen the original, this musical comedy would be a pleasant and slight piece of Americana. It takes the usual theme of the wealthy and spoilt heiress, her cranky beef-millionaire father, his abducting her to prevent her marrying an unscrupulous Latin husband. The film is also a road movie with the heroine on the road with a reporter accompanying her across Texas - whom she thinks wants her for the news and publicity, but who really loves her. Needless to say, the film has a happy ending. In stead of the brash screwball comedy pace and jokes of the '30s, the film has the glossy musical comedy affluence of the '50s. Critics generally compared it unfavourably to the original. However, it provides an interesting companion-piece and indicates the change of entertainment styles from the '30s to the '50s.

YOSSI AND JAGGER

Israel, 2003, 65 minutes, Colour.
Ohad Knoller, Yehuda Levi.
Directed by Eytan Fox.

Yossi and Jaeger is a brief Israeli film which raises questions about two issues, social and personal.

The social issue is that of the military, Israel's defence and defensiveness, especially with young recruits, especially with those doing National Service, both men and women. The film shows the outposts, their activities, the camaraderie, the pressures. It also shows the superiors, chain of command. It also shows the dangers and military action and death.

The personal issue is that of homosexuality, the two central characters are in a relationship, are soldiers, on the outpost, concealing the relationships, while trying to give it expression. The film shows the pressures of secrecy as well as military life on this kind of relationship.

1. The impact of the short running time? Establishing situation, atmosphere, characters and relationships?

2. The Israel- Lebanon border, the winter season, the snow? The day in the life of the soldiers? The night ambush and destruction? The musical score?

3. The Israeli themes, the army and its preparedness, young people in the forces and then leaving for their future lives, the difficulties of the military, characters, relationships, homosexual relationships?

4. The title, the focus on the two men, seeing them in their military context, the suggestions of a relationship, their going out together in the snow, the return, their places in the military, Yossi and his being in charge, Jagger and his carefree attitudes? The ambush, Jagger being hit, his death, the aftermath of the wake?

5. The Israeli military, the young people in the military, their being placed together on the Lebanese border? The military centre, the number of people, the commander and his arrival, his bringing the two women, his sexual encounter, the meal, his being in charge? The other men, the opening with their digging the grave - for the food which had gone off because of the power failure? Their having been out on ambushes, being tired, horsing around? The meals?

6. The focus on individuals, their brief screen time for their characters, the cook and his attitude? Yossi and Jagger within this context? The two women, Goldie and her being there for the commander, flirting with the men, music and dancing? The other girl and her focus on Jagger, contriving the meeting at the sentry post, making the other man jealous, intimating sexual behaviour that was not there?

7. Yossi and Jagger and the lyrical scene in the snow, their relationship, love for each other, the music, the singing? Their return? Sitting at different tables? Yossi with the commander? Jagger and his fooling around, asking the other men what would happen if they thought he was gay and their different reactions? The tension with Yossi before the ambush, the promise to take him to meet the family? In action, Jagger being wounded, Yossi caring for him, giving him the kiss of life, declaring his love?

8. The build-up to the ambush, the men having to go out, the irony of their sitting on the explosives, the injuries and deaths? The helicopter coming? The reaction of all concerned?

9. The aftermath, the wake at Jagger's home, the family, the soldiers present? The girl declaring her love for Jagger and saying that he returned it? The effect on the mother? The contrived dialogue to highlight the relationships - the mother not knowing her son, the question about his favourite song, the girl not knowing, Yossi explaining which the song was (from an Israeli drag star)? His acknowledging his relationship with Jagger?

10. The film's perspective on relationships, heterosexual, homosexual? Authentic care, love, the consequences?

YOU'LL NEVER GET RICH

US, 1941, 88 minutes, Black and white.
Fred Astaire, Rita Hayworth, John Hubbard, Robert Benchley, Osa Massen, Freda Inescort, Guinn Williams.
Directed by Sidney Lanfield.

You'll Never Get Rich is the first-time teaming of Fred Astaire and Rita Hayworth. It was so popular that there was a follow-up, You Were Never Lovelier.

The plot is the slightest. Astaire plays an arrogant song-and-dance man who is called up during the war. Rita Hayworth plays an ambitious dancer. There is some old-fashioned comedy with Robert Benchley playing a two-timing impresario who is unmasked.

1. Popular teaming of Fred Astaire and Rita Hayworth? The popularity of the Hollywood musical? During World War Two?

2. Black and white photography, studio sets, atmosphere of New York, upstate?

3. The musical score, the Cole Porter songs, choreography? Astaire and Hayworth dancing together?

4. The routine plot, the expected characters, interactions, deceptions, farce?

5. Show business, Robert as a dancer, Sonia as the star promoted by Martin? Sheila and her mistakes, her devices to get attention?

6. Fred Astaire as Robert, his lies for Martin, falling in love, clashes with Sheila, the army, the show?

7. Martin and Julia, the impresario, the lies, the gifts to the stars, being exposed, Sheila, the farce with the bracelet and the inscriptions? Sonia?

8. Sheila and her fiance, the jokes, her aunt and support?

9. The military sequences, the brig, getting out, getting back? The show?

10. The two comedians?

11. A slight and popular entertainment of the '40s?

YOU ARE NOT ALONE

Directed by Blaine Allen.

You Are Not Alone is a short film, a parody of the film noir, written, produced, directed and edited by Blaine Allan, a lecturer in Canada. He takes the detective story and presents the plot from the point of view of the missing person. The film is enigmatic, puzzling with vague connections and loose ends.

The important characteristic of the film is its cinematic style consisting especially of long static images, full of pregnant pauses with audiences being asked to supply their response. The dialogue is minimal, yet there is a continuous stream of voices and conversations, radios, passers-by, poetry, homespun advice, poignant and profound comments about humanity. This makes the film particularly demanding - while we see the detective and see him at work, as well as his client, the wife of the missing man, the film expects its audience to know something about the private eye film and supply the missing pieces. However, as a journey across America, especially through Texas and Tennessee (even to Graceland) the film is a look at the United States.

1.The impact of the film? Content and style?

2.The Canadian perspective on the United States? The range of locations, the ordinary towns, the countryside, the open spaces? The impact of the long static takes? Audience reaction and supplying response to these takes? Seeing and not seeing? The amount of material heard? Audience supplying the plot details and the response?

3.The detective, the interviews, the phone calls? Audiences understanding his perspective and his work? The wife, the interviews, her quest? The contacts by her husband? The missing husband, an enigmatic character, his location? The young girl, her presence, interaction with the detective? The incidental characters seen along the American road?

4.The theme of quest and search? The private eye tracking down the missing person, picking up clues?

5.The film-maker's observation of the American countryside, of ordinary American people and their daily routines in the towns, the diners, on the roads? The attention to detail?

6.The cumulative effect of this kind of cinematic experience, the demands of the style, the absence of much of the plot, the linear development? A cinematic experience?

YOUNGBLOOD

US, 1986, 111 minutes, Colour.
Rob Lowe, Cynthia Gibb, Patrick Swayze, Ed Lauter, Fionnula Flanagan, Keanu Reeves.
Directed by Peter Markle.

Youngblood is a routine sports film, a hockey film designed as a star vehicle for Rob Lowe, very popular in the mid-80s. In the supporting cast is Patrick Swayze who had appeared with Lowe in Copolla's The Outsiders and who was to go on to become a star in his own right (Ghost, City of Joy). The romantic interest is offered by Cynthia Gibb. The film looks something like a junior Slapshot (Paul Newman's film on hockey). All the expected ingredients are there: the outsider with talent, the hostility of the group, hard driving by the coach, becoming buddies with members of the team, the hostile opponents and brutality, romance and sex, withdrawing from the team to find himself, the belated from father, the final confrontation and success. The film was written and directed by Peter Markle whose credits range from Hot Dog the Movie to the intelligent Vietnam war drama, Bat 21.

1. Entertaining sports film? Expected styles and plot lines? Star vehicle for Rob Lowe?

2. The title, its overtones, sport, competition, drawing blood? the focus on the Rob Lowe character?

3. The background of sport, the ice hockey matches, training and competition? The editing pace? The background of city life, boarding houses, hotels? The contrast with life on the farm? The musical score, the range of background songs?

4.Rob Lowe as Youngblood: the tryout for the junior league team, his speed, ability to move? Impressing Murray Chadwick? The clash with Racki and his brutal style? The training sessions and their effect? The other members of the team? The clash, the mocking, the injuries, the doctor and the sewing of the stitches? Derek and the clash? The encounter with Jessie - and his being in his jock strap and her reaction? The boarding house, Miss McGill?, nymphomania, the sexual encounter? the other members of the team and their comments? Her waiting on him? His relationship with Jessie, the sexual encounter - and Miss McGill? with the tray? The clash with Chadwick? The growing friendship with Sutton, the setting up of the goal? The clash with the bombers, the clash with Racki? The effect on Sutton, the hospital? Youngblood’s being disgusted with the methods, the return to the farm? Work, reflection? Relationship with his father, with his brother? going back to the team? His father's tips? His brother and the fighting? Young Blood's return, the harsh game? Racki and his slashing Youngblood? The even scores, the climax, the foul, the conversion? Chadwick's decisions? The build-up to the showdown, the fight, Youngblood winning? The youngsters with their autographs? Jessie? The variation on the
Rocky theme?

5. Derrick Sutton, the clashes with Youngblood, growing friendship, collaboration in the play? The buddies? The match, his injury, in hospital?

6. The other members of the team, friendship, rivalry, clashes? Violence? Racki and his vindictiveness? With the bombers? The violent matches? The clash with Racki, the slashing? Racki being defeated by Youngblood?

7. The world of the authorities, the coaches, their dominance? The harsh methods? Promotion of violence? Chadwick and his vindictiveness - and being escorted out by the authorities? The referees? Decision-making? The world of sport?

8. Jessie and the initial with Young Blood? His embarrassment, her capitalising on it ? The relationship, the father's disapproval, the sexual encounter? Miss McGill? The re-uniting at the end?

9. Youngblood's father, the farm, their persuading to go back? The tips about play - and Young Blood saying that they came so late? His relationship with his brother, his brother's hopes? The teaching him how to fight?
10. Miss McGill?, the caricature of the landlady, her sexual forcefulness, the encounters with the members of the team, with Youngblood?

11. The world of sport competitiveness and vio1ence? The effect on individuals? Working for the team? Coaches, fans? The glimpse of the world of sport?