WHERE ANGELS FEAR TO TREAD

UK, 1991, 108 minutes, Colour.
Rupert Graves, Helena Bonham Carter, Helen Mirren, Judy Davis, Barbara Jefford, Thomas Wheatley, Giovanni Guidelli.
Directed by Charles Sturridge.

Where Angels Fear to Tread is one of E.M. Forster’s six novels. From 1985, five of them were made for cinema (some of them remade in the early 21st century, like Room with a View, for television).

The main films were made by James Ivory, in the English Heritage Merchant Ivory tradition. They were very popular and received critical acclaim, especially Howard’s End with Oscar-winning performance by Emma Thompson. Room with a View, also with Oscar nominations, was released in 1985, Maurice was released in 1987. however, the first film of a Forster novel was David Lean’s A Passage to India, 1984, which starred Judy Davis.

With Judy Davis appearing in A Passage to India, the other main cast also appeared in other Forster films. Rupert Graves was in Room with a View and Maurice. Helena Bonham Carter was in A Room with a View, Howard’s End and an uncredited cameo in Maurice.

This film continues the English Heritage tradition but does not have the grandeur and sweep of the Merchant Ivory films. The director was Charles Sturridge who directed the television version of Brideshead Revisited and films like A Handful of Dust.

The film was mainly shot in Italy and the locations are presented beautifully as well as with Italian exuberance contrasting with the buttoned-up style of the uptight English characters.

Rupert Graves has a good role as a culturally adventurous Briton, a single lawyer, tied to his family, who appreciates Italy but becomes more open to its vitality. Helena Bonham Carter is a rather quiet young Englishwoman who again is opened by her experience of Italy, especially falling in love with the charming Gino. Helen Mirren is exuberant from the start as a widow who falls in love with a young man, marries him impetuously, discovers his Italian macho presuppositions, who dies in childbirth. Judy Davis portrays the single daughter of the house in a rather harridan-like, obnoxiously superior British manner. In this way she has learnt from her mother, played with style by Barbara Jefford. The young man is played by Giovanni Guidelli, who has had a long career in television rather than in film.

Those who enjoy Forster films and novels will appreciate that there are similar themes, family, traditions and loyalty, the difference between Italy and England, the opening up of the British to the sunlight and charm and vitality of Italy. It is important that intercultural experiences take place otherwise individuals and families remain narrow.

The title of the film comes from the famous proverb – and it is interesting to reflect on which, or how many, of the characters are the fools who rush in.

1.A pleasing period drama? In England, in Italy, the beginning of the 20th century?

2.The popularity of Forster’s novels, the film versions: characters, class issues, culture issues, the clash of cultures, the critique of British reserve, the praise of Italian vitality?

3.The focus on Italy, the beautiful countryside, the mountain town, homes, hotels, cafés, the opera house? The performance of Donizetti? Italian moods, traditions, exuberance?

4.The contrast with the English, the country village, the church, homes, the railway? Close and reserved?

5.Caroline presenting the dilemma for the young child and whether he should be brought up in Italy or England: to be loved and badly brought up in Italy or to be unloved and well educated in England?

6.The musical score, the atmosphere of the period, moods, the aria from Lucia di Lammermoor?

7.The title, the proverb? How did it apply in terms of fools rushing in to Lilia, Philip, Caroline, Harriet, their mother, to Gino?

8.The opening, the railway station, Lilia going on the trip, the excitement, the farewells, the family all there, getting the heaters for the train, Philip giving advice for tourism, Irma and her mother leaving? Travelling with Caroline? The prospects for the trip?

9.The Herriton family: the matriarch, her control, her caring for Irma? Philip and his being single, a lawyer? Harriet, at home, reserved and brittle? The news of Lilia’s engagement? His mother sending Philip to Italy?

10.The character of Philip, his age, experience, going to Italy, at the station and looking for a carriage, going to the hotel, his pompous British manner, his hostility towards Gino, the meal, watching Gino eat, wanting to talk with Lilia, confronting her, offering the money, Lilia’s refusal? The talk with Gino, offering the money, the revelation that they were married? The physical fight and attack? Philip upset? His return to England with the news?

11.Lilia and her exuberant personality, excited by the trip? Her past story, poor, marrying into the family, her husband dying? Irma? Her leaving her behind? The support of Philip? Caroline going on the trip with her? In Italy, meeting Gino, sending the letter about the engagement? Marrying him, happiness? Her letters home? Her being treated by Gino as an Italian wife, her wanting to be free, go for a walk, his macho attitudes? The Italian husband and the treatment of women? Her going to communion, her pregnancy, being with the women of the village after they had ignored her? Gino’s friend and the piano recital and song? Her giving birth, her death? Gino, the young man, marrying, wealth, his love for Lilia? His infidelity? His harsh attitudes? Wanting to keep her at home? His friends? The joy at the birth of the baby, grief at her death?

12.The family in England, receiving the letters, Harriet and her trying to prevent Irma reading the letter about her brother? Her talking, quoting her brother, her new father? Mrs Herriton making a decision, sending Philip to get the baby, sending Harriet? Harriet and her pompous attitudes, at the station, wanting the window open, the carriage, the singer and her begrudging sharing the carriage? Her manners at the hotel, Harriet speaking English only, despising Italians, her looking at the picture of the Virgin Mary with contempt, putting it under the bed? Her demands? Her behaviour at the opera, whispering, telling everybody to shush? Walking out?

13.Caroline, in herself, her family background, her minister father, the church? Her friendship with Lilia? Knowing about the marriage, not telling Philip? Her attraction towards Gino? The return to Italy, her purpose, the baby, Gino? Meeting Philip, the discussions? Going to the opera, enjoying the evening? The serious talk with Philip, presenting him with the alternatives for the baby? Going to Gino, helping to bathe the baby? The crash in the night, at the station? The return to England, her farewell to Philip, wanting to talk to somebody about her love for Gino? The importance of her being the mediator between Gino and Philip, the drinking of the milk? Her future?

14.Gino, the Italians, the household, his character, his love for the baby and bathing it? At the opera with his friends? Drinking with Philip? The meetings, the friendship? His distress about the baby, his fighting with Philip, Caroline and making the peace? Her comment that he had no heart – how true?

15.Harriet taking the baby, going in the carriage, keeping Philip quiet, the crash, Philip breaking his arm, the death of the child? The inquest – and there no visualising of this and the comment that Gino had lied to save them?

16.The aftermath? Caroline and her unrequited love? Gino and his committing himself to his new fiancée, even if it was only for the money? Philip and the possible changes, returning to Italy? Harriet and the effect of what she had done on her?

17.A British Heritage film, attitude towards the British and critique? Openness towards Italians and the continent of Europe?

A SHORT STAY IN SWITZERLAND

UK, 2009, 90 minutes, Colour.
Julie Walters, Stephen Campbell Moore, Lyndsey Marshall, Liz White, Patrick Malahide, Patrick Walter.
Directed by Simon Curtis.

Dr Anne Tucker made headlines (and television news and documentaries) when she opted for assisted suicide at the Dignitas Centre in Zurich, an institution able to function under Swiss law but which is an option of last resort for those who come from countries which could prosecute them for such action.

This then is a drama that puts before its audience intellectual and emotional arguments in favour of and against assisted suicide (a theme taken up in the feature films, Million Dollar Baby and The Sea Inside, both 2004). Clearly, those who hold strong opinions either way will not be swayed by the film. One thing to note, however, is that while print and radio are media where it is possible to present rational argument with some clarity and force, film and television, being visual and narrative media, are much stronger in presenting emotional argument.

Julie Walters, who can show her wilder side on screen – just think of her obstreperous performance in Mamma Mia – can also do serious very well indeed (as she did with Mary Whitehouse in Filth). This is one of her best performances, often very still and quiet so that the audience has the chance to ponder what has happened to her and what she is thinking and feeling.

Dr Tucker's husband died of the same disease, progressive supranuclear palsy, a debilitating disease that almost completely restricted communication. Dr Tucker was a business-like professional of the no-nonsense variety so, when she foresaw here situation, she decided to act. Her children had very mixed feelings. This makes for the drama, for and against what she did. The repercussions for the family in facing a death, in facing this kind of choice, are brought to the fore even though her children finally and for one, rather unwillingly, acquiesced in their mother's decision and went to Zurich with her.

In any moral issue, it is important to have the real-life dimensions in all their contradictions as part of the process of discernment and moral decision, otherwise it is a cold text-book exercise that can be easily solved like an equation, quick rational principles and answers for the problematic rather than a holistic approach where the rational interacts with the emotional that gives not just a solution but also a 'pastoral' agenda for all involved.

1.The impact of the telemovie as drama, as raising ethical questions, morality?

2.The film based on a true story, actual characters? Anne Turner, the doctor, caring for her husband and his illness? The doctor and her own diagnosis? The rare occurrence of this disease twice in the same family? Her illness being documented, television coverage? The film, her children and their approval?

3.The film and BBC quality film-making? Scenes in the UK, at home, Anne Turner’s bungalow, doctors’ offices? Zurich, the tour of the city? The Dignitas Centre? The musical score?

4.The Dignitas Centre and its role? Moral issues of assisted suicide? The law in England, Switzerland, different countries? The film seen as an appeal/critique about the law, dying with dignity, personal choices, assisted suicide, the consequences?

5.The plea for assisted suicide, a debilitating disease, the effect on the patient, on the family, on the carers? The nature of the decision, the criteria? Finding the right time or not?

6.The portrait of the family, the party, the father and his silence, inability to communicate? Anne, her care for her husband? Visitors being wary? The children? The father’s illness, his death, his suffering?

7.Anne as a busy doctor, her illness, the diagnosis, the discussion with Richard about her illness? Recognising the illness, preparation?

8.Richard and Clare, their support, the discussions with Clare and the impossibility of her agreeing to assisted suicide? Walking out? Her later inability to read Anne’s letter to her and Richard?

9.The children, the decision to move house, Anne’s contempt of the idea of a bungalow? The bungalow itself, the importance of the garden and her working there? Her life in the house, her growing weakness, the scenes of her by herself, in bed, collapsing, unable to help herself? Reading, television? Phone calls? Her housekeeper, friendliness, the bond between them?

10.The picture of Anne’s children, their lives, careers? Jessica and her strength, the discussions, the visits and concern? Seeing them at work, the sudden phone calls and having to visit their mother? Edward, his career, his partner and relationship, the union ceremony? Sophie, younger, emotional, refusing to accept the decision, the discussions, her moods?

11.Their finally deciding to support their mother, the decision to go, Anne’s research about the Dignitas Centre? The secret flight, the tour of Zurich? Settling in?

12.The Dignitas Centre, the personnel, their explanations, the issues, law, ethics and morality?

13.The children, their mother dying, their being present, the suffering? Their mother’s pain and suffering compared with their grief?

14.The issue of the right time or not, the procedure, the personnel and the explanation, seeing the actual procedure? Anne’s death?

15.The final impact of watching this film? The role of objective principles and consequences, the rational approach? The visualising of a story, pain and suffering, the emotional approach? The need for dialogue between the two perspectives?

A SHORT STAY IN SWITZERLAND

UK, 2009, 90 minutes, Colour.
Julie Walters, Stephen Campbell Moore, Lyndsey Marshall, Liz White, Patrick Malahide, Patrick Walter.
Directed by Simon Curtis.

Dr Anne Tucker made headlines (and television news and documentaries) when she opted for assisted suicide at the Dignitas Centre in Zurich, an institution able to function under Swiss law but which is an option of last resort for those who come from countries which could prosecute them for such action.

This then is a drama that puts before its audience intellectual and emotional arguments in favour of and against assisted suicide (a theme taken up in the feature films, Million Dollar Baby and The Sea Inside, both 2004). Clearly, those who hold strong opinions either way will not be swayed by the film. One thing to note, however, is that while print and radio are media where it is possible to present rational argument with some clarity and force, film and television, being visual and narrative media, are much stronger in presenting emotional argument.

Julie Walters, who can show her wilder side on screen – just think of her obstreperous performance in Mamma Mia – can also do serious very well indeed (as she did with Mary Whitehouse in Filth). This is one of her best performances, often very still and quiet so that the audience has the chance to ponder what has happened to her and what she is thinking and feeling.

Dr Tucker's husband died of the same disease, progressive supranuclear palsy, a debilitating disease that almost completely restricted communication. Dr Tucker was a business-like professional of the no-nonsense variety so, when she foresaw here situation, she decided to act. Her children had very mixed feelings. This makes for the drama, for and against what she did. The repercussions for the family in facing a death, in facing this kind of choice, are brought to the fore even though her children finally and for one, rather unwillingly, acquiesced in their mother's decision and went to Zurich with her.

In any moral issue, it is important to have the real-life dimensions in all their contradictions as part of the process of discernment and moral decision, otherwise it is a cold text-book exercise that can be easily solved like an equation, quick rational principles and answers for the problematic rather than a holistic approach where the rational interacts with the emotional that gives not just a solution but also a 'pastoral' agenda for all involved.

1.The impact of the telemovie as drama, as raising ethical questions, morality?

2.The film based on a true story, actual characters? Anne Turner, the doctor, caring for her husband and his illness? The doctor and her own diagnosis? The rare occurrence of this disease twice in the same family? Her illness being documented, television coverage? The film, her children and their approval?

3.The film and BBC quality film-making? Scenes in the UK, at home, Anne Turner’s bungalow, doctors’ offices? Zurich, the tour of the city? The Dignitas Centre? The musical score?

4.The Dignitas Centre and its role? Moral issues of assisted suicide? The law in England, Switzerland, different countries? The film seen as an appeal/critique about the law, dying with dignity, personal choices, assisted suicide, the consequences?

5.The plea for assisted suicide, a debilitating disease, the effect on the patient, on the family, on the carers? The nature of the decision, the criteria? Finding the right time or not?

6.The portrait of the family, the party, the father and his silence, inability to communicate? Anne, her care for her husband? Visitors being wary? The children? The father’s illness, his death, his suffering?

7.Anne as a busy doctor, her illness, the diagnosis, the discussion with Richard about her illness? Recognising the illness, preparation?

8.Richard and Clare, their support, the discussions with Clare and the impossibility of her agreeing to assisted suicide? Walking out? Her later inability to read Anne’s letter to her and Richard?

9.The children, the decision to move house, Anne’s contempt of the idea of a bungalow? The bungalow itself, the importance of the garden and her working there? Her life in the house, her growing weakness, the scenes of her by herself, in bed, collapsing, unable to help herself? Reading, television? Phone calls? Her housekeeper, friendliness, the bond between them?

10.The picture of Anne’s children, their lives, careers? Jessica and her strength, the discussions, the visits and concern? Seeing them at work, the sudden phone calls and having to visit their mother? Edward, his career, his partner and relationship, the union ceremony? Sophie, younger, emotional, refusing to accept the decision, the discussions, her moods?

11.Their finally deciding to support their mother, the decision to go, Anne’s research about the Dignitas Centre? The secret flight, the tour of Zurich? Settling in?

12.The Dignitas Centre, the personnel, their explanations, the issues, law, ethics and morality?

13.The children, their mother dying, their being present, the suffering? Their mother’s pain and suffering compared with their grief?

14.The issue of the right time or not, the procedure, the personnel and the explanation, seeing the actual procedure? Anne’s death?

15.The final impact of watching this film? The role of objective principles and consequences, the rational approach? The visualising of a story, pain and suffering, the emotional approach? The need for dialogue between the two perspectives?

FLAMMEN AND CITRONEN (FLAME AND CITRON)

Denmark, 2008, 130 minutes, Colour.
Thure Lindhardt, Mads Mikkelsen, Stine Stengade, Peter Mygind, Christian Berkel.
Directed by Ole Christian Madsen.

World War II stories are still very popular on screen. Germany continues to make them (Downfall and the recent John Rabe). The Austrians made The Oscar-winning The Counterfeiters. The American contributions range from the serious Valkyrie to Tarantino's Inglourious Basterds. Smaller countries are also making memoirs of the war era and focusing on their Resistance. Paul Verhoeven's The Black Book did this for Holland. Flame and Citron is in the same vein and does it for Denmark.

Flame and Citron is a continually interesting film. Audiences outside Denmark do not know the impact these two men, Flame (because of his red hair) and Citron (because he had worked for Citroen), made in their Resistance actoivities in 1944 and the subsequent state honours and funerals they received as well as American medals.

The film opens with a voiceover from Bent (Flame was his codename) about the presence of the Nazis in Copenhagen in 1944. There is newsreel footage to remind us of Denmark's occupation. Almost immediately, there is an assassination of a Danish Nazi sympathiser. Flame, although only in his early 20s and working for the police, is one of the Resistance's chief killers. He is played by Thure Lindhardt . Jorgen (codename Citroen) is the driver who will soon have to kill as well. He is played by top Danish actor (Mads Mikkelson: After the Wedding and internationally known as Le Chiffre in Casino Royale).

The events in the film take place over six months. The film builds up an atmosphere of tension, especially when seemingly contradictory orders are issued. The Resistance is controlled by the Copenhagen police chief who is under orders from Britain. However, visits to neutral Stockholm are not so difficult, so there are orders from the Resistance movement there, including not killing Germans but only Danish Nazis or collaborators. When Flame and Citron are ordered to kill Germans and when Flame encounters a young woman who knows his name and, despite wondering whether she is a spy for the Germans, falls in love with her, the film creates tension for the audience who does not know whom to believe.

There is a back story for Citron, a seeming loner who has a wife and daughter. Flame is caught up with the mysterious woman. Because of betrayals and executions, they decide that the principal target should be the Gestapo chief in Copenhagen (Christian Berkel).

Quite long, with plenty of local atmosphere and a reminder of the ambiguous ethics of resistance movements, this is a worthwhile World War II film.

1.Danish memories? World War Two? Occupation, Resistance, heroics? The memory of the 20th century? In 21st century retrospect?

2.The film based on actual events, six months in 1944? Bent and Jorgen? As persons, in the Resistance, following orders, the consequences? The experience of betrayal? Deaths? The posthumous honours, from Denmark and from the United States?

3.The film recreating 1944, the city of Copenhagen, apartments and streets, offices, official buildings, the Nazi occupation? Sequences in Stockholm? The safe houses, the countryside, the summer? The musical score?

4.The voice-over and Bent asking the questions about April 44? The end and their being part of his letter to Ketty? The irony of his experience and her betrayal?

5.The credits, the range of war footage, the effect of immersing the audience in the Danish experience?

6.Bent as Flame: his orders, the envelope, the photo and documents about the target? Seeing him in action? Jorgen and the car, the getaway? The Resistance and the methods? Winther and his role with the police? Issuing orders? His claims that he was in touch with the British? The Swedish exiles and their not wanting Germans killed? The meetings in Stockholm? The local meetings in the bar, the introduction to all the other members of the Resistance group? Their strategies, the killing of Danish collaborators and not Germans?

7.The killings, the method, the knock on the door, the shooting, the getaway, no witnesses? The reaction of the Gestapo? The Gestapo chiefs, their offices? Hoffmann and his being in charge? His reactions? His contacts with Winther?

8.The orders to kill Germans, allegedly British orders but not from Sweden? The woman shot in her house? Bent and his memoirs of his not shooting a woman, her later betrayal? The importance of not being emotional? The failure to kill and Jorgen stepping in? The warnings about Gilbert, his plausibility? His inviting Bent in, the talk, patriotism, Resistance, his philosophical reflections, Bent not killing him? The puzzle about his innocence, Winther claiming he was in league with Hoffmann? The later revelations about Winther and Gilbert? The following of the officer on the street, his turning round and firing, Bent being wounded?

9.The story of Jorgen and his wife, her visit to the headquarters, his daughter’s birthday, borrowing money from his friends, the small gift, the food, their eating it? The later discussions with his wife? Her desperation and fear? Another man? His robbing the store, the fear of the storekeeper who collaborated with the Germans, getting the food, the gift of the doll for his daughter? His later visiting his wife, seeing the other man, asking him to look after his daughter? Jorgen as a character, a loner, his motivation to be in the Resistance, change, with Bent?

10.The scene in the bar, the encounter with Ketty, her knowing his name, his following her, the discussions, her wig, her being a courier, the question whether she was a spy, her contacts with Winther, the visits to Sweden, relaying information? Bent’s attraction to her? She being older, wary? The affair and its effect? Her telling the truth or not? Persuading Bent to go to the meeting in Sweden? Seeing her with Hoffmann, her explanation, uncertainty whether she was telling the truth or not? The final betrayal, the money, the letter from Bent and reading it – and the information about her life after the war?

11.Winther, his role in the police, going to Sweden? The revelation about his deals, money-making? The killings? Yet still being used by the Swedish Resistance?

12.Resistance members, their missions, being rounded up, the torture, the executions, the killings in the back of the trucks? Winther’s wanting to find the traitor, his test with the member of the group and the gun at his head?

13.The decision about killing Hoffmann, the information from Ketty, his route, the ambush, the wrong car, the young boy and his death?

14.Bent and Jorgen dressed as police, their arrest, the line-up, Jorgen being shot, Bent’s escape? Jorgen, his injuries, the recovery? The siege of the safe house, the elaborate shootout, Jorgen’s death? Bent with the family, going to the cellar? His taking the cyanide pill?

15.The information at the end of the film about the aftermath of the war, the honours?

16.The film and its morale for Denmark? For 21st century memories? A memorial to the heroism of the Resistance in the war?

REVERB

UK, 2008, 88 minutes, Colour.
Leo Gregory, Eva Birthistle, Pamela Banks, Margot Stilley, Luke de Woolfson, Stephen Lord, Neil Newbon.
Directed by Eitan Arrusi.

There are ominous indications during the credits that this is going to be a slasher/horror film. However, it soon settles into a seemingly normal story of two people who work in a call centre and who have a past association with friends in a band which has now broken up. One of the friends does a favour and lets them go into a studio building over night so that Alex (Leo Gregory), the band leader, hopes to put down a track which will revive his inspiration and career. He goes with his friend, Maddy (a vigorous Eva Birthistle). While the situation has a touch of the eerie, it seems ordinary enough (despite bumps in the night).

However, the horror conventions begin to infiltrate, strange sounds in recordings, cries for help, incantations. Then Alex has some hallucinatory experiences and Maddy fears that there is going to be blood.

It helps if you have been in a recording studio and understand how some of the equipment works. (EMI Music participated in production.)

Writer-director, Eitan Arrusi, takes his plotline from those suspicions of the past (and present?): that there are evil words hidden in some recordings, evil power, and that satanic messages can be heard when a song is played backwards. He creates a strange musician from the 1970s, showing him in a grim video that he made at the time, with part of a track, The Blood Room, which was meant to be played with the video. There is talk of dabbling in the occult and that old story of finding immortality after selling one's soul to live on in the music. Has the musician returned? Is he taking possession of Alex? How dangerous will this be for Maddy and two other friends who help out?

The film keeps its atmosphere, increasing the tension and using the conventions of this kind of horror to some chilling effect.

1.A horror film? The conventions? The exploitation of the genre – with the focus on the record industry?

2.The London settings, exteriors, the daylight? The contrast with the studios, the corridors, the basement, the dark?

3.The importance of music, the story, the background of bands, the 1970s, the issue of sinister lyrics in the recordings? Sinister sounds? The contemporary music industry? Studios?

4.The plausibility of the supernatural issue: the musician in the 1970s, his girlfriend, taping the records, the lyrics and their sinister tone? The touch of the satanic? His rituals? Murder? The sounds being incorporated into the recordings? The 21st century rediscovery, the words, the sounds, the music? The repetition? The musician taking over the 21st century musician?

5.Alex and Maddie, the band, their past relationship? Going to the studio? Their work at the call centre? Boring? Alex’s plan to do the recording, revive his career? Maddie helping?

6.In the studio, the ordinariness? The work? Wandering the corridors? Dan and his help, his past link with the band, letting them in, locking them in? The eeriness of some of the sounds, the music, the words?

7.Alex, his obsession, the return the next night? His being overpowered by Mark Griffin? His hallucinations? What was reality, what was imagination? Looking in the mirror? Mark Griffin appearing? Going down into the acoustic room? The basement? The re-enactment of the past?

8.Maddie, commonsensed? Her helping out, hearing the plea in the record? Matching the voice, finding it her own? Her returning, her fears, the pursuits? The threats? Mark Griffin, Alex and his being taken over? In the acoustic room? The rescue?

9.Mark Griffin, appearance, the recordings, his girlfriend? Deaths?

10.Dan, his help, his epilepsy, his seizure, his death?

11.Nicky, the clash with Alex, being persuaded to come to the studio, the performance, her death?

12.The researcher on music, his shop, coming to the studio, his death?

13.Familiar material – but with the 21st century musical twist?

CONFESSIONS OF A SHOPAHOLIC

US, 2009, 104 minutes, Colour.
Isla Fisher, Hugh Dancey, Joan Cusack, John Goodman, John Lithgow, Kristen Scott Thomas, Leslie Bibb, Lyn Redgrave, Julie Hagerty.
Directed by P.J. Hogan.

Probably the most balanced review for this light romantic comedy would come from a person who is neither mean nor extravagant when they go shopping. Since this reviewer is a 'scroogeaholic', then spending 100 minutes with a young woman who can't say no to a dress, a bag, a pair of shoes, a scarf or any number of accessories and can put her head down with the best (or worst) of them stampeding the doors of a bargain sale, is not necessarily what I would choose to watch.

But, here it is in this age of fashion and Sex and the City and arriving during the credit crunch (and more sales!).

Since it has been directed by P.J.Hogan who has shown how he can make comedies about obsessed young woman that make you sit up and take notice (Muriel's Wedding, My Best Friend's Wedding), then one has high hopes.

The film is blessed with Isla Fisher who can do ditzy with intimations of sense (deep down admittedly, but possible). She has glided through life exhilarated by buying (and even imagines shop mannequins giving her advice or trying to entice her) but there comes a time. Debt collectors begin stalking. Credit cards are no longer valid. Cash is scarce. What is a temporarily-poor-middle-class-ambitious-writer-girl to do?

She can turn out an article intended for a fashion magazine and put it in the wrong envelope so that she is interviewed by a finance editor – who (fate, destiny, karma?) happened to give her the remaining money when she could not pay for a green scarf she coveted. Since she becomes a hit writer using day-by-day images to explain finance, she has to lead a double life of expertise and failure (even going to Shopaholics Anonymous meetings – and ruining member's resolutions). She falls out with her flatmate, wants to borrow money from her parents (John Goodman and Joan Cusack), pretends that the debt collector is a stalker. Then, of course, it all comes undone. But...

Hugh Dancy is in what used to be a Hugh Grant role. He has the charm – but, probably, more dramatic ability than Grant. Who should be cast as the elitist fashion arbiter and editor but Kristin Scott Thomas, with a mock French English accent and stealing the scenes she appears in. John Lithgow and Julie Hagerty also turn up, so there is a strong cast.

But, this is the kind of film that has its cake while it eats it. Shopaholicism is bad – but aren't the temptations wonderful!

1.A comedy with the light touch? Romantic comedy? The consumer world and its ethos? Glossy magazines, shops? The stance of the screenplay?

2.The vision of the shopaholic’s world, the perspective of the shopaholic, the visual point of view: shops, clothes, mannequins speaking and giving advice, the stores, the displays, the fight and tangles for bargains, advertisements, everything enticing, the world of design, colour, fashion? The credit cards and cash and problems?

3.Rebecca, growing up, her parents and their ability to manage money, to put some away, her visits with them, their love for her, her wanting some money from them – and the irony of them going out to buy the campervan, to spend all their money, to go on trips? Their being willing to sell the van for Rebecca to get out of debt? Suze and flatmate, Suze and her fiancé, getting married? The preparation for the wedding? Rebecca and the trying out of the dress? Rebecca and her needs, wants? The ‘this goes with that’ syndrome? Her closets full of clothes, shoes, extravagance? The irony of her having to get rid of some of them for Shopaholics Anonymous, and her failing? Ultimately her having to sell everything to raise money to pay her debt?

4.Rebecca and her work, journalism, her ambition to join the magazine Arlette? Her ideas, ambitions, writing? The various magazines and the magazine world, her friends, glamour? Preparing for the interview, the temptation of the green scarf, unable to use her credit cards, not having enough cash, Luke and his stepping in to pay? Her lies to him? Arrival at the company, her gaffes, the irony of Luke to interview her?

5.Her patter, ideas, not being able to write the promised article, continuing to shop? Finally finishing the piece, Luke’s comments as editor, the analogies for the financial situation? Her articles as the Girl in the Green Scarf? Success, the board and its affirmation, the various interviews? Her building up to television? Her ensemble? Aleete and the design? The going to the Miami conference?

6.Her double life in terms of saving money and buying? Her writing and yet ingenuous? Her pratfalls? Luke and his awkwardness, nice, Suze and the clash with Rebecca?

7.The meetings, the Shopaholics Anonymous, the various members of the group and their falling down in spending? Rebecca and her introduction to the group, friendly with all of them, the leader of the group? The return, everybody lapsed, the stricter supervisor? Her reaction, taking the group around the shops, testing them out? Rebecca and her having to sell everything?

8.Luke, his rich background, his wanting to do things on his own, his working at the magazine, his dress sense and Rebecca’s criticisms? Going out, getting fitted with the new outfit, the dancing? The issue of the stalker, his ringing Rebecca all the time, wanting her to pay her debts? Her lies, the office handling them, Haley and her getting rid of the stalker, believing Rebecca? The television show, the debt collector in the audience, the expose of Rebecca? Haley and her wanting to buy some of the bargains when Rebecca sold off everything? Buying the dress so that she would be able to attend the wedding?

9.Luke and his character, charm, British background, his leaving the company, the discussions with Edgar West, West and his building up his own empire, admiring both Rebecca and Luke? The encouragement?

10.Aleete, Kristen Scott Thomas and her mocking of the French English accent? Cold, her manner, style, clothes, design, her magazines, hiring Alysha and Alysha’s hostility towards Rebecca? Wanting to dress Rebecca for the television show? Coming to her house, meeting her parents, offering her the job, Rebecca finally deciding against it?

11.The portrait of the parents, their background, money, their caravan, their love for Rebecca and supporting her?

12.Rebecca getting back to normal, in love with Luke, reconciling all the differences? A future?

13.The background of American consumerism, materialism, the light touch, the jokes (and the adaptation of a British story to the United States)?

YES, GIORGIO

US, 1982, 106 minutes, Colour.
Luciano Pavarotti, Kathryn Harrold, Eddie Albert, James Hong.
Directed by Franklin Schaffner.

Yes, Giorgio is a cinema concoction. It was planned as a promotion for Luciano Pavarotti when he was in his 40s, had a great deal of celebrity, had a cult personality following. The story is very slight, modelled somewhat on the career of an opera singer like Pavarotti. There are Italian locations, some romantic songs, and an opportunity to see the tenor in his heyday and enjoying himself on-screen. The romance, with Katherine Harold, is a bit hard to believe.

The strength of the film probably comes from its director, Franklin Schaffner who had won an Oscar for directing Patten and had directed a number of interesting films from the 60s to the 80s including The Stripper with Joanne Woodward, the original Planet of the Apes, the Hemingway story Islands in the Stream.

1. An entertaining Luciano Pavarotti vehicle? A piece of entertainment fluff? The tradition of American musicals for opera stars - Lauritz Melchior, Mario Lanza etc.?

2. The impact of Pavarotti as a singer: his voice, the selection of songs and excerpts from opera? His range? Songs, concerts, opera performances? Pavarotti as actor - stilted but genial? As a large and genial presence? His bringing opera to the people in the film - and to the film's audience? The selection of opera and songs? The theme song?

3. The colour photography and the use of Italian locations, Boston, San Francisco and New York? The Californian countryside and the balloon ride? Colourful and scenic? The touristic background of the film? The staging of the concerts, the opera - especially Turandot? The affluent background of the film?

4. The supporting cast and their contribution? Playing to Pavarotti? The skill of the director and his ability to make an enjoyable glossy vehicle?

5. The introduction to Pavarotti: the Ave Maria, an Italian wedding? Friendship and farewells? The hitch-hiking nuns? The shrewd nun getting her own concert? Filling in Giorgio's Italian background?

6. Giorgio as an Italian, his fame? His relationship with Carla - a comfortable long marriage? our not seeing her but knowing of her presence via the phone? The manager and his long work for Giorgio's success? Audience response, audience adulation e.g. the woman with the scarf in Boston? The Boston rehearsals? The concert and the crowds? San Francisco and the hotel? The response of the opera cast at the Metropolitan, the audience? Pavarotti's fame and applause?

7. The temperament of the opera star? The phone call about the Metropolitan? His memories of his failure? Voice failure? His needing a doctor and his hypochondria? His not wanting a woman doctor? His response to her challenge? His charm e.g. the ice cream for the children? His invitation to Pamela? The visit to San Francisco and his singing - and losing his voice again? His moodiness with Pamela and tempting her, dedicating his song to her? Her arrival and his response? The affair and his explanation - comfort for him even though married to Carla? Not falling in love? A fling for Pamela? Outings together? The balloon ride with the singing of the theme song? The fight and the colourful pies? The discussions about the Metropolitan and Pamela's persuading him to go?

8. His arrival at the Metropolitan? An achievement in opera? The feel, the acclaim of the cast? The rehearsals and the monstrous dragon and the accident? Ultimate success - with Pamela able to leave him?

9. Pamela: in herself, as a doctor. Giorgio's arrogance and her anger, the television and the song, the invitation and her rejection of the ticket, her deciding to go to San Francisco, treating his voice, the fling? Staying with the family and the cover-up? The balloon ride? The agent and his pleading with her to help Giorgio? The pie fight and her helping him? The phone calls from Carla? The truth, her standing by him, the discussions in the dressing room, the achievement and her being able to leave?

10. The sketch of the harassed agent and his having to help the temperamental star?

11. A piece of entertainment fluff? A vehicle for the opera star? The romantic ingredients - echoing the more permissive tone of the '80s? The popularising of opera?

YANKEE DOODLE DANDY

US, 1942, 126 minutes, Black and white.
James Cagney, Joan Leslie, Walter Huston, Rosemary de Camp, Richard Whorf, George Tobias, Jeanne Cagney, Irene Manning. S. Z. Sakall, Frances Langford, Eddie Foy Jnr.
Directed by Michael Curtiz.

Yankee Doodle Dandy is an energetic and enjoyable musical biopic of the early '40s. Director is by Michael Curtiz, director of many swashbuckling adventures of the '30s and later to make musicals such as Night and Day, The Vagabond King and Doris Day features of the '50s. The film contains also the Oscar-winning performance by James Cagney as George M. Cohan. It was reported that he was Cohan's choice for the role. He invests it with his dynamic energy and an engaging grace in contrast with his violent gangsters in so many films. Cagney is excellent as a song and dance man. (He resumed his role for a guest spot in the Bob Hope vehicle The Seven Little Foys - with Eddie Foy in. portraying his own father in the present film.) There is very good support from the charming Joan Leslie as Cohan's wife, Walter Huston doing song and dance routines as his father and Jeanne Cagney as his sister. Director Richard Whorf is his long-time partner.

The film is designed as World War Two propaganda with Cohan receiving the Congressional Medal of Honor from F. D. Roosevelt and relating his life to him. The film is an engaging piece of Americana and the history of vaudeville and the Broadway theatre. Cohan's popular songs are given the full treatment, including 'Over There' and its rousing morale-boosting for Americans’ involvement in World War One.

Curtiz was to win the Oscar in the following year for his direction of the classic Casablanca.

1. An attractive and entertaining biopic? A Warner Brothers musical? A fictionalised account of George M. Cohan? A piece of Americana and nostalgia? Part of the American war effort of 1942?

2. The contributions of the talent: James Cagney resuming his musical style and going against gangster style in an Oscar-winning performance? Michael Curtiz and his experience? Walter Huston and the supporting cast? Frances Langford?

3. Black and white photography: World War Two atmosphere, Washington and the White House? The memories of 1878, the 1890s, vaudeville, Broadway, the theatre, agencies, World War I, the '20s?

4. The contribution of the musical score: Cohan's songs and lyrics? Traditional songs? Yankee Doodle Dandy, Give My Regards to Broadway, Mary, Over There?

5. George M. Cohan and his reputation, contribution to American theatre, his contribution to American morale? Winner of the Congressional Medal?

6. James Cagney's style as Cohan? Telling his story? The flashbacks, the details of his early life, relationships, theatre? The simplicity of his arrival at the White House, discussions with the President? The significance of his life, his success? His early vanity and manoeuvring agents etc.? The love for the family, their taking a bow together? His writing, his work with Sam Harris? His wanting to join up for World War One? His successes during the 1920s and his one flop? His contribution to America? His relationship with Mary - courting her, relying on her wisdom, marrying her?

7. The sketch of the Cohan family - pleasant picture of a family, stage work, the details of their song and dance routines, the children? Joining in - precociously? Their reliance on their children? The strength of characterisations? The birthday scene for father? The father's death?

8. Mary and her stagestruck attitudes? Talking to George with his beard on, mistaking him for an old man? Background of Buffalo? Her singing his song and getting the sack? Getting to know him? The song 'Mary' and her appreciation of it? Her allowing it to go to Faye Templeton? The happiness of the marriage and her being a support to Cohan?

9. The background of the theatre business - the agents rejecting Cohan and Harris? The money men putting up capital for shows? The work with Harris ~ conman tricks, collaboration, the breaking of the partnership?

10. The Broadway stars - Faye Templeton and her talent and temperament?

11. The staging of the shows - the elaborate first play of Mr. Jones as the Yankee Doodle Dandy and the details of the fixing of the race etc.? The variety of songs? The staging of 'Over There' with Frances Langford?

12. Idealistic Americana? Cohan not known by the new generation? His impersonating Roosevelt for the war effort? Propaganda in its time? Entertainment now?

YANKS

UK, 1979, 141 minutes, Colour.
Vanessa Redgrave, Richard Gere, William Devane, Lisa Eichhorn, Chick Vennera, Rachel Roberts, Tony Melody, Wendy Morgan.
Directed by John Schlesinger.

Director John Schlesinger has made many striking films - with a finely detailed presentation of place and atmosphere and a gallery of rounded characters, even in small roles. This comes together beautifully in this very pleasing and entertaining film. one sees and understands both Yanks and Brits/Poms in this story of England 1942-44 when over a million American soldiers were in Britain.

Richard Gere holds the film well as hero and is matched by the attractive Lisa Eichhorn. Vanessa Redgrave and Rachel Roberts are excellent in supporting roles. One gets to know and feel for the characters strongly and to feel that one has actually been there. Schlesinger made documentaries like Terminus in 1960, moved to slices of life as A Kind Of Loving, Billy Liar, Darling. He then went on to international success with Far From The Madding Crowd, Midnight Cowboy and Sunday Bloody Sunday. In the mid-'70s he made The Day Of The Locust and Marathon Man.

1. The work of John Schlesinger over several decades? Sensitivities, awareness of characters in their situations and society? His awards? The making of this film in the late '70s? In continuity with his other films? Reflecting the times? Nostalgia? The experiences of war in the '70s? A film of memories? Relevant for other times?

2. The information and tone about the caption of 1942-4? Audiences remembering the history of World War Two? Britain and its involvement and suffering? The coming of the Americans - as saviours? - even as nuisances? Nostalgia and memory? Critique of the past? The relationships between England and the United States? The changing of the world from the World War Two to post-World War Two via such experiences as in this film? The significance of war and its effect on people? The consequences for a different world? The title of the film and its focus on the Americans - as seen by the British? similarities and differences? Relationships? The Americans changing the perspectives of the British? Vice versa? Changing lives? Friendship, clashes, love?

3. Schlesinger's re-creation of the English town during the war? The meticulous attention to detail of the way of life? The people? The town, the surrounding countryside? The north of England? The importance of social structures and classes in England? Presence in the military? Traditions? Styles? English society and classes in the 1940s? The democratising of England and its-classes?

4. The point of view of the Americans? Their presuppositions about themselves and their leadership in the world, coming to the rescue of Europe? Their attitude towards the British? Memories of the origins of the United States and revolution? The mutual seeing of each other as foreigners? Seeing the British through American eyes? Vice versa? The Americans with their accent, free and easy style, open spaces and towns e.g. Arizona and their Point of view on England? England being pictured through their eyes?

5. The structure of the film: the Americans arriving and finishing with the Americans leaving? The effect on the occupying Americans? The effect on the British - for the war, for society, relationships, marriages, pregnancies etc.? The prospects for the future? The screenplay's parallelling the two groups and showing similarities, contrasts?

6. The importance of the colour photography, location photography? An authentic atmosphere? The designer's attention to detail: in look, design, decor, clothes? incidental detail e.g. at pubs, picture theatres, shops? Characters within this authentic framework? The atmosphere of the score giving atmosphere and memories of the times? Songs? The editing for the comparisons of the two groups considered?

7. The background of the British: in themselves, the old traditions, the quiet style of the British, the waiting for cups of tea, manners and the stress put on these? Suspicions, fears of the Yanks? The guarded welcome? The fears about the Americans - especially in terms of sexuality? Yet the young girls flirting, romance. comforting of the soldiers away from home? The comment on pregnancies at the end of the film? The British being saved - their lives transformed grief for the departing soldiers and their deaths. new lives because of marriage and family etc.?

8. The Yanks pictured as foreign, strange, hard to understand, their attitude towards women, towards one another - especially racism? Their affluence, loud style, gifts etc.?

9. The introduction with Matt and Danny arriving, the detail of their settling in, being welcomed by the British - and Helen's presence in this sequence? Their good humour? The kitchen work? Detail of the camp? The outings, the bus-ride, going to the pictures?

10. The presentation of the town: the talk about cups of tea at the beginning, the truck-loads of soldiers arriving, the streets of the town? streets of the town and the detail? The environment of the green hills around about? The ship on the canal etc.? The audience being made to feel at home in the town and knowing its detail?

11. The portrait of Jean's family: Geoff and his waking up, seeing the Yanks? Jean and Annie and their encounter? The shop and the ordinariness of its serving the customers? Matt's visit? The picture of home life and the meals? Geoff going to school? The father and his work, going to the Army Reserve? The mother's illness? The presence of Ken in memory and his being at the war? Jean's mother and her suspicions, being anti-Yank, puritanical? Her wanting Jean to marry Ken? The detail of home life and the easy interaction with one another? The inviting of Matt to the meal? His gifts? The father welcoming the drink? The mother saving the cake? Geoff and his friendship? Ken's arrival and the mother blaming Matt for the break-up and for Ken's death? Her illness, making the beds etc., her dying and the talk with Matt? The father's grief? Geoff and his grief - get boys rushing up to get things from the departing Yanks? A complex but warm picture of the family?

12. Jean as heroine? Attractive, ordinary? Friendship with Annie? The cigarettes at the pictures? The Yanks and foreigners? Her refusing to out with Matt? His coming to the shop and her being embarrassed? Her decision to go to the pictures with him - and the brawl in the foyer? The variety of outings e.g. in the hills and the talk about Ken? Her falling in love with Matt? Her not knowing what to do? Decisions, the kiss? Her wariness with Matt? The boxing bout? The New Year's Eve celebrations and her dancing with the negroes and attacking Matt and Danny because of their racist attitudes? memories, the visit to the camp and the explanation of the kitchen, the meal and Matt's bringing the cake? Her talking to her mother? Ken's visit and the engagement party? The ambiguity of her farewelling him at the station? The situation becoming more complex: her going out with Matt, receiving the news of Ken's death, her mother's reaction? Her decision to go with Matt to the hotel, the train-ride, the sexual encounter and Matt's holding back, her not understanding this, fear that she was not liked, her grief? The sullen relationship between the two? The wedding of Annie and Danny and her wariness? Her mother's death? Her waiting and the gift of the cake from Matt as he left? Her hurrying to the station after the funeral service? Meeting Annie? The desperate need to see Matt? The final seeing him? Lisa Eichhorn presence, beauty? Audiences identifying with her and understanding her? A British girl of her age, experience? Dreams? The talk about Arizona and the motels - the possibility of her marrying an American and her life being changed? Her being willing to take a risk sexually and the repercussions of Matt's refusal? The basis for a future?

13. Richard Gere's presence and charm as Matt? Typical American -with gentleness? His arrival, work in the kitchen? His story and the photos of his family, the motel, the cafe etc.? Going out, his gaffes with Jean? Going to the shop? Enjoying Jean's company? His reaction to her refusal - and trying to dance with the woman at the restaurant, being thrown out, the chamber-pot being poured over him and his being up before the officer? His sensitivity? Sharing in the life of the town? The pictures and the brawl, the New Year's Eve tension and his being shown up by the girls for his racist attitudes? The death of Jean's mother and her final words to him? In the light of the meal and its repercussions on him? Jean's going away with him and his decision not to consummate their sexual encounter? The reasons given? His honour? His not realising the repercussions for Jean? The wedding? His sending the cake and finally seeing Jean at the end? The future for the two?


14. The parallel with Annie and Danny? The initial bus-ride, Danny's cheekiness, Annie's being on the lookout? The boxing match and his winning, the New Year's Eve party and Annie siding with Jean? Their marriage? A more simple relationship than that between Jean and Matt?

15. The story of Helen and John and its contrast with Matt and Jean and the similarities? Helen and her welcoming the soldiers? Marriage, wealth? Her home, servants, her children? The friendship with John? At home, working in the garden, the mid? The importance of the problem of her son at school and his being bullied (and the visualising of these incidents)? His return home, his leaving school? The background of music in the town, the orchestra? John as an officer and his presence, sharing the comfort? Interest in Helen and her work? The visits,' the cups of tea etc.? Piano playing - and John's playing and Helen's delight? Her sending him home rather than his staying the night? The New Year's Eve family reunion and his phone call? The impulsiveness of his flying Helen to Ireland - and the humour of her gambling, the chocolate etc. in Ireland? The affection between the two? Helen's story and her love for her husband - his photo, letters etc.? The focus on the delivering of the letters? John and his loneliness and the breaking up of his marriage? The trip to the hotel - the fashionable hotel, the focus on the soldiers leaving, the women and their stockings? Helen's feeling cheap and their return? The night together in the home and its effect on each? John's leaving - and the farewell before the orchestra performance? The return of the husband and the presence at Jean's mother's funeral? John as a character - an honourable man, an officer, gentleman, lonely? His love for Helen, his respect for her? The interconnecting of the stories with Helen welcoming the soldiers, John reprimanding Matt and Danny after the episode of the brawl, their presence at the engagement between Ken and Jean? The funeral?

16. Themes of love, affairs, respect? Brides and their American husbands? The ironic comment about the pregnancies in the town at the station sequence?

17. Seeing the Yanks as invaders: the numbers, the cinema . the boxing, the New Year's Eve, prejudices? The training for the invasion of Normandy? The finishing of the training in the camp, packing up and leaving? The long sequence of the trucks going to the station? The farewells?

18. The film's contrast between domesticity and the war training? The contrasts of emotions? The film as a celebration of feeling and understanding?

THE YEARLING

US, 1946, 134 minutes, Colour.
Gregory Peck, Jane Wyman, Claude Jarman Jr., Chill Wills, Margaret Wycherly, Henry Travers, Forrest Tucker.
Directed by Clarence Brown.

The Yearling is a very attractive film classic for the family. It is based on a Pulitzer Prize-winning novel by Marjorie Kinnan Rawlings. The film was intended as a vehicle in the early '40s for Spencer Tracy. However, production had to be postponed and at the end of the war the film was made with Gregory Peck. Peck was at the beginning of his career, making quite a number of fine films including The Keys of the Kingdom, Spellbound, Gentleman's Agreement. He received an Oscar nomination for this role as did Jane Wyman. She portrays a very repressed, hard mother - in contrast to the many warm attractive roles that she played. She was to win an Oscar in 1948 for Johnny Belinda.

The film introduced Claude Jarman Jr. He is appealing and effective in the central role of Jody. He was not to make many films, but one striking film also with director Clarence Brown was Intruder in the Dust, 1949. Clarence Brown, the director, made a number of impressive films in the '30s and '40s, including several of Greta Garbo's films and the other M.G.M. family classic concerning animals, National Velvet. The film itself is beautifully photographed and won Oscars for colour photography and set decoration and was nominated for Best Film. The treatment is full of sentiment and poignancy - perhaps a bit too much for later decades, especially in sky sequences with celestial choirs. However, the film has a strength in its portrayal of a young boy learning to grow up into the adult world.

1. The status of the film as a family classic? Its many Oscar nominations and wins for production values? The perennial appeal for the family?

2. The colour photography, the stars and the strength of their performances, Claude Jarman Jr. engaging audience sympathy and attention? Children identifying with him? The prize-winning novel, the adaptation to the screen, the use of musical themes from the composer Delius for the score?

3. The tribute to the pioneers and the memory of American pioneers in faraway states as, here, in Florida? Tribute. memory? The historical setting - the Civil War and its aftermath? The swamplands, the farms , the small communities growing up? The preserving and handing on of the American tradition, especially within the family?

4. The presentation of Florida in the 19th. century, isolation, beauty, hard work, the capacity of the peoples for survival, the family unit, neighbours, harmony and clashes? How well did the film immerse the audience in this world and its values?

5. The Baxter family? The introduction and the voice-over commentary by Pa? Their simple life, the swamplands, their home.. the vegetable gardens? The animals? Pa and his hard work? Jody and his love of the animals? The encounter with the bear? The story to the neighbours and the clashes? Pa and the snake bite and Jody's helping him? Pa and the hard work and the back injury? Gregory Peck's style as Pa? His wisdom, love and affection for his son, the rapport with his son? A sympathetic and engaging presentation of an American father?

6. The contrast with Ma - her tight manner, severity of appearance and word, the deaths of her children, her hard life and attitudes towards it? Her inability to show affection to Pa or to Jody? Her reaction to the fawn? Her severity and wanting it out of the house? Her reaction to its destruction of the crops? Her visit to town and her surprise that people remembered her? Jody's running away and her breaking, her telling the story to make them laugh - and its seeming lack of humour? Jody's return and the reconciliation, her ability to express her feelings? Jane Wyman's sensitive performance in a difficult role for audience sympathy? How well did she communicate this kind of tormented ordinary mother?

7. The presentation of the neighbours, their work, life, the clashes? Jody's friendship with Fodderwing? Their talks together, Fodderwing and the name for the fawn? His death and Jody's grief? The burial and the words said about him - indicating the religious feeling, hopes and values of the community?

8. The film's focus on Jody - an attractive young boy, the deaths of his brothers and sisters and their place in the cemetery, his love for his parents, sharing their way of life, hard work, his joy in nature and the animals, his need for companionship, the importance of the encounter with the fawn, his care for it after rescuing it? His relationship with his father and the tenderness and strength of love? His love for his mother and yet her lack of response? His grief at Fodderwing's death and burial? His growing up? The fawn developing over the year, growing bigger, the destruction of the crops and Jody's not wanting to blame the fawn? His working harder, building the fence? Ma helping with the fence in Pa's absence and injury? The final crisis and his unwilling~ ness to shoot the deer? Ma and her shooting and his resentment? The running away, the hunger, the riverboat, his return and reconciliation?

9. How important was his growing up - the role of his father in explaining things to him, sympathy, strength of judgment and decisiveness? ma and her reconciliation and warmth at the end?

10. Audience response to the young fawn, Jodie's caring for it, its place in the house, getting a name from Fodderwing, the visual presentation of the fawn and its growth? Audience response to its destruction of the crops, the need for destroying it?

11. The world of nature, beauty, growth and seasons? The long sequence of the rain, the fine weather and the sowing again of crops etc?

12. How well did the film blend sentiment, poignancy, wisdom and experience?