OUR MAN FLINT

US, 1966, 108 minutes, Colour.
James Coburn, Lee J. Cobb, Gila Golan, Edward Mulhare.
Directed by Daniel Mann.

Our Man Flint came after several of the James Bond films. It is designed as an exaggeration and a spoof and parody of the Bond movies. However, it cheerfully borrows from the Bond movies with the almost superhuman espionage hero as well as the extravagant ladies’ man.

The film shows a world being threatened by an earthquake machine and all the secret agents being murdered. Derek Flint is available – and is ordered to go into action by the US president. There is satire on Bond and the Bond women – although the villain is a very strong-minded woman played by Gila Golan. The film shows its age, the kind of parody that was enjoyed in the 1960s when the James Bond films were fresh. Another example of this kind of film is Rod Taylor in The Liquidator.

James Coburn obviously enjoys himself as Flint. He had appeared in a number of striking films in the early 1960s including The Magnificent Seven, The Great Escape, Charade. At this time he made a number of satiric films like Waterhole Number Three and The President’s Analyst. He was to continue in films for several decades, finally winning an Oscar for best supporting actor in 1998 for his serious role in Affliction. The film was so popular that there was a sequel, In Like Flint.

1, How successful was the film as a spy-spoof in terms of interest, humour and excitement?

2. How much was tongue-in-cheek humour?

3. What kind of a hero was Derek Flint? What "modern heroic" qualities did he have? How much of a modern 'anti-hero' was he? How much in common did he have with the James Bond image? The impact of James Coburn's screen personality and style?

4. Although a spoof, how much reality do such films have? What picture of America do such films offer? superpower, super-heroes, computerised thinking, the interventions of the President (so quickly because of bugging)?

5. What picture of megalomaniac ambitions do such films show - the Hitler complex e.g. here the controlling of earth's weather, the controlling of human behaviour by programming people, even in an earthly paradise?

6. The film presupposes in its story as well as in its audience a sense of right and wrong (even when the hero likes to work independently). What is right and what is wrong in the framework of this film? Why? Do the standards of right and wrong have substantial bases?

7. Does this kind of film create too much glamour - super-strength fantasy for its audience? Are these forays into the spectacular imagination healthy?

8. Is it too serious to discuss such films with questions like those offered here?

ONE MILLION YEARS BC

UK, 1966, 100 minutes, Colour.
Raquel Welch, John Richardson, Percy Herbert, Martine Besiwick.
Directed by Don Chaffey.

One Million Years BC is probably more famous for its poster of Raquel Welch in the prehistoric times than for the film itself. It featured very strongly, along with posters of Rita Hayworth and Marilyn Monroe, in The Shawshank Redemption.

This was one of the earliest of Raquel Welch’s films. It was in the vein of a lot of films about prehistoric times that were popular in that period: Creatures That The World Forgot, When Dinosaurs Ruled The Earth. It is an engaging concoction – with special effects and an invitation for the imagination to wonder what it was like one million years BC.

1. How enjoyable was this film? For what audience was it made?

2. What are audience expectations of this kind of science-fiction? The expectations of science fantasy? Audience fascination with the atmosphere of the world primitive man and woman, primitive ways of life, a mysterious era?

3. How well done was the re-creation of primitive world, men and women? The nature of the special effects and their impact?

4. How plausible was the story? How much parallel to modern sensibility? The importance of the introduction and its explanation: the picture of an evolving world? The reliance on audience response to human nature? The plausibilities of the monsters and the earthquakes?

5. How skilfully produced were the sequences with the monsters and the earthquake? Why do audiences respond so well to these? Imagination and thrill, fear?

6. How plausible was the way of life of the tribe? Primitive humans, the violent interactions, the threats to life, the presence of the hero? Audience response to these basic elements?

7. How well could the audience identify with the hero, his journey and quest? His adventures, any characterization in the hero?

8. The heroine (the reliance on Raquel Welch's screen presence)? her way of life, her life in the tribe, supporting the outcast and following him, sharing his perils? Was there any characterization in the portrait of the heroine?

9. Comment on the value of such primitive storytelling.

10. The excitement of the earthquake and the ending? The resolution for the tribes and their unity? How worthwhile was this film of its kind?

OVER THE EDGE

US, 1979, 95 minutes, Colour.
Michael Eric Kramer, Pamela Ludwig, Matt Dillon, Vincent Spano, Ellen Gere.
Directed by Jonathan Kaplan.

Over the Edge initially had a chequered history. It was made at the same time as the films about gangs, the higher profile The Warriors and The Wanderers. Executives feared that it might become part of this controversy about portrayed gangs on screen and release was held up for two years in the United States until it was screened on HBO. However, it did receive release in other countries around the world.

The film was praised critically as an incisive look at small towns in the United States, the efforts of the adults to bring industry and prosperity to the town and their neglect of their teenage children who, bored, began to indulge in theft and vandalism and the use of drugs. The film shows the confrontation, especially when one of the youngsters is shot, and the parents trying to face the children and listen to their problems. It is a much more sympathetic presentation of youngsters and their problems than the problems of the parents.

The film introduced the fifteen-year-old Matt Dillon who went on to a very successful career. Vincent Spano is also one of the young men who had a moderately successful career.

The film was directed by Jonathan Kaplan who began his career in the early 1970s with small-budget and slightly exploitative films like Night Call Nurses and Truck Turner. However, he also made a number of very efficient small-budget thrillers like White Line Fever and Terence Hill’s American film, Mister Billion. During the late 1980s he had much more success with cinema projects: Project X, Jodie Foster’s Oscar-winning performance in The Accused, Immediate Family, Unlawful Entry and Love Field. However, most of his subsequent career was in television. It is interesting to compare the perceptions of teenage boredom and teenage gangs in the late 1970s with subsequent films of the 80s, 90s and the beginning of the 21st century.

1. Audience response to films about gangs, vandalism? The trend of the seventies to present gangs for insight, violent entertainment?

2. The age of the gang presented in the film? The working title of the Mouse Packs and its significance? The significance of 'over the edge'? for the children, for the parents, for society? Anger and resentment and gangs and vandalism? The allotting of blame?

3. The background of new Granada: the recognizable new suburb and city, the streets, new houses? The contrast of the poor recreation centre for the children? The school? The look of the town, its atmosphere and its seeming prosperity and yet boredom and idleness for the younger generation? The significance of the prologue about new towns and vandalism? A critique of American urban development of the seventies? The universal validity of the critique?

4. Audience response to vandalism, to the statistics given, to the visual presentation of vandalism? in the documentary for the school children, for the anarchical climax of the film? The feel of destruction? The credibility of the children's behaviour in the final destruction? The reasons for it, culpability?

5. How credible was the plot, the characters, the interactions? The material contrived for the drama of ninety minutes? Where did the screenplay's sympathies lie? The moralizing tone? The intended effect on younger audiences, middle-aged and parent generation audiences? On authorities?

6. The tone of the film, the introduction to Richie and Carl after the incident with the air gun, Doberman and his police brutality, prosperous parents and their way of life, ineffective response? The build-up of tensions and the repercussions? How did this ask audiences to identify with the film and its issues?

7. The portrait of Carl's parents and the parent generation? Their work, prosperity, moving to new Granada and hopes? Vrerry Cole and his official talk about prosperity, showing the film about vandalism to the school children, inviting the wealthy men from Texas? His speech at the end and Carl's father attacking him? The Council in New Granada, their building up themselves and opportunities while neglecting opportunities for the children? The lack of communication with the generations? The use of the police and police attitudes? Reaction and over-reaction? Concern and inability to communicate this? The inevitability of rejection? The significance of the parent meeting, the small group there, the speeches, their being locked in and witness to the 'over the edge' reaction? How can a parent generation identify with the parents in this film? Is the critique acceptable? Are the issues comprehensible? The moral point being made?

8. The crucial presence of Doberman for the plot development, for the dramatics, for the moralizing? The presentation of the police and their role in American society?

8. Doberman's behaviour, his harassment of the boys, his activities at the police station and the activities of the other police, taunting the boys, commenting on their background and their parents? The decision to close the recreation centre - especially when the Texan visitors came? The round-up of the adolescents at the centre, his arresting Claude for drugs? His antagonistic attitude and the credibility of his chasing Richie and Carl? The confrontation with the gun and his killing Richie? His defence, his presence at the parents' meeting, his explanation of his action? His growing fanaticism at the meeting? The ugliness of his pursuit and death? Audience feeling that his death was justified or not? The comment the film was making on the antagonism of the police?

9. Carl as hero: an adolescent, his family background, his father's work, his mother's worrying about him, his age, scholastic ability? his being friends with Richie? His occupying his time, presence at the recreation centre, the party, his friendship with the girl, his jealousy of her? The antagonism towards the police especially after the initial incident, the interrogation, his father's coming to get him? His wandering around? Richie and himself with the girls, the finding of the gun, the exhilaration of the shooting? The clashes at home especially over the visit of the Texans? His accusations towards his father about not providing facilities for the young? The going off with Richie and the reason for it? His shock at the death after the exhilaration of the chase? His staying away and hiding, his reliance on the girl and her support of him, the night together? His return home, his listening in on the phone and blaming his parents? His communication with John and his non-verbal communication? His attendance of the meeting, participation in the explosive ending? His going to the reform school at the end? what future?

10. Richie and what he stood for? Tough, oppressed, lack of chances and opportunities, sullen attitudes, friendship with Carl? The townspeople looking down on him, Doberman's attack? His surliness? The initial interrogation, school, the incidents with the gun and the shooting, the taking of the car, the confrontation with the gun and the suddenness of his death and the repercussions for the town?

11. Claude as a type, young but involved with drugs, modern language, self-satisfied, his needs? Contrast with Johnand his disability, silences, the other boys, especially the thug type who caused the incident at the beginning, who threatened with the gun, who bonded his friendship, who caused Doberman's death?

12. The portrait of the girls, their place in this town development, the burgling of the gun, the shooting, presence at the parties and kissing? Protecting Carl, the night together? Their presence at the blow-up and their being disgusted with the excess of violence?

13. The portrait of children and their breaking out, going over the edge? Emotional needs, recreational needs, incentives and initiatives? Adults and the obligations to provide? The adolescents being thwarted and the repercussions? The blame for this? The over-reaction at the end and responsibility for this?

14. The presentation of the adults - how fairly? The oppressive police, the businessmen especially Cole and his lecture to the students with the film about vandalism, his welcoming the Texans? The Texans and their critique of the town especially seeing Doberman and the uproar with the adolescents? Garlls parents? The sympathetic teacher trying to keep their centre open? The meeting, Carl's speech, Doberman's speech and his going berserk? Carl's father and his questions? The being locked in, the teacher communicating with John and getting the police?

15. The visual violence and activity of the climax? Mayhem, Doberman's death? The aftermath and the adolescents going away to reform? how credible?

16. How satisfying a message film for Americans, non-Americans? Stating the case, an emotional presentation of the case? Overstatement? An apportioning of blame?

THE OUTSIDER

US, 1961, 108 minutes, Black and white.
Tony Curtis, James Franciscus, Gregory Walcott, Bruce Bennett, Vivian Nathan.
Directed by Delbert Mann.

The Outsider is the story of Ira Hayes, an Indian who was amongst the group who raised the flag on Iwo Jima. The statue of the soldiers raising this flag became one of the main emblems summarising American experiences in the Pacific war. John Wayne appeared in The Sands of Iwo Jima immediately after the war. Clint Eastwood made Flags of Our Fathers in 2006 as well as the story of the war in the Pacific from a Japanese perspective, Letters from Iwo Jima. Adam Beach gave a very strong performance as Ira Hayes for Clint Eastwood, his ordinariness at Iwo Jima, his reaction to the promotion tour and his sad end.

The film starred Tony Curtis. Not many years earlier, critics would have said that he was incapable of serious roles – thinking of such mediaeval epics as The Black Shield of Falworth. However, teaming with Burt Lancaster in 1957 he made The Sweet Smell of Success and received very strong critical support. He was also well reviewed for Spartacus. During the 1960s he made a number of more serious films including The Great Impostor and The Boston Strangler.

While the film shows the war action, it shows the life of Ira Hayes after the event and how the celebrity in some ways ruined his life, especially as regards his alcoholism. Curtis is persuasive in all aspects of portraying the character and personality of Ira Hayes.

The film was directed by Delbert Mann who had won an Oscar for his first feature film, Marty, in 1955. He was generally seen as a television director. However, with The Bachelor Party, Desire Under the Elms, Separate Tables, Middle of the Night, he showed he was skilled at serious film-making. During the 1960s he made The Dark At The Top Of The Stairs but his films tended to be lighter, especially two Doris Day vehicles, Lover Come Back and That Touch of Mink. However, from 1972 onwards he was prolific in making telemovies, making four alone in 1978. His films are usually imbued with a deep sense of humanity.

1. The significance of the title of the man in war, of an American? The tone of this title?

2. How important was the black and white photography, the sombre tone and atmosphere of the film? How adequate was the title for theme and atmosphere?

3. How important was the performance of Tony Curtis? How convincing in this role? How much compassion and understanding?

4. The focus on the Indian theme: the Indian as a man, as an American, as a man in war, with a heritage of inferiority, as focussed in alcoholism? What insight into the plight of the modern American did the film give? With how much understanding and compassion?

5. How well did the film focus Ira Hayes at the centre? Were the audience in sympathy with him? Was the audience interested in his life and in his career? How well did the film situate Ira in the reservation and among the Indians? His response to the war and his volunteering? The effect of the Marines and their training on Ira? The racist attitudes of the men? His loneliness and his friendship with Sorenson? How well was he assimilated into the Marines? Ira's role in the war? its impact on him, his heroism, his being at Iwo Jima?

6. The impact of being feted in America? His drunkenness and inability to cope with all the publicity and the ballyhoo? The effect of the disgrace on him? His return to the Indians and their attitudes towards him? Should they have given him more confidence? His failure at the delegation to Washington? His jobs, in jail, drunkenness, degradation? What effect did this have on him? Why did he finally return? his relationship to his family and the other Indians? his aim on returning? His desire to be elected? His disappointmmt? What were the overall influences on his taking to drink and going out to die in the hills? How moving was his death? How much of a failure was he? Whose resporalbility was this? How important was Ira's friendship with Sorenson? How well was this established in the film? Was it overdone? As a focusing for the themes of racism?

7. The film as a war film, the battles, the war atmosphere, Iwo Jima and its importance? The aftermath of battles in morale-boosting, the personnel being used, the brave? The genuine and the fake? What comment on militarism did this make?

8. How convincing were the sequences of Ira drifting? His humiliation? Cleaning bars, toilets?

9. How well did the film give attention to the details of Indian reservation life? How interesting and convincing were these glimpses? The organization of the reservation, delegations, elections?

10. How ironic were all the possibilities for Ira, and yet he failed? The portrayal of the effect of failure?

11. How much compassion was elicited from the audience in the death sequence? Emotions? How horrifying? a judgment on what went before?

12. In England the death sequences were edited. How would this change the whole impact of the film?

13. How much of a film of insight was this into human nature, the quality of life, success, the pressures of circumstances, society and its justice, problem of alcoholism, death?

OUR MAN IN HAVANA

UK, 1959, 111 minutes, Black and white.
Alec Guinness, Burl Ives, Maureen O’ Hara, Ernie Kovacs, Noel Coward, Ralph Richardson, Jo Morrow, Gregoire Aslan, Paul Rogers, Raymond Huntley, Ferdy Maine, Maurice Denham.
Directed by Carol Reed.

Our Man in Havana was actually filmed in Cuba just after the revolution and before Fidel Castro’s aligning his country to the Soviet Union. It was said that he was in favour of the film because it denounced British and American imperialism.

The film was directed by Carol Reed who had had great success with Graham Greene’s stories, The Fallen Idol and The Third Man. Greene wrote the original novel as well as the screenplay for the film.

Alec Guinness appears as a vacuum cleaner salesman in Cuba in the 1950s, in debt, accepting a job with the intelligence service which complicates his life and causes him to be deceptive and dishonest. His main deceit is inventing stories and recruiting agents and secret constructions which he passes on to the authorities. Alec Guinness is very good in this role (reminiscent of the central character of The Tailor of Panama) and reminds us that Alec Guiness was Smiley in so many adaptations of John le Carre’s stories.

There is an excellent supporting cast including Ralph Richardson as C., Burl Ives, Noel Coward and Maureen O’ Hara.

1. The implications of the title? British secret agents? The irony of the title in view of the film? Grahame Greene's view of the secret agent? Graham Greene's view in general terms of human beings and life?

2. Was this film comedy or was it serious? Or both? Was it a satire on the British or on human life? Why?

3. Comment on the presentation of the British context: Hawthorne and his recruiting methods for agents in Cuba, C and his methods of running the foreign office, the styles of being at war, the games of being at war and spying, the mixture of seriousness and comedy in serious business, the irony of getting the agent out and decorating him with an empty honour?

4. The character of Jim Wormold: as an ordinary man in the street, in himself, his relationship with his daughter, her spending, his business in Havana, his fantasies, his need and love for money, his not taking the spying proposition seriously, his fooling the agencies, his response to the dangers when he realised that others are taking it as reality, his dilemma in facing such crisis and situation, his response to the final honours back in England? Was he a good man? Was he an admirable man? Or was he just the ordinary man neither good nor bad? How clearly was the audience meant to identify with him?

5. How effective a parable of the dangers of little men dreaming was this film? Why?

6. How did the film change its mood from lightness to deadly seriousness? taking Doctor Hassalbacher as a focus of this: his friendship with Wormold and then his being killed?

7. The picture of Cuba before Castro? the secret police the spying, the assassinations? The personality of Segura, Carter as working to assassinate Wormold? The atmosphere of fear?

8. What did Beatrice contribute to the film? Just a romantic heroine? Or was she integral to the plot? Wormold's relationship to her?

9. How successful was the film as entertainment and interesting in its attention to details: the encounter between Hawthorn and Wormold for recruiting, Wormold's attention to his plans and the use of the vacuum cleaners and his dealings with people, the incidents with Carter?

10. By the end of the film how serious was it and how comical insofar as comedy presents people as they are, making fun of them so that the audience can laugh with them instead of at them? Was this a good comedy of this kind?

OS PASTORES DA NOITES (OTALIA DE BAHIA)

Brazil, 1975, 121 minutes, Colour.
Mira Fonseca, Antonio Pitanga, Maria Viana.
Directed by Marcel Camus.

Pastores Da Noites is an exuberant film. It was written and directed by Marcel Camus who had made the even more exuberant Black Orpheus. Black Orpheus and this film exalt the poor of the province of Bahia in Brazil. It is done with music and dance – as well as a basic story. There is some criticism that it is a romanticising of the poor. On the other hand, these films are optimistic celebrations of human nature.

The film has an emphasis on the indigenous religions of the region, the various superstitions and voodoo-style ceremonies. It raises issues of the role of Christianity and the role of the clergy as well as the effect of religion on people. It is also a world of evil, especially of prostitution and pimps – and a focus on a central character, Otalia, within this context.

While there is a pathos about poverty and death, the film is only a partial portrait of Latin America – but is also a celebratory fable.

1. The attractiveness of the film? Brazilian atmosphere, musical, melodrama? The reputation of director Marcel Camus? An attempt to repeat the style for which he was famous? Success?

2. The importance of colour, music and song, the atmosphere of Bahia, of Brazil? How strong was the atmosphere of Brazil In colour, light, sounds, people, locations of city, countryside? Characters seen in their environment?

3. How realistically should the film have been appreciated? How much a fable, how much a fantasy? Comedy, tragedy?

4. How successful was the film in building up the atmosphere of Bahia, the various people that are presented, the detail of their personalities and way of life, their spirit, the good, the bad, interactions, joys, clashes, death? The general spirit of joy?

5. The religious background of the film: the emphasis on indigenous religion, superstitions, voodoo style ceremonies? The tradition of Christianity? Their being blended in ceremonies, superstitions? The old women who supervised these rites? The role of the clergy? The influence of religion on the people? Their religious and superstitious mentalities governing the way they understood events? Themselves?

6. The world of prostitution, pimps, ordinary workers? Otalia within this context?

7. The importance of the world of the ordinary people of provincial cities in Brazil, their work, celebration, dance? Attitude towards life, love, sexuality, violence?

8. The experience of rivalries, violence, having to cope with life and day by day situations?

9. How attractive a character was Otalia within this context? Her origins, coming to Bahia, her personality, charm, seeming innocence despite her prostitution? A symbol for the innocence of Brazil? A mixed innocence? Her experience, her love, her disillusionment, disappointment, death? How important were the mythical overtones of her death?

10. The hero in his situation, love for Otalia, plight, clashes and confusions? The mythical background of his disappointment? How much communication between the two in song and dance?

11. The theme of people trapped by their environment? Pathos of life, of poverty, of death?

12. The film as a partial portrait of Latin America? Latin American issues, personalities, themes? How much insight into this world via the fable, the visual presentation, the communication of song and dance?

ONE DESIRE

US, 1955, 94 minutes, Colour.
Anne Baxter, Rock Hudson, Julie Adams, Carl Benton Reid, Natalie Wood, Barry Curtis.
Directed by Jerry Hopper.

One Desire is rather lavish costume melodrama. The setting is 1900 in Oklahoma Territory. The film focuses on a young boy, Barry Curtis, who runs away to Oklahoma to find his brother, Clint, a gambler played by Rock Hudson. Clint works in a casino which is part of a brothel managed by Anne Baxter.

However, the film is about trials and tribulations of the madam, who decides that she wants to go straight and moves with Hudson and the boy away from her past life. Needless to say, it catches up with her in the form of Julie Adams portraying a woman who seems respectable but wants to take Clint away from the madam. However, the madam adopts an orphan, played by Natalie Wood who, at this stage, was on the verge of adult stardom with Rebel Without a Cause.

The film in many ways is the standard fare produced lavishly in the mid-50s. Anne Baxter had already a substantial career and an Oscar for The Razor’s Edge as well as her striking performance in All About Eve. Rock Hudson was emerging as a top star at Universal with such films as Magnificent Obsession and he was soon to make Giant.

The film was directed by Jerry Hopper who made a number of standard comedies and action adventures in the mid-50s.

1. The reasons for popularity of this kind of Americana? Costume, 19th century soap opera?

2. The appeal of soap operas and romances for audiences? The use of colour, costumes lush backgrounds and music etc.? Realistic?

3. The significance of the title, its meaning and application to each character?

4. How interesting a portrait of Tacy Cromwell? The strengths of her character? The weaknesses? The importance of her being a woman? This as a portrait of a woman? Her bad life, fate being against her and luck? Her successes her aims and ambitions? The role of good and bad in her life? Fate and the control of her own life?

5. Comment on her strengths of character: her forcefulness, survival, devotion to Clint? Her business acumen? Her response to Nugget? To Seeley? Her desire to be a mother? Her setting up household and giving her love and devotion? The fulfilment of a need?

6. Comment on her weaknesses: the background of her early life and mistakes, love girlishness? The possessiveness of her love, the quality of jealousy? The weakness in running away without word? Staying away? Her vengeful vindictiveness and its results? How admirable a character and a woman?

7. The importance of the contrast with Judith? How respectable was Judith? How selfish and possessive, in comparison with Tacy? Her lack of scruple in investigating Tacy and using documentation, while pretending to be sympathetic? Her hold over Clint? Her final weakness without her father? Her imposing on the children? Her vindictiveness against Tacy and the Pink Palace? Did she deserve her death by fire?

8. The picture of womanhood in Seeley? Her reaction to being an orphan around the town. her breaking the window etc.? Her becoming dependent on Tacy? Growth in love? Development as a girl? The importance of the court scene and the children remaining with Tacy? Her growing up and resenting Judith? Her running away and her discussion with Tacy about the meaning of life and success? The significance of her return home?

9. The women were presented strongly in the film. How strongly were the men presented? Clint as a hero the gambling hero with charm? His weaknesses and ambitions? His selfishness and use of other people, example Judith and her father, the banker? His love for Tacy and yet subordinate to his ambitions? His use of his skills in the bank? The reaction to Tacy's departure? His concern? His duty in marrying Judith? His disillusionment with her? The effect of her death on him?

10. The contribution of the character of the Senator? Especially his deathbed scene and explanation of Judith? The contribution of Mrs. O'Dell and her support of Tacy?

11. The film's focus on children, families, orphans, love?

12. How accurate and interesting a portrait of the American West, the 19th century, the world of saloons, banks, ambitions, senators etc.? What values did the film stand, for traditional values traditional understanding of right and wrong, good and evil, appearances and reality?

ONE MORE TRAIN TO ROB

US, 1971, 108 minutes, Colour.
George Peppard, Diana Muldaur, John Vernon, France Nuyen, Steve Sandor, John Doucette, Marie Windsor, Hal Needham, Joan Shawlee, Harry Carey Jnr.
Directed by Andrew V. Mc Laglen.

One More Train to Rob is yet another western by veteran director Andrew V. Mc Laglen (son of Oscar-winning Victor Mc Laglen). Mc Laglen had worked as assistant director and on the crew of many a film during the 1950s. He began to direct in the mid-50s and by the 1960s was making a number of westerns often with James Stewart and John Wayne: Mc Lintock, Shenandoah, The Rare Breed, The Way West, Bandolero, The Undefeated, Chisum, Something Big. He was to continue in that vein making one of the last of the westerns in the 70s, The Last Hard Men with Charlton Heston. He continued making action films moving more to war films like The Wild Geese, North Sea Hijack, The Sea Wolves.

The film is also a star vehicle for George Peppard who had emerged as a star with Home From The Hill and Breakfast at Tiffany’s. Peppard moved to television with such series as Banacek and showed himself adept as a private eye (P.J., House of Cards).

The film has the usual ingredients, a cowboy released from jail seeking revenge on his partner who went off with the money and his girlfriend.

The film has a lot of action sequences, well staged, showing the skill of Mc Laglen at this kind of action entertainment.

1. An enjoyable western? The humorous and ironic tone of the title?

2. How conventional a western about hero, friends and villains, robberies? Was it in any way different? better?

3. The use of Panavision, colour, locations? The emphasis on the train robberies?

4. How interesting was the plot? The focus on Harker Fleet? His character, involvement in robberies, prison? His greediness, helping the Chinese, getting vengeance on Timothy? The happy ending? How straightforward, how ironic? Drama, comedy?

5. How interesting a hero was Harker Fleet? The fact that he was a criminal, his presentation during the credits sequences, his involvement in the robbery and his skill, his love for Kathy, his womanizing? His relationship with Timothy and his betrayal? His sense of righteousness with the Chinese, the dramatics of proving his fidelity to the Chinese by the brawl at the party, his out-tricking Timothy, his reaction to Timothy's death, having Kathy and being bound down? The happy ending? A credible and likable hero? The morals and background of the west?

6. The contrast with Timothy, the smooth villain in the train, arranging the imprisonment, using the money, marrying Kathy, his Irish blarney as well as his cruel streak, especially with the Chinese? His vengeance on Harker? His repentance at the end? A likable and convincing villain?

7. The character of Kathy and her devotion to Harker, the marriage, her turning back to him, involvement in the robberies? The contrast with Ah Toy and her leadership of the Chinese?

8. The background of the robberies, the confrontation with the corrupt law, the final shootout?

9. The conventional western themes of good and evil, greed, exploitation?

ONE OF OUR AIRCRAFT IS MISSING

UK, 1942, 102 minutes, Black and white.
Godfrey Tearle, Eric Portman, Hugh Williams, Bernard Miles, Hugh Burden, Emrys Jones, Pamela Brown, Joyce Redman, Googie Withers, Hay Petrie, Robert Helpmann, Peter Ustinov, Alec Clunes.
Directed by Michael Powell and Emeric Pressburger.

One Of Our Aircraft Is Missing is considered one of the finest war films made during the war, fine propaganda and morale-boosting for the British public.

The film focuses on the crash of an aircraft in Holland, flashbacks to give the background to the six men who crashed but bailed out, the rest of the film focusing on the Dutch Resistance and their courage in helping the airmen back to safety and to Britain.

The film has a very strong British cast of character actors of the time.

The film was written and directed by The Archers, Michael Powell and Emeric Pressburger. This was their first collaboration in direction which continued for fifteen years. Their next venture was the satire on war and warmongering, The Life and Death of Colonel Blimp. Some of their post-war films received great acclaim: I Know Where I’m Going, A Matter of Life and Death, Black Narcissus, The Red Shoes. After filming Ill Met By Moonlight, each of the directors went his own way (although they collaborated in writing, including Pressburger contributing to the screenplay of Powell’s Australian film, They’re a Weird Mob).

The film shows a Britain that no longer exists – but highlights the British heritage, stiff upper lip, courage, and the collaboration that was possible during the Nazi invasions of World War Two.

1. This film is considered a war classic. Why? Its impact in its time, now? As a fit piece of British and war history? As a tribute to the memories of the war?

2. The film and its techniques of the early forties' black and white photography, sets, the presentation of Holland and Germany, the presentation of Britain, the aerial photography, the atmosphere of war and survival?

3. The value of the film in its time for morale-boosting, patriotism, encouragement to occupied countries? What impact does this have now?

4. The dramatic suspense of the structures the effect of the plane crashing, the crew missing, the flashback technique?

5. The presentation of the air bases, the nature of air missions, the dedication of the crew, the personalities, of the crew members, their backgrounds and their interaction? How well did the film introduce each of the members of the crew, their characteristics and personalities? Which characters came across most strongly? What values did they represent? British types? Heroism?

6. The success of the mission, but the necessity of bailing out? How well was this action sequence handled, the parachuting? The presentation of the British airmen using their wits and ingenuity for survival? Realistic and plausible?

7. The presentation of occupied Holland, the British trying to survive and escape, their exercise of leadership, taking stock of circumstances, their collaboration in effecting their escape?

8. How well did the film pay tribute to the Dutch help? The presentation of the Dutch, the meetings and the testing of the authenticity of the British airmen? The teacher and her taking charge and her help? The need for disguises? Their continually being moved on from group to group? The Germans signing documents for permission to move? The sequences in church, the help of the priest, the sports match and Dutch resistance? The strong help from the woman at the port, the Germans trusting her, their hiding the men in her house and helping them escape? How credible were these events? Did they show the reality rather than highlight the dangers and the daring?

9. The quality of the suspense in the film, the presentation of the dangers as real?

10. The impact of the final rescue and its overtones of patriotism?

11. How basic was the plot as an example of a successful war film?

12. The success of the mission, the values that the men stood for? War values and patriotism? The importance of this kind of film?

ONE OF OUR DINOSAURS IS MISSING

UK/US, 1975, 100 minutes, Colour.
Peter Ustinov, Helen Hayes, Clive Revell, Derek Nimmo, Joan Sims, Bernard Bresslaw, Natasha Pyne, Roy Kinnear, Joss Ackland, Deryck Guyler, Richard Pearson, Jon Pertwee, John Laurie.
Directed by Robert Stevenson.

One Of Our Dinosaurs Is Missing is a play on titles from the wartime British classic One Of Our Aircraft Is Missing.

However, this is Disney World, a fictitious world of aristocratic British and sinister Chinese. The plot of the film is quite complicated with a formula being smuggled out of China, its being hidden in dinosaur bones, dinosaur bones being abducted, teams of nannies coming to the rescue…

It is humorously written and definitely humorously performed with Peter Ustinov pantomiming the main Chinese spy and Helen Hayes leading the nannies who include Joan Sims and Natasha Pyne. There is a very entertaining supporting cast of British character actors with Derek Nimmo as Lord Southmere who smuggles the formula out in the first place.

The film was directed by Robert Stevenson, the British director who made a number of films in Britain (King Solomon’s Mines, Tom Brown’s Schooldays), who went to Hollywood and made films like Jane Eyre. From 1957 he was employed by Disney and made numerous films including Darby O’Gill? and the Little People, Kidnapped, The Absent Minded Professor, In Search of the Castaways, That Darned Cat, The Gnomemobile, Blackbeard’s Ghost, The Love Bug as well as the classic, Mary Poppins.

1. The film as a Disney thriller comedy? The typical Disney ingredients? The blend of thrills and comedy?

2. The humour and irony of the title? The drawings during the credit sequences? The nature of the humour? British and ironical? Use of music, colour. British locations?

3. The introduction of Lord Southmere and its humour? His flashbacks about China and the humorous adventures? Derek Nimmo and his style? The present in the light of the past and the T.V. ending?

4. Comment on the quality of the parody of the adventures of Lord Southmere? How much humorous situation? How much satire?

5. The overtones of Fu Manchu for the plot? The various villains? Hnup as chief villain? The sinister comedy of Wan? And the idiocy of Choy? their cover of the reluctant dragon? The Chinese style in Britain? The rivalry between Wan and Qao#9 How seriously should any of this have been taken?

6. Lord Southmere's imprisonment, his bump? Hiding the film in the dinosaur?

7. The atmosphere of the nannies and their overtones? The satire on Empire and nannies? The characteristics of Hettie and Emily and Susan? The resourcefulness of the nannies, for example their searching for the dinosaur? The children and their reacting against the nannies in helping the Chinese?

8. Comment on the set pieces and their humour, the sequences of the nannies in the park, the search for the dinosaurs, the stealing of the dinosaur and driving it throughout the English countryside, hiding the dinosaur?

9. The contribution of the minor characters, the children and their personalities, the superintendent, the American who wanted to buy a dinosaur, the museum attendant, Sir Geoffrey, the colonel, the Scots drinkers, the Home Secretary etc?

10. How well did the film build up to its climax? The grand fight with the nannies involved?

ll. The humour of finding out that soup was the real issue of the stealing of the microfilm?

12. Why do audiences enjoy these Disney films? The quality of the comedy, the performances of Peter Ustinov and Helen Hayes? All the popular ingredients and blend of realism and fantasy?