THE ONE THAT GOT AWAY

UK, 1957, 111 minutes, Black and white.
Hardy Kruger, Michael Goodliffe, Colin Gordon, Alec Mc Cowan, Terence Alexander, Jack Guillam.
Directed by Roy Ward Baker.

The One That Got Away is the story of Franz von Werra, considered the only German prisoner of war who was captured in Britain and escaped from imprisonment, in Canada.

The film recreates the atmosphere of World War Two, common in many British films of this period where the war stories were being remembered and re-enacted. This is the period of such films as Carve Her Name With Pride, The Long and the Short and the Tall. However, Hardy Kruger is a strong screen presence and elicits sympathy from the audience, siding with him in his attempts to escape.

The film focuses on character but also on action. It was directed by Roy Ward Baker who began a long directing career with the thriller October Man with John Mills. After making a number of films in Britain including Morning Departure, he tried his hand in Hollywood with films like Inferno and Don’t Bother to Knock with Marilyn Monroe. However, he returned to England. His film after The One That Got Away was the re-creation of the sinking of the Titanic, A Night To Remember. He continued for the next decades with a great deal of work in television but also a number of horror films ranging from And Now The Screaming Starts to Vault of Horror.

Hardy Kruger had a career in Germany and with The One That Got Away and Bachelor of Hearts and Blind Date made soon after, he became an international screen star. The supporting cast consists of a strong gallery of British character actors.

1. The significance and emphasis of the title? Our knowledge that the hero would escape and our anticipation of this? The prologue and the explanation of Von Werra? Audience expectations from this kind of film?

2. The style of the fifties, black and white, presentation of war, the memory of the fifties, the tribute? The factual style? How credible were the people and the events?

3. The initial impact of Von Werra? His crash, arrest, confrontation of the British, his personality and its style, his brashness, demanding of rights?

4. How much of him was revealed through the interrogation, his lies to the paper, his reputation, his shrewdness in assessing the situation, his shrewdness in discovering British plants?

5. What impression did he make on the prison camp? His desire to escape, his interaction with the others? The effect of prison on him? The effect of the escapes? The significance of the long chase, the way that he effected the escape, the daring, the danger, the people searching?

6. The presentation of British security, its casual style, the personalities of the interrogators, the seeming friendliness, the recordings (and Von Werra's discovering of these?)

7. How does this kind of prison camp interrogation contrast with the German prisons and interrogations in films?

8. The preparations for the big escape? The going along the countryside, arriving at the railway station with the story, the suspense with the checking with the police, with the air field? The build-up to getting the plane? His almost getting away? This as a preparation for his final escape in Canada?

9. How credible was the escape in Canada? The effect of the snow and the ice? Arriving in America?

10. The significance of the end and his death, the epilogue?

11. How satisfactory a film about World War Two?

12. Themes of escape, freedom, heroism?

THE OLD MAN WHO CRIED WOLF

US, 1970, 73 minutes, Colour.
Edward G. Robinson, Martin Balsam, Diane Baker, Percy Rodriguez, Ruth Roman, Edward Asner, Paul Picerni, Sam Jaffe, Virginia Christine, Jay C. Flippen.
Directed by Walter Grauman.

The Old Man Who Cried Wolf is a variation on the boy who cried wolf (dramatised most effectively with Bobby Driscoll in The Window). Edward G. Robinson is the old man who experiences an attack and decides that there is a murderer. Nobody believes him.

This means that there is a character gallery, a murder mystery, the old man investigating the murder.

One of the great strengths of the film is its cast with Edward G. Robinson making the transition to telemovies – although he was to die a few years later. Other stalwarts from cinema like Martin Balsam and Ruth Roman also appear. Edward Asner was at the beginning of a career, especially on television.

Direction is by Walter Grauman, a director who made quite a number of movies but spent most of his career working for television.

1. The quality of the film as a telemovie? Telemovie styles, close-ups, pauses for commercials?

2. Response to the title? The irony of the boy who cried wolf? Indications of plot and expectations?

3. Quality of the opening? Audience involvement in the death? The audience onside with the old man's telling the truth?

4. The film’s creation of the puzzle and mystery? Sufficient clues. satisfactory explanation?

5. The quality of the character of the old man? His friendship? His tenacity to his opinion? The quality of his relationship with his family? His running away? Hospitals and nurses?

6. Comment on the characterization of his son and daughter-in-law. The family relationships? Their understanding?

7. The contribution of characters of Lois, the nurse and other minor characters? In relationship to the old man?

8. The irony of his appeal to the politician? The solution to the mystery? The social implications of the solution?

9. The ironic arrival of his son? His relationship to his son?

10. How satisfactory was the climax? The car chase. the relationship wi th the son, the blacks informing the police? Death?

11. The film's use of popular mystery ingredients and human interest?

OLIVER'S STORY

US, 1978, 91 minutes, Colour.
Ryan O ’Neal, Candace Bergen, Nicola Pagett, Ed Binns, Benson Fong, Charles Haid, Kenneth Mc Millan, Ray Milland, Joseph Sommer, Swoozie Kurtz.
Directed by John Korty.

Oliver’s Story is the sequel to Love Story, again written by novelist Erich Segal. The fans were not impressed by Oliver’s Story – because Love Story had made such an impact in1970. Everyone remembers “Love means never having to say you’re sorry”.

With Ali Mac Graw dead, Ryan O’ Neal, eight years later, has become something of a yuppie, rather self-complacent. He encounters Candice Bergen and a romance ensues. Ray Milland appears as Oliver’s father. There is a strong supporting cast – but the film is a soap opera set in an affluent family and does not have the dramatic impact and sentiment of the original film. This film was directed by John Korty, better known as a television director with such fine films as Go Ask Alice and The Autobiography of Miss Jane Pitman during the 1970s.

1. The value of a sequel to Love Story? Audience interest in the plot, the continuation of the characters' story? The spirit of the original? The relationship of this film to the original? How well does it stand up in itself?

2. 'Love Story' came out in 1970. The difference in eight years in filmmaking, the atmosphere of the seventies, changes in attitude towards films, towards love stories? The influence of 'Love Story' in the seventies? How striking are the differences, the similarities?

3. The impact of 'Love Story'? soap opera, tears, human interest? The education background, the wealthy white Anglo -Saxon Protestant atmosphere - with the Italian Catholic tradition? Colour, gloss, the musical score and the famous theme? Themes of love and death? The appeal of the original? How much of this continued in the sequel?

4. The impact of the funeral at the opening? The amount of time given to the funeral? The communication of the grief of 'Love Story'? The focus on Oliver and the impact of his wife's death and her funeral? The presence of his parents and their support? Jenny's father and his friendship? The presentation of the funeral? The waiting for the burial? Oliver's presence and watching the burial from afar? His attitudes towards Jenny's being dead and not being dead?

5. The transition to his life as a widower? The photo of Jenny on his table? The collage of his life at home and his loneliness? The presentation of him at work? Moving into a new apartment? Friendship with Phil over the passing of time, the visit to his new apartment? Phil's attempt at cheering him up at the night club and the presentation of a father-in-law and son-in-law out and the girl's question about his wife? Why could Oliver not enjoy himself. why did he keep remembering Jenny? Was this a healthy kind of thing to do?

6. The presentation of the counselling sessions? The manner of the counsellor. his listening, asking appropriate questions? Oliver's revealing of himself, moods, puzzles? His feelings, death. Jennie’s presence? His discussion of his affair with Marcie? The important question of whether Jenny was alive or dead? The way he confronted it. Marcie’s being confronted by it?

7. The importance of the meeting with Joanna? The arrangement of the meals by his friends after the discussion at the sauna, socialising, the incessant chatter of his friends pushing Joanna and himself together? The journey home, the discussion about the furniture? Polite friendship? The possibilities of meeting Joanna again? Her wanting to stay the night - did he or did he not? The impact of this socializing on him?

8. The presence of Oliver's parents? Their status and age, home, wealth, style of living? Their pressures on him? The importance of the mill and his father's wanting him to be involved? Their not understanding Oliver's work and their patronising attitude towards urban reform? His mother's refinement and isolation from an ugly world? Oliver's presence at the presentation of his father, listening to the hands at the mill speaking about his father and what the
Family had done? His staying at home. the discussion with his father in the kitchen, his remembering the past and his father's absence, his pride in his father, the reconciliation? Leaving Oliver at this point and the questions of his future? The strength of the portrayal of Oliver's father?

9. The suddenness of the encounter with Marcie in the park - he with his skates, she running? His decision to pursue her? The humorous and brisk conversation? The tennis match and her beating him and his suddenly beating her? The enjoyment of the meals together and their discussions? Her proposition that she stay the night at the motel and his going? Their beginning to share interests, their decision to live together? The quality of love? The fights? And their love together? Oliver and his saying that he did not remember Jenny when they made love? The significance of their fights and his going away? His energy in searching her out? Seeing her at work? The significance of the Hong Kong holiday with its tourism, his being in the background during the photography sessions? His attitude towards Marcie, her wealth, career? The presupposition about Hong Kong factories and the importance of the visit? Was it inevitable that they should break up? Why? The effect of the encounter with Marcie on Oliver? A love story or not?

10. Marcie in herself? A white Anglo -Saxon Protestant in that background, her comments about guilt, about style? Her observations about Oliver's Story sharing poverty? Her work career, failed marriage? Her reflections on her husband? Her enjoyment of her work. skills, skill in Hong Kong with the photography sessions, the factory? The sequences of their being together? The effect of this experience on her?

11. The themes of urban renewal, his explanation of the tax situation and the pulling down of buildings, the status of the lay? His working with the blacks for painting the building? The official and his playing up to the television? The reason for Oliver's involvement in this social work?

12. The sketching of his friends, Stove and his wife and their chatter, Phil and his interest in his son-in-law?

13. The impact of the Hong Kong interlude with its romantic background, work, fashion and wealth? As bringing their relationship to a head?

14. His return home, the reconciliation with his father? How well did the plot resolve itself? His looking out to the future? How good a portrait of an American man, widower, lawyer, concerned man, white Anglo -Saxon Protestant in the wealthy New England tradition?

15. Audience response to soap operas – enjoyment, the authenticity of the themes and treatment?

OLIVER TWIST

UK, 1948, 116 minutes, Black and white.
Alec Guinness, Robert Newton, Kay Walsh, Francis L. Sullivan, John Howard Davies, Henry Stephenson, Mary Clare, Anthony Newley, Ralph Truman, Kathleen Harrison, Diana Dors.
Directed by David Lean.

There have been at least twenty-one versions of the Oliver Twist story, beginning in 1916 with several silent versions. This film is considered the classic version. There were versions made for television (including a telemovie with George C. Scott as Fagin) and Roman Polanski made a version in 2005 with Ben Kingsley as Fagin.

This film was directed by David Lean the year after he made the film version of Charles Dickens’ Great Expectations. Lean had moved into direction with In Which We Serve, collaborating with Noel Coward for the war effort. He collaborated with Coward in directing film versions of his stories This Happy Breed, Blithe Spirit and Brief Encounter. Lean was to go on to make a number of significant films in the early 1950s including Breaking the Sound Barrier and Hobson’s Choice. In 1955 he made Summertime with Katharine Hepburn and after this made long and lavish and beautifully photographed epics: The Bridge on the River Kwai, Laurence of Arabia (winning Oscars for both of these films), Doctor Zhivago, Ryan’s Daughter and A Passage to India.

There was some criticism of Alex Guiness’s performance as Fagin. It is a classic performance but some interpreted it as anti-Semitic. Robert Newton rolls his eyes as usual as Bill Sykes. Kay Walsh is a very sympathetic Nancy. John Howard Davies, who also appeared in The Rocking Horse Winner, was a child actor who moved into BBC production and had a very successful career making such excellent series as Yes, Minister and To the Manor Born. Anthony Newley, early in his career, is The Artful Dodger.

The film creates a very strong atmosphere of Dickensian London, gloom and darkness. The sinister darkness of Fagin’s attic, the poorhouse with the scene with Oliver asking for more contrasts then with the comfortable house – to which Oliver is entitled.

The film, with its atmosphere, introduces audiences into Dickens’ social consciousness and his critique of the oppressive legislation and manners of Victorian England.

For most audiences, however, Oliver is best known because of the musical. Ron Moody was Fagin. Mark Lester was Oliver and the film won the Oscar for best film of 1968 and Carol Reed for best director.

1. What was the final impact of this film? Why? How impressive, how moving? Is it evident why the film is considered a classic?

2. Comment on the style of the film. The quality of the narrative and the strength of the plot? The background of Dicken's world? The role of coincidence and plausibility?

3. How important for the film was its atmosphere? The quality of the black and white photography, the composition of scenes, the use of nineteenth century sets, the nineteenth century atmosphere of the Poor House and London? The social atmosphere of the times? The inter-related moral atmosphere?

4. How valuable was the film for insight into nineteenth century England? The presentation of the Poor House, the people there, the hard work, poverty and oppression? The role of labour, the funeral work? The reason for thieves in London? The poor areas of London contrasting with the rich? Justice in London? (Did Dicken's feel that happiness was the ultimate goal of people? happiness as being identified with riches?)

5. The importance of the opening sequences as setting the scene, the mother and her birth, the dying? The importance of her death and its consequences? The doctor and the old crone?

6. The insight into characters like Mr Bumble and the Matron? Their self-importance? Their greed? Their oppression of the boys? The judgement on this type of character? As portrayed later in their money seeking? Their humiliation?

7. Comment on the collage of work in the work house. The boys and the women at work? The starving boys, the asking for more food? the Board and its meetings and comments on the boys, their huge meals? The significance of this atmosphere, judgement of the film?

8. The portrayal of the funeral parlour and life there? the work itself, the personalities involved, jealousy and fighting? Oliver and his need to escape?

9. The portrayal of London? How important was London as a character in this film? The poverty of London and its squalor? The contract of the houses of the rich?

10. The portrayal of the boys? The reason for their being thieves? Fagan's hold over them? The character of the Artful Dodger? The attraction for Oliver?

11. What insight into the character of Fagan did the film give? Was he a caricature? The Jewish background? His hold over the boys, his greed and his secret hoard, his cruelty, yet his kindness? The humour of his teaching the boys how to pick pockets?

12. The importance of Oliver's arrest? The impact on him? The skill of the boys in avoiding arrest? The significance of the trial? Mr Brownlow and the coincidence? Brownlow's trust in Oliver with the test of the boy? The contrast of the Brownlow's life with Fagan's?

13. How well portrayed was Bill Sykes? How sinister? As explained by the background of his life, his thieving and criminal work? His relationship with Nancy? Nancy as one of Fagan's girls and the future in prospect for the boys? The softer side of Nancy? Her defying Fagan and Bill? The significance of Bill's dog?

14. How did the atmosphere change with Oliver's being recaptured? The atmosphere of fear? Nancy's reaction and Bill's violence?

15. Who was responsible for Nancy's death? Herself and her ring? The Artful Dodger in letting Bill know? Bill and his violence?

16. The melodramatic pursuit? The fear of Oliver? Fagan's fear and his arrest? The boys cowering in the room? Bill and his desperate attempt to escape? The vindictiveness of the people pursuing Bill?

17. How appropriate was the happy ending for this film? The coincidences? The criminal relation and his going to get the money and suppressing the truth? The humiliation of Bumble and the matron? The arrest of the criminals? What prospects did Oliver have?

18. What are the main values of Charles Dicken's insight into the human nature and into the England of his time? How valuable were they? How limited? Was this film a satisfactory visual presentation of Dicken's insights?

ONCE YOU KISS A STRANGER

US, 1969, 106 minutes, Colour.
Paul Burke, Carol Lynley, Martha Hyer, Peter Lind Hayes, Philip Carey, Stephen Mc Nally, Whit Bissell.
Directed by Robert Sparr.

Once You Kill a Stranger is a remake of Alfred Hitchcock’s classic Strangers on a Train, from a novel by Patricia Highsmith.

The story is updated to the glossy 1960s, given a golf setting rather than a tennis setting as in the original. The other change is that the sinister character has been transferred from a man to a woman. In the original, Robert Walker did a bargain to mutual murder with Farley Granger. Here it is Carol Lynley and Paul Burke. Carol Lynley makes a bargain that Burke will actually kill her psychiatrist.

The film is more straightforward in tone than Hitchcock’s original, a glossy psychological thriller.

The film was directed by Robert Sparr, who made a number of television films and series during the 1950s and was killed in a plane crash soon after the completion of this film.


1. Was this a good thriller? What techniques did it rely on? How well? The atmosphere of suspense?

2. Comment on the glossy and lavish presentation of the thriller. Was the presentation appropriate, colour, songs, the rich American world, the golf background, psychology, broken marriages?

3. Comment on the interest value of the plot. How plausible was it?

4. The focus of the film on Diana? The initial impressions, her visit to the psychologist, her relationship to her family? Her watching Jerry on television at golf? The devious nature of the plot? The nature of her seduction. the violence of the murder?

5. Her reactions after the murder? Why had she done it? Her threats, blackmail, manipulation of Jerry, tantalising his wife, her chasing the wife to kill her, the pathos of the arrest? Was there a good understanding of the way her mind and character worked?

6. Jerry as the ordinary American? His behaviour an a person,, his professional golf ability, the break with his wife, his losing tendencies? The encounter and fascination with Diana? His allowing himself to be seduced? Not taking her murder threats seriously? His reaction to the murder, to the file, to the blackmail of his wife? Did he do the sensible thing at the end?

7. The importance of the emphasis on golf? Audience interest in this. the attention to detail, the competition amongst the finalists?

8. The background of the golfing fraternity in California? The types who played? Their relationships?

9. The importance of Jerry's wife in the film? Especially after the murder and Diana’s threats?

10. How satisfactory the climax? The pursuit of the wife by Diana. Especially on the shore and the rocks, the visit to the psychologist? How satisfying a thriller?

THE ONE AND ONLY

US, 1978, 97 minutes, Colour.
Henry Winkler, Kim Darby, Gene Saks, William Daniels, Harold Gould, Polly Holliday, Herve Villechaize, Bill Baldwin, Ed Begley Jnr.
Directed by Carl Reiner.

The One and Only is a star vehicle for Henry Winkler. From the 1960s Winkler had a prolific career in acting, especially on television in such series as Happy Days and Laverne and Shirley. He also produced a number of films and telemovies as well as directing several films including Memories of Me. Here he stars as an unsympathetic character, who, despite the odds, wins over a nice college girl, played by Kim Darby (True Grit). In his career, he alienates people by his over-the-top performances – but discovers that he has a talent for wrestling and all the showbiz accompaniment for professional wrestling.

The film is entertaining in its way, rather difficult to really empathise with the central character. However, Carl Reiner is adept at comedy. Steve Gordon wrote the screenplay (and was to write and direct Arthur before his untimely death of a heart attack).

Reiner collaborated with Mel Brooks in many television shows as well as radio programs. He wrote for a number of shows including The Dick Van Dyke Show. He began directing and during the 70s made Oh, God as well as The One and Only. He was then to make four films with Steve Martin, The Jerk, Dead Men Don’t Wear Plaid, The Man With Two Brains, All of Me. He continued acting into his 80s and appeared in the Oceans Eleven, Oceans Twelve, Oceans Thirteen trilogy.

1. The significance of the title? Andy's explanation of it? The importance of the prologue in illustrating it? The theme of arrogance, pride, vanity - and a healthier kind of self-esteem? The exhibitionist, the vulnerable man, the insensitive or sensitive man?

2. The appropriateness of making comedy out of egotism? Credible comedy, amusing? The real life egotist - comical or not? Comedy as a means of insight into the eccentric character and his eccentricities, motivational drive, the effect on himself and others, insecurity, hope, change?

3. The period setting of the prologue? The 1951 setting - for what purpose? A more innocent time? Comparisons with the 70s?

4. The quality of the screenplay as the biography of Andy and his one and onlyness? Humour, wit, set pieces. Andy's dialogue, Sydney's dialogue? Comedy, romance, family life, career, theatre and wrestling? The interplay of all of these?

5. Situation comedy: the ordinary sequences of home life and university life and dating presented comically, especially the early sequences? Mary's family by way of contrast? The situations of New York and surviving? The wrestling world and comic situation? Milton and the comedy of short people? The vulgarity of the situations? The blending of the variety of situations for persuasive comedy?

6. Andy: the explanation of his temperament and character as illustrated by his performances. his reaction to the audience during the prologue? Their reaction to him especially his mother? The early deaths of his parents? His comments on his day dreaming, on his being alone, his awareness of his gifts and talents, his inflating them, his lack of inhibitions, his voracious desire for applause and crowds, to be loved but not necessarily liked? The fact that he was not alone? That he had to manage? The importance of having a wife and a growing sense of responsibility, of creating a child and caring for the child? How well did he learn to be sorry, learn to admit mistakes, be conscious of hurting Mary - and particular soliloquies? In Kansas City where this was manifested? How real could he be? It was said that he needed to be with the freaks, with the audiences - was this necessarily true? What about his future and Mary’s return and the possibility of showmanship but being real at home, especially for his child?

7. Henry Winkler's style? how convincing was he as Andy? His skill with the comedy routines, his pushiness, his imitations of James Cagney and Peter Lorre, his skill with the wrestling, the impersonations for the wrestling? His acting in the play, the audition as the priest, imitating the Italian for the interview at the press agents? Reality and unreality, appearance and reality? Winkler's comic style? Convincing?

8. Mary’s contrast and a complement to Andy? The first encounter and the questions about picking noses, proposing to her etc.? Her embarrassment, humour? The outing in the restaurant and his singing? The encounter with Paul and his laughing and the would-be fight? His going into her room and the expulsion and the penalties?
Why did he love her, was attracted towards her? Mary and the background of her family? Her bringing him home and his impression at the first meal - taking over, imitations? Mary’s father and his preoccupation about business and the living? The marriage ceremony and the possibilities of happiness? The arrival in New York, the
meal? His showing off, her worrying about the money? The significance of the typing sequence and her mother
continually ringing? The news about the baby and her reaction, his reaction? The sharing between the two? Her saying that she was being scared and his comforting her? Her first discovery about the wrestling when he came home injured? Their clash ard the reason for her going? The background of the visit of Sydney and the others to the apartment? His leaving for. the tour and her not wanting him to?

9. Mary in Ohio - her welcoming him, back, the joy in his ordinary work, yet her being tense and wondering when he was going? The vehement clash as he left? How credible that she should return - the commonsense nature of her conditions? Her comment on his appearances, bringing the baby as some reality to him? A good portrait of an ordinary girl involved with such a man? The family background, Mum's personality her liking Andy? Tom and his wariness? Sherman and his liking the imitations? Their visit to New York and their dismay, Mum’s reaction to Milton's advances? Andy and his settling, in Ohio, the two ways of life insurance or wrestling? His manner at home, at the television set? The importance of the telegram and his leaving? The humour of his coming home in the middle of the night, Mary's coming downstairs, his going into the bedroom to assure Mum and Tom? How finally seeing them watching him on television? The presentation and humour about middle Americans?

10. The character of Milton - the first encounter and the discussion about careers? Milton the short jokes, discussions about freaks? Their chance meeting? Leading to success? Sydney's appreciation? Milton and his continued attendance? His preoccupation about sex and the irony of this, his advance on Mary's mother, the prostitute in Kansas City?

11. Sydney and his humour? As a promoter, desperate, as a character in himself, his work, his ulcers, his worry about his homosexual son and the frequent comments? His advice to Andy, visits to the apartment? His knowing him and what he wanted, especially in terms of success and applause? His shrewdness and Andy’s success?

12. The first wrestling match and the Indian and his hostility, Andy's return home injured? His getting ideas, the execution of his ideas, the decision to leave for the tour? His comments in Kansas and his return home? Hovering between the two and his need for going away? The film's humour with the wrestling world - the people, the sport, its contrivance, the spectators, fashionable and ordinary? Wrestling as an entertainment, vulgar, ugly? The humour of his various impersonations as a hypnotist, the Nazi?

14. New York as the fulfilment of dreams and the disillusionment? The apartment, the jobs and the irony of Andy’s wrestling? The build-up to the lover and the television comments, his entrance, costume and wig, manner? His wrestling and his feelings of success and achievement?

15. The baby as fulfilment for his life? Mary's hopes that this would bring him down to earth? The satisfactory resolution and the issues of which they spoke?

16. Themes of madness, humour, funniness, sadness, eccentricity, love, appreciation? Humorous insights into human nature?

THE OLD DARK HOUSE

US, 1932, 70 minutes, Black and white.
Boris Karloff, Melvyn Douglas, Charles Laughton, Lillian Bond, Ernest Thesiger, Eva Moore, Raymond Massey, Gloria Stuart.
Directed by James Whale.

The Old Dark House is based on a novel by J.B. Priestley. Along with The Good Companions and When We Are Married, The Old Dark House has had several versions for cinema and television.

The film is set in Wales, various travellers meeting at a gloomy old house – and being terrorised. This was the basis for many a film including such Bob Hope vehicles as The Ghost Breakers and The Cat and the Canary.

While the film creaks, coming from the early sound era, it has a very strong cast led by Boris Karloff who had been directed by James Whale in Frankenstein the previous year and was to be in Bride of Frankenstein in 1935. Ernest Thesiger also appeared in these films. Melvyn Douglas was emerging as a romantic lead and had a successful career for many decades including two Oscars for best supporting actor in Hud, 1963, and Being There in 1979. Charles Laughton was to win the Oscar the following year for The Private Life of Henry VIII. Raymond Massey was also to emerge on screen as a strong hero, portraying Abraham Lincoln, or a villain as in Arsenic and Old Lace. He appeared in many good films including East of Eden. Of interest, Gloria Stuart appears in the film – and was to have a career until the year 2000 including being the old lady in James Cameron’s Titanic, 1997.

British director James Whale went to Hollywood and made a film version of R.C. Sherriff’s Journey’s End. After Frankenstein and The Old Dark House he directed Bride of Frankenstein and the first version of Jerome Kern’s Showboat as well as The Man in the Iron Mask.

A biographical portrait of him was done by Bill Condon in the 1999 film Gods and Monsters, in which he was portrayed by Ian McKellen?.

1. Why is the film considered a horror classic? Its impact now, dated or fresh?

2. The film as an example of filmmaking in the early thirties on a small budget: sound techniques, artificial acts, atmosphere, horror techniques, editing?

3. The basic situation and its appeal to audiences to be scared?

4. The build-up to the approach to the house, the car, the passengers, driving, the storm?

5. The impact of the house, the way it was photographed, in the storm? A refuge and yet a house of horror? The impact of the owner with his very English manner, his gruff and rough sister. Boris Karloff as the butler and his scaring the women? Audience interest in and puzzle over these people and the house and its mystery?

6. The quality of the dialogue, the banal aspects, the humorous lines the irony?

7. Comment on the variety of style in the guests, their various types, men and women? Their interaction? Society types, middleclass and working types? The emphasis on the class differences?

8. The dinner sequences: the entertainment, interaction, the sinister butler?

9. How did the film continue to build up atmosphere, the preparation for the mystery, the story by the old father?

10. The mad brother and his behaviour? How skilful the presentation of madness, the plausibility of sanity, the firing of the house, death?

11. The variety of responses to the dangerous situations? People being locked and trapped in rooms? The danger of the storm? The fire? The fight with the mad brother?

12. How well did the film build up to a crisis? Audience participation in it?

13. The qualities of the film as exemplifying the horror genre? The appeal and the type of response?

OLD ACQUAINTANCE

US, 1943, 110 minutes, Black and white.
Bette Davis, Miriam Hopkins, Gig Young, John Loder, Dolores Moran, Philip Reed, Anne Revere, Esther Dale.
Directed by Vincent Sherman.

Old Acquaintance is Hollywood melodrama at its most vivid, at its best. The screenplay is based on a play by John Van Druten who also wrote such plays as The Voice of the Turtle and I Remember Momma. He worked as a screenwriter in Hollywood in the 30s, 40s and 50s.

The film is about rivalry and jealousy as well as about friendship. Bette Davis and Miriam Hopkins portray two authors, Davis the serious author, Hopkins the writer of melodramas and romances. They have been friends for a long time. However, the Hopkins character, after getting Davis’s help, has a very successful career, has a very enlarged ego and controls everyone about her, falling out with Davis. She dominates her husband, John Loder, and her teenage daughter, Dolores Moran. They actually turn towards Davis for help – and there are feelings between Davis and Loder, but they act in the best possible interests and morality and separate. Nevertheless, the Hopkins character is ultimately jealous. There is also a complication, with Gig Young and his love for Davis and his falling in love with Hopkins’ daughter. Davis heroically again does the right thing.

This is the material of soap opera and melodrama – but meticulously done with strong performances by the two leading ladies (who had appeared together in The Old Maid).

The film was directed by Vincent Sherman who made a number of melodramas including Mr Skeffington with Bette Davis and several Joan Crawford dramas in the early 1950s like The Damned Don’t Cry.

The screenplay was adapted and updated to the 1980s for Rich and Famous with Candice Bergen and Jacqueline Bisset, directed by George Cukor (his last film).

1. The significance and tone of the title? The traditional song, the explanation of the title at the end?

2. How enjoyable a film of the forties? Typical Warner Bros. melodrama? A vehicle for Bette Davis and Miriam Hopkins? Black ,and white photography, musical score, sets, atmosphere? The impact of all this now?

3. The importance of the happy opening? Kathryn as a celebrity? Millie waiting? The emotional changes that took place even in this first incident? Indicating the personalties of the two wmm? Their careers and fame?

4. How important for the film was the contrast of the two women? Kathryn as a celebrity, an easy personality, her willingness to help Millie? Millie as moody, creative, her relationship to her husband? The contrast of
them as women, their success in the fiction world, their attitudes towards reality?

5. The personality of Grant? A sign of contradiction for each? His devotion to Millie and yet not being able to tolerate her emotionalism? The attraction to Kathryn? The credibility of his walking out on the marriage?

6. The importance of the long transition of time? Kathryn and her greater success and sophistication? The elation of her meeting with Kendall and falling in love? Her attitude towards marriage? Her age? Her handling
of the situation by separating from Kendall? Her decisions?

7. Kendall as a person? His response to Kathryn? His attitudes towards the marriage? His attraction then towards Millie’s daughter?

8. The importance, of Grant’s seeing Millie again? The impossibility of reconciliation? The melodramatics by Millie?

9. The importance of the clash between the two wcam? The reasons for it, the words said the attitudes of love and hatred? An unhappy ending for them both? The happy ending for the younger pair?

10. How enjoyable are such melodramas? What insights do they offer into the behaviour of ordinary human beings? Emotional? Audience expectations of such soap operas? How well were the expectations filled?

THE OKLAHOMA KID

US, 1939, 85 minutes, Black and white.
James Cagney, Humphrey Bogart, Rosemary Lane, Donald Crisp, Ward Bond.
Directed by Lloyd Bacon.

This is an opportunity to see James Cagney and Humphrey Bogart together. It is also an opportunity to see James Cagney in the west – he was usually either a gangster or in musical comedy. Humphrey made very few westerns as well so this is an interesting occasion.

Humphrey Bogart is the villain who takes the money available for paying Indians for their land. He wants to get the rights to land and set up gambling. James Cagney is Jim Kincaid, the Oklahoma Kid, who confronts Bogart.

The film has the expected conventions – but does present a very lawless old west. The film was directed by Lloyd Bacon who directed a number of conventional films at Warner Brothers at this period.

1. How enjoyable was this western? was there anything that made it particularly interesting and different?

2. Comment on the styles of 1930s film making and photography, the narrative, the inheritance of silent days?

3. How good an example of the western genre was this? How much has it been used later? Did this film show signs of originality, of being part of a tradition?

4. What made it entertaining? What serious interest was there? The theme of law and order and its presentation in the 1930s?

5. Comment on the film's western themes and their presentation: the land rush and building empires, the role of the land, the building of the towns, the inevitability of deals, the criminals, the disorder, the need for law and order and justice?

6. How did this western seriousness parallel the gangsterism of the 30s? Cities and towns being owned in the west. and being owned in later times, the American heritage?

7. What insight into the nature of the west did the film give and its role in the heritage of America? How much are American traditions, even in the cities and in this century, similar to the west of the 19th century?

8. How interesting a hero was the kid? James Cagney's style and mystique? Was he convincingly presented as a hero? The innocent victim of the west? The importance of his philosophy of law as explained to the judge? His being presented as doing his own thing, the contrast with his father and brother? His trying to work within the law and his administering justice himself? The importance of the relationship with his father and Ned? The effect of the judge on the kid's behaviour? Jane’s effect and love? How convincing was his ride for the judge, his vengeance on the criminals his turning over a new leaf, his future? The mystique of such 'western heroes in American tradition?

9. How convincing a villain was Mc Cord? As a contrast with the Kid? Humphrey Bogart's style in the west and as a villain? His owning the town. his deals, his inciting the mob, his using the law, the inevitability of his death? The parallel between Mc Cord in Tulsa in the 19th century and the gangsters of the 1930s?

10. The importance of the picturing of justice and injustice? Kinkaid, the rigged trials the lynching etc? Audience response to this?

11.Ned and Jane in the film? Conventional characters or something more? Their contribution to the plot? Kincaid and his contribution to the plot? The judge as a man of justice in the west?

12.How much was cliche in the film and how much was original?

13.The heroics, the excitement, the humour, the standard sets? a good western?

OKLAHOMA

US, 1955, 145 minutes, Colour.
Gordon Mac Rae, Gloria Grahame, Gene Nelson, Charlotte Greenwood, Shirley Jones, Eddie Albert, James Whitmore, Rod Steiger, Barbara Laurence, Jay C. Flippen.
Directed by Fred Zinnemann.

Oklahoma was the first musical by Rodgers and Hammerstein. It made a great impact in the war years, premiering in 1943 and surprising audiences with its rethinking of music theatre style. Rodgers and Hammerstein followed up with such classics as South Pacific, Carousel, The King and I. Other plays of course included Flower Drum Song and The Sound of Music.

The film was surprisingly directed by Fred Zinnemann, a very serious director who had made such films as The Men, High Noon, From Here to Eternity. Zinnemann was to continue directing serious films like A Hatful of Rain and winning a second Academy Award for director (the first for High Noon) for his version of Robert Bolt’s A Man For All Seasons.

Gordon Mac Rae was very popular at Warner Brothers during the 1950s, teaming with Doris Day in a succession of popular musicals like On Moonlight Bay and By the Light of the Silvery Moon. Shirley Jones was at the beginning of her career, was to appear the next year with Gordon MacRae? in the film version of Carousel. She was to win an Oscar for a serious role, best supporting actress in Elmer Gantry. She achieved quite some fame because of her presence on television in The Partridge Family.

Gene Nelson was a sidekick to Gordon Mac Rae in a number of the popular musicals and appears here as Will Parker. Charlotte Greenwood, a tall actress with a caustic tongue as well as kindness, is Aunt Eller. The supporting cast includes Eddie Albert and James Whitmore. Rod Steiger stands out as Judd Fry – many considering his performance far too intense for the musical. Gloria Grahame also shines out as Ado Annie.

The film has the popular songs from the musical which have become popular classics.

When the musical was revived on London’s West End in the 1990s, Hugh Jackman was Curly. He had made stage appearances in Australia in Sunset Boulevard and The Beauty and the Beast and some Australian films. After Carousel and its staging on Broadway, he went on to a strong film career as well as winning a Tony for his impersonation of Peter Allen in The Boy From Oz.

A television version of stage performance with Hugh Jackman was filmed and released. Maureen Lipmann was Aunt Ella.

1. The status of the film as a musical? Its historical place in the development of American musical comedy? Its impact now?

2. What was the total impact of the film, the colour, locations, widescreen, the human elements?

3. The impact of the songs and the music? The highlights, why?

4. The film as a fifties musical, the static patches, the reliance on charm, the stars?

5. Musicals and appeal to audiences? The songs, the dances, the light touch, the easy approach to themes and relationships?

6. Musicals as real and unreal? Fantasies? A fantasy presentation of real life? How does Oklahoma fit into this pattern?

7. The film as a piece of Americana? Its impact In America? Its presentation of a folksy Americana? The good and the bad, love, local customs, styles, American values?

8. Oklahoma as a state, the cattle origins, the ranches, future of the territory as a state, the American heritage?

9. The importance of the atmosphere of the town, the family, dances, the auctions? Why were these so interesting and enjoyable?

10. The impact of the central plot? Strong enough for this musical? Curley as the heroic type? Laurie as the sweet heroine, the ups and downs of their romance? As illustrated by the songs, Fringe on the Top, Beautiful Morning, People will see we’re in love…?

11. How did Judd contrast with Curley and Laurie? Rod Steiger’s heavy villain? The nature of his evil and meanness? the history of his burning, his attraction to Laurie, his jealousy, the humiliation? The irony of his singing about his death with Curley? The significance of the lyrics for the theme? His role in Laurie’s nightmare? His
Cruelty? His being humiliated at the auction? The death sequence? Intensity and overstated realism compared with the hero and heroine?

12. The contrast with Ado Annie? Her lighthearted approach? Her falling in and out of love, her song and the contrast with Laurie? Her attraction to Will, to the salesman (the contrast with Gertie)?

13. The contribution of Ella to the atmosphere of the film, her folksy wisdom and good humour?

14, The highlights of the songs and dances: Kansas City, the square dance, the girls before the party, the dream sequence.

15. How enjoyable is the film now? The role of musical comedy in popular entertainment?