OF HUMAN BONDAGE

UK, 1964, 100 minutes, Black and white.
Kim Novak, Laurence Harvey, Robert Morley, Siobhan Mc Kenna, Roger Livesey, Jack Hedley, Nanette Newman, Ronald Lacey.
Directed by Ken Hughes.

Of Human Bondage is based on a novel by W. Somerset Maugham. According to the Internet Movie Data Base, one hundred and twenty films have been based on novels and plays by Maugham. They include Sadie Thompson in several versions of the novel Rain, The Letter, with Bette Davis in 1942 and a remake with Lee Remick, The Painted Veil, Too Many Husbands, The Razor’s Edge in two versions.

Maugham spent a great deal of his life in Asia and that provides the background for some of these stories. However, with its English setting, Of Human Bondage takes up themes very dear to Maugham: strong women and their domination of men, their use of men, the men coming back to the woman who destroyed them, their human bondage.

In this story, Mildred Rogers is a waitress who attracts a medical student, Philip Carey. He is sensitive and has a club foot. As a medical student, he is committed to his work, but is eventually destroyed by his infatuation for Mildred. She moves away, takes up with others, becomes pregnant, relies on Philip for caring. Ultimately, she dies.

The first film version starred Bette Davis early in her career (and she did not receive the Oscar, but won the Oscar the next year for Dangerous). Leslie Howard was a strong British actor appearing in many Hollywood films and embodies Philip Carey. He was to appear in such classics as The Petrified Forest, Pygmalion and Gone With The Wind. He directed a number of films for the war effort, The Forty -Ninth Parallel, The First of the Few before dying in a plane crash during the war. The film was directed by John Cromwell, a classic director of the 30s and 40s.

Edmund Goulding (Grand Hotel, The Razor’s Edge) directed a 1946 version with a tour-de-force performance by Eleanor Parker with Paul Henried as the student.

The film was updated and remade in 1964 by Ken Hughes (Chitty Chitty Bang Bang, Sextet) with Kim Novak as Mildred and Laurence Harvey as the student.

Response to the films critically seems to depend on the affection for a particular period, with the common opinion being that the 1964 version is the weakest of the three. However, in looking back at the 1930s version, it was early film-making in the sound era and is rather creaky. However, it is interesting that there are three versions for audiences to compare the impact of Maugham’s story.

1. The meaning of the title, the reference given during the film, indication of themes?

2. The quality of black and white photography, the Rodin statues during the credits, the music, atmosphere, the stars?

3. Was the film a genuine dramatic drama, or a soap opera? How Much insight into relationships between men and women? The insight of Somerset Maugham? The book on which it is based as a classic?

4. The significance of the prologue concerning Philip at school, the cruelty of the boys, his ambitions, his being a cripple, disfigured? As seen throughout the rest of his life?

5. How was the audience meant to identify with Philip? The significance of his initial failure in artwork? His tutor giving him directions for life? His purpose in life? The contrast of the art world to medicine? Philip as a sensitive and cultivated man?

6. The importance of the film's stress on the medical world? The presentation of the doctor and his lectures, the detail of study, the humiliation of the students? As a balance to the world in which Mildred was the centre? The film's editing of the world of Mildred and the world of medicine?

7. The audience's first glimpse of Mildred? The impression, what kind of woman in herself, her style, as formed by her environment? The students and their attention to her, her handling of them?

8. How did the audience gradually get to know Mildred? Through the eyes of Philip? Seeing more than Philip? Her charm, yet her cheapness, her sluttish attitudes, her fickleness in breaking appointments, leading people on? Her unfeeling attitudes and self-centredness? The significance of the outings with Philip. her boredom at the theatre and her attitude towards the audience, her lies to Philip and his catching her out? The pressures that she put on Philip? His effect on her?

9. How well did the film show Philip's infatuation? His growing preoccupation, drawing her, going back? The importance of the war by Griffith? His lack of experience even though he had lived in Paris? The joy that Mildred gave him? Mildred's remembering of the rhyme that 'when she was bad she was horrid'? Philip's failing his exams because of infatuation with Mildred?

10. The significance of his proposal? Buying the ring, her attitude towards the ring? Sexual fulfilment and her revelation of the truth? its effect on him and her callousness?

11. The effect of disillusionment on Philip? His work at the hospital and his study? His being taken to the party, meeting the authoress, her care of him? How good was she for Philip? The effect on him? His truthfulness in telling her about Mildred? The importance of Atherlay and his daughter? Sally as a contrast to Mildred?

12. Audience response to Mildred and her suffering? The baby her need for help. her tirades against Philip his being hurt?

13. The contrast of Philip trying to get Mildred out of his system? His work as a doctor? His encounter with Mildred as she walked the streets? Her refusal to be confined by him? Finally the encounter at the clinic?

14. Mildred's failure as she began to go down her final illness, the significance of her death? Philip's infatuation, love and hatred until the end? How moving was Mildred's death? Philip and his freedom?

15. The significance of the funeral and the way that it was filmed? The background of the conversation with Atherlay, the background of Philip's love for Sally and her love for him? The future for them?

16. How much truth and insight into love, power, bondage did the film offer?

OF HUMAN BONDAGE

US, 1934, 83 minutes, Black and white.
Leslie Howard, Bette Davis, Frances Dee, Kay Johnson, Reginald Denny, Alan Hale, Reginald Owen.
Directed by John Cromwell.

Of Human Bondage is based on a novel by W. Somerset Maugham. According to the Internet Movie Data Base, one hundred and twenty films have been based on novels and plays by Maugham. They include Sadie Thompson in several versions of the novel Rain, The Letter, with Bette Davis in 1942 and a remake with Lee Remick, The Painted Veil, Too Many Husbands, The Razor’s Edge in two versions.

Maugham spent a great deal of his life in Asia and that provides the background for some of these stories. However, with its English setting, Of Human Bondage takes up themes very dear to Maugham: strong women and their domination of men, their use of men, the men coming back to the woman who destroyed them, their human bondage.

In this story, Mildred Rogers is a waitress who attracts a medical student, Philip Carey. He is sensitive and has a club foot. As a medical student, he is committed to his work, but is eventually destroyed by his infatuation for Mildred. She moves away, takes up with others, becomes pregnant, relies on Philip for caring. Ultimately, she dies.

The first film version starred Bette Davis early in her career (and she did not receive the Oscar, but won the Oscar the next year for Dangerous). Leslie Howard was a strong British actor appearing in many Hollywood films and embodies Philip Carey. He was to appear in such classics as The Petrified Forest, Pygmalion and Gone With The Wind. He directed a number of films for the war effort, The Forty-Ninth? Parallel, The First of the Few before dying in a plane crash during the war. The film was directed by John Cromwell, a classic director of the 30s and 40s.

Edmund Goulding (Grand Hotel, The Razor’s Edge) directed a 1946 version with a tour-de-force performance by Eleanor Parker with Paul Henried as the student.

The film was updated and remade in 1964 by Ken Hughes (Chitty Chitty Bang Bang, Sextet) with Kim Novak as Mildred and Laurence Harvey as the student.

Response to the films critically seems to depend on the affection for a particular period, with the common opinion being that the 1964 version is the weakest of the three. However, in looking back at the 1930s version, it was early film-making in the sound era and is rather creaky. However, it is interesting that there are three versions for audiences to compare the impact of Maugham’s story.

1. The quality of Somerset Maugham’s story? The popularity of the story with three major film versions? The status of this version as an early sound classic?

2. The production values of filmmaking in the thirties? Photography black and white, the re-creation of London in Hollywood? Sound techniques, styles of acting? The status of the stars?

3. The significance of the title and its reference to the main characters? Indication of themes worked out throughout the plot? Men and their bondage, women and their bondage? The importance of the human? The importance of human freedom?

4. The screen play's focus on Philip Carey as a person, as a man and artist in Paris? The importance of the explanation of his mediocrity? His ability to accept this? His linking it with his clubbed foot and sense of failure? The motivation for his studying medicine, his skill in study? Capacity for success, experience of failure? His self-
acceptance. Bitterness, relating with people the experience of love? Why did he love Mildred? As another example of lack of self-acceptance and pathos for a lame human being? How convincing was Leslie Howard and his style in this role?

5. Mildred as a credible person in herself? Her dress, manner, work, way of speaking. values and lack of values? Cheap? As visually portrayed, Bette Davis’s style? As seen by the audience, as seen by the other interns, as seen by Philip? The importance of his glamorising her in his dream? What were the bonds between the two? what attracted them to each other, what made it a bondage? Mildred and her ability to flaunt her ignorance, sexuality? The importance of their outings. passion, kissing or not kissing? Mildred and her teasing and
tantalising? The effect on Philip? How much love on the part of both of them?

6. The world of the hospital, Philip's friends and Mildred fitting into this? The failure with Mildred turning against Philip and revealing her despising of him? How much did this hurt him, hurt herself? Mildred's motivation for this kind of behaviour?

7. Philip's experience of the family, the father and his bravado attitudes and friendliness? Sally as a contrast with Mildred? Sally's taking Mildred's place? Philip shoring himself up against hurt by devotion to Sally? How well did the film portray the personality of Sally?

8. The importance of Philip’s proposal to Mildred and her rejecting of him? The effect on each? Mildred and her decline in work, love, destitution? The child and her treatment of it? The death of the child, the illness and the nature of her suffering and death? As inevitable and for this kind of woman at this time?

9. The accident of Philip discovering Mildred as she was dying? The importance of her death to him, his ability to help or not help? The depth of his lameness? How well signified by the portrayal of his club foot - as examined by the doctors, the experience of the boy with the clubbed foot, his inability to walk properly, cure, healed?

10. The optimistic ending and the hope for the future with Philip and Sally? How credible was this in terms of the plot? In terms of the characters portrayed?

11. How valuable is this kind of film to explore themes of good and evil, society, individuals and their weaknesses, the bonds between man and woman, possessiveness, the human ability to hurt others?

ODETTE

UK, 1950, 124 minutes, Black and white.
Anna Neagle, Trevor Howard, Marius Goring, Bernard Lee, Peter Ustinov.
Directed by Herbert Wilcox.

Odette made a great impact in 1950. It was a period when British films were making memoirs of the experiences of World War Two, especially the concentration camps in films like The Wooden Horse. Following Odette there were a number of tributes to particular individuals, the most significant being Carve Her Name With Pride with Virginia Mc Kenna as Violette Szabo (1957).

Odette Sanson collaborated with Anna Neagle for the making of the film, accompanying the actress to the various sites and prisons where the action took place. Odette herself is quoted as saying that working with Anna Neagle for such time and such energy was harder than the actual experiences.

Odette is presented as an ordinary citizen, volunteering for undercover work and collaboration with the Resistance in France. She is captured and tortured but does not give any information to the Nazis.

Anna Neagle was a musical actress, best known for a range of films with her husband (as here), director Herbert Wilcox. During the 1930s she had portrayed all kinds of characters from Nell Gwyn to Queen Victoria (Victoria the Great, 1937, Sixty Glorious Years, 1938) and Nurse Edith Cavell. She also appeared in the musicals Irene and No No Nanette. In 1946, she appeared in a number of films which broke all box office records in the United Kingdom, starring with Michael Wilding: Piccadilly Incident, The Courtneys of Curzon Street, Spring in Park Lane, Maytime in Mayfair. Odette came immediately after Maytime in Mayfair and before her enacting Florence Nightingale in The Lady With The Lamp.

The film has a strong supporting cast led by Trevor Howard with Peter Ustinov in an early role.

Odette was one of the most significant films in British cinema in 1950 – although, in retrospect, there is criticism that Anna Neagle was not strong enough in the central role. However, audiences disagreed.

1. How moving and interesting was this film? As a war film? as a document on human nature?

2. The 1950s atmosphere o£ the film? In style, in relationship to World War II and memories? The patriotism and tribute of the time? The impact of the film decades later?

3. Comment on the particularly British atmosphere of the film, the portrayal of heroism, the nature of patriotism, the presentation of courage.

4. The atmosphere of real life at the beginning and end of the film? The intrusion of war into ordinary life? The film as a tribute?

5. The presentation of the war setting, the building up of the war atmosphere and feeling, the need for patriotism? The explanations of people in war, emotional response, realities of death?

6. Odette as a person? The presentation of her role in ordinary life, the widow. the children, sending in the photos?

7. How credible was her volunteering, the nature of her training? the importance of the Scotland story for the children, the sadness of the farewells?

8. How interesting was the picture of the network in France, the nature of communications, the way of life of the spies, the importance of loyalty and trust?

9. Raoul: as a person, as a Churchill, his skills, trust, detailed knowledge of the network, the spirit of the agents in France, his relationship to Odette, trusting her? The capture. the torture and its effect?

10. Odette’s role in France: settling in to the work, her work? in Marseilles as a test, her skill, relationship with Raoul? her capture and her showing of courage? The torture. fidelity, the final starvation? The impact of freedom? her rehabilitation?

11. The other spies, their work as agents, their success, the risk of death, their capture?

12. The picture of the Gestapo and its ugliness? Torture?

13. The civilised German officer and his kindness towards Odette? his doing of his work and following orders? His responsibility for the kind of torture that went on?

14. The picture of the British during the war? How fair? Overemphasised for the purpose of the film? The contrast with the Germans? The picture of the resistance?

15. The documentary flavour of the film, the initial introductions, testimonies from historical people? Odette’s final words, the decorations? Was this an effective war film?

ODD MAN OUT

UK, 1947, 116 minutes, Black and white.
James Mason, Robert Newton, Cyril Cusack, Kathleen Ryan, F.J. Mc Cormick, William Hartnell, Fay Compton, Dennis O’ Dea, Maureen Delaney, Robert Beatty, Dan O’ Herlihy.
Directed by Carol Reed.

Odd Man Out is considered a masterpiece. While it echoed the Irish Troubles of the time, in post-World War Two Northern Ireland, it is interesting to look at in the light of the history of Northern Ireland during the latter part of the 20th century.

James Mason is at his best – after appearing in a number of melodramas for Gainsborough Studios during the war, like The Wicked Lady and The Seventh Veil, he was soon to move to the United States and an international career. Robert Newton had also made a number of interesting films though his quite idiosyncratic manner of speaking was best suited to his role as Long John Silver in Treasure Island. The film has a very strong supporting cast led by Irishman Cyril Cusack and with a number of British character actors.

The film was directed by Carol Reed who had begun directing in the 1930s and made such significant films as The Stars Looked Down, Kipps, The Way Ahead. Immediately after Odd Man Out he made another two masterpieces both based on Graham Greene stories, The Fallen Idol and The Third Man. He made a number of strong films during the 1950s though not as strong as this work in the late 40s. His work became much more popular in the 1960s including The Agony and the Ecstasy and his unexpected Oscar win for best director of Oliver.

The film shows a perspective on the IRA, its work, its being perceived as a terrorist organisation, the robbing of banks to fund the terrorist activity. James Mason is Johnny Mc Queen, the odd man out, in jail for a long time and now hiding with Kathleen (Kathleen Ryan) and her grandmother. When the robbery goes wrong, he has to escape, there is a cordon around the streets, he tries to survive. Kathleen goes to find him.

The film is famous for its black and white cinematography, by Australian-born Robert Krasker who worked on many significant films from the 1930s and worked until the 1960s even with such spectacles as El Cid, The Fall of the Roman Empire, The Heroes of Telemark. The design of the cinematography, its different perspectives and angles indicate the experience of the man on the run. The film also has a musical score by William Alwyn,

1. The significance and tone of the title? The remake was called "The Lost Man". Compare titles and themes.

2. This film is considered a classic. Why? Comment on its nature as a classic in terms of theme, treatment. black and white photography, location atmosphere and photography, development of character?

3. How well did the film create its Irish setting? the nature of the prologue, the atmosphere and look of Belfast, the political and national issues, the details of places, the complex reactions of the Irish, the role of the police, the role of law, the role of the Church?

4. Where were audience sympathies directed? How? How much sympathy for Johnny? For his cause? The fact that he was dying throughout the film? Of the issues and people and danger seen through his eyes?

5. The importance of seeing through Johnny's eyes? Comment on the cinematic and dramatic devices for this.

6. Audience reaction to the organisation? To terrorism? Ordinary people involved in politics? The drawing up of plans, the attitude towards the law, lack of scruple as regards violence and death? Comment on the moral issues involved in Irish terrorism. The film’s attitudes?

7. The focussing of attention on Johnny: as we first see him, the fact that he was in prison for so long, trying to do a job, his heart not in it as before, his decisions. The impact of his being shot, Hiding, the struggle and the journey towards death?

8. Comment on the theme of a dying man in his reviewing his life and its meeting. How well was this illustrated throughout the film?

9. The Irish character in Gran and Kathleen? Their coping with the situation and helping Johnny? Their reactions to the police? What should they have done?

10. Kathleen as a character? her helping the organisation, her searching for Johnny, her relationship with Father Tom, with the police? What was the meaning of her death? Audience sympathy?

11. The friends and their lack of expertise in doing the job?

12. The gunmen and the driver?

13. Comment on the character gallery presented in this film, the characters in themselves, their relationship to Johnny, to the theme, the children at various times who helped Johnny or the police, the people robbed, the people in the bank, the two ladies who took Johnny in and helped him, the soldiers, the cabby, Shirl, Lukey, the doctor, the people in the hotel, Father Tom. What motivated all these people? Greed, help, fear, the law?

14. The importance of the artist, as an apolitical Irishman? The significance of his painting Johnny while he was being attended to by the doctor?

15. The presentation of the Irish police? how fair was the film? The comment on Irish politics. Culture, society, religion?

17. How optimistic a film, how pessimistic?

THE OBLONG BOX

UK, 1969, 97 minutes, Colour.
Vincent Price, Christopher Lee, Rupert Davies, Sally Geeson.
Directed by Gordon Hessler.

The Oblong Box is based on a story by Edgar Allen Poe. Vincent Price became associated with Poe’s stories because of the several films he made with Roger Corman including The Mask of the Red Death, The Tomb of Ligeia.

This film is not as strong as the Corman films. Gordon Hessler worked in television and made a number of horror films such as Scream and Scream Again, Scream Pretty Peggy, Skyway to Death, Murders in the Rue Morgue.

The film recreates the eerie atmosphere of a Poe story. The film focuses on an aristocrat who has to safeguard his aristocratic brother, who is disfigured, from escaping from a tower and wreaking vengeance in the town. At times he does – murdering prostitutes. Vincent Price is the aristocrat and Christopher Lee appears as the doctor who treats his mad brother.

1. How successful a visualisation of an Edgar Alan Poe story?

2. What is the characteristic of the Poe mystique? The aspects in this film eg. disfigurements, witch doctors, curses, murders, racism, body-snatcher etc.? Why do audiences find these interesting, attractive? The violence of the film and its horror? Spells and curses, the nature of madness, guilt and responsibility? How well explored were these themes in a horror genre? Were they exploited? Was the violence exploited?

3. The film, creation of its 19th century atmosphere? in what did the atmosphere consist? The backgrounds of Africa and the witchdoctors, the 19th century mansion, the nobility's way of life, the contrast with the asylum?

4. The film's emphasis on shock? The subjective elements at the beginning with Sir Edward and his way of looking at things? The gore and its effect?

5. Audience interest and sympathy for Edward? The nature of his suffering, his being victimised? Edward as a menace and his being menaced? The horror of his being buried alive? The irony of his rescue? The credibility of his vengeance and his running amok? The final vindictiveness of his biting Julian?

6. A real character or contrived for horror purposes? How real a character was Julian? The good and evil in him, the initial appearance and vengeance against Edward being victimised by Edward? The horror of the truth? His paying for it? The final horror?

7. The significance of Dr Neuhart? Christopher Lee's style? His running the asylum? His helping Edward? His being a victim?

8. The minor characters and their contribution to the plot and atmosphere? The policemen, the lawyers, Julian's fiance, the maid, the prostitutes? How adequate a gallery of 19th century types, horror film types?

9. The place of the witchdoctor and his contribution to plot and atmosphere?

10. The contribution of body snatchers and the 19th century tradition of grave robbing?

11. The appeal of horror films? The visualising of the darker side of human nature? The exploration of these evil undertones?

OBJECTIVE BURMA

US, 1945, 142 minutes, Black and white.
Errol Flynn, James Brown, William Prince, George Tobias, Henry Hull, Warner Anderson, Mark Stevens.
Directed by Raoul Walsh.

It was often joked that John Wayne won the war because of the many war films both during and after the war. It was also said of Errol Flynn – with, perhaps, more justification. During the 1940s he made quite a number of ware films: beginning in 1941 with Dive Bomber already indicating the war with Japan followed by Desperae Journey, Edge of Darkness, Northern Pursuit, Uncertain Glory and, finally, Objective, Burma. During this period he made only two other films – They Died with Their Boots on, as General Custer, and Gentleman Jim as boxing champion James J. Corbett. His war career was very strong in winning the war on all different fronts.

That said, Objective, Burma is a high-powered war film, focusing on a group of Americans who are parachuted into Burma, have to destroy a radar station, have to meet together but find the Japanese waiting for them and have to make their way through the jungle to safety. Errol Flynn leads a cast of young actors at Warner Brothers, a number of whom became prominent character actors.

The film’s story was written by Alvah Bessie, a communist who had fought in Spain, worked in Hollywood but was one of the Hollywood Ten and blacklisted. However, many of the Hollywood Ten wrote strong, patriotic American films during the war, especially because of the United States’ alliance with the Soviet Union during the war.

The film was directed by veteran Raoul Walsh who had been directing films from the early silent days. He directed Northern Pursuit as well as Desperate Journey and Uncertain Glory, a collaboration with Errol Flynn. He also directed him with They Died With Their Boots on and Gentleman Jim. Walsh had a long career right into the 1960s with some hard-hitting films in the 40s, including White Heat, and some much more spectacular films during the 1950s like Battle Cry and The Tall Men.

1. The impact of this war film? As a morale booster in the forties? Glorifying the Americans in war? The British controversy about the treatment of the British in Burma? The impact in the forties? The impact now?

2. Audience expectations of war films? Action, the details of war, comment on war, patriotism?

3. The quality of this film? The use of locations, the emphasis on people and personalities, the visualizing of war and its horrors, the details of strategy, the importance of a mission? This group as a microcosm of war?

4. The presentation of the broader sweep of World War Two? The introductions, American strategy, the role of Burma in Asia? The terrain of Burma, the people?

5. The picturing of the Japanese and the Americans? The attitudes of the forties? The picturing of the Japanese pursuing the Americans? "Infesting the jungles"? The pursuit and tricking of the Americans?

6. The picture of those in command and the wisdom of their overall strategy? The small group not knowing the purpose of their mission? The trust in authority?

7. The film's focus on the men, their initial training, details of morale, humour? Their working together in the mission? Their clashes of personality? Tension under stress? The details of the individuals?

8. Nelson as the American hero? His leadership capacity, welding of the men together, heroics? The 'Errol Flynn' hero? How human? The nature of his decisions? The loyalty of the men?

9. The character of the reporter? Testing the role of soldiers In war? The explanations to him as a help for the audience? His commentary on the various incidents? His being helped? His age? His death?

10. The filming of the execution of the mission? Training and parachuting, the siege, the bombing, the escape, the difficulties? Survival?

11. The portrayal of patriotism? A balanced presentation?

12. The impact of the hardships, the river and the Japanese pursuit, starvation, the mountains?

13. The picture of the Japanese attacks? The siege of the mountain? Their warding off the Japanese?

14. The sense of helplessness and the response to the flights and the rations being parachuted?

15. The final sense of achievement? The impact of the whole film then? Now?

OF MICE AND MEN

US, 1939, 106 minutes, Black and white.
Burgess Meredith, Betty Field, Lon Chaney Jnr, Charles Bickford, Roman Bohnen, Bob Steele, Noah Beery Jnr.
Directed by Lewis Milestone.

Of Mice and Men has been filmed several times (television versions in the 1980s with Randy Quaid and Robert Blake, in the 1990s directed by Gary Sinise with Sinise himself and John Malkovich – which Sinese and his Steppenwolf Theatre was to take on stage around the world.

This is the classic version made during John Steinbeck’s life. Steinbeck had made an impact in American literature not only with Of Mice and Men but also with The Grapes of Wrath which was to be filmed with Henry Fonda in the following year. Other versions of Steinbeck novels include Tortilla Flat, with Spencer Tracy and Hedy Lamarr, Cannery Rose in the 1970s with Nick Nolte and Debra Winger. There were also two versions of his story for family and children, The Red Pony.

This film was directed by Lewis Milestone who had won an Oscar for All Quiet on the Western Front. Milestone had continued directing during the 40s and 50s and into the 1960s – but was overwhelmed by his treatment by Marlon Brando on the filming of the epic Mutiny on the Bounty.

Burgess Meredith is very good as George, the smaller man who works with his mentally impaired companion Lennie, here played by Lon Chaney Jnr. They work on a farm, are attracted by the owner’s wife, Mae, played by Betty Field. This leads to some violent interactions.

Lennie is a simple and gentle giant, not able to understand the consequences of his actions, especially in his affection, for Curly’s dog, for instance.

What happens in the end, is to protect him, that George actually allows him to die in the same way as Curley’s dog.

The film is a view of American life, rural life in the 1930s, its strengths and weaknesses. But it is also a story of humanity, of comradeship. It is based on a line of Robert Burns: “The best-laid plans of mice and men gang all agley.”

The film has a classic score (Oscar-nominated) by celebrated composer Aaron Copeland.

1. The impact of the film in itself, as derived from the work of John Steinbeck? Steinbeck’s status in American literature, reflecting the thirties, Nobel Prize winning?

2. The title of the film, the reference to Robert Burns' poem, a pessimistic view of life, as applied to human nature, America in the thirties? A more universal pessimism?

3. The film representing the American dream, to live off the fat of the land? The visualizing of George's dreams, Lennie's dreams and those shared by Tandy and Curly's wife? Dreams of happiness, possessions, peace, wealth? The shattering of American dreams - on what are they based?

4. The importance of the theme of companionship: the strong with the weak? The qualities of human companionship, support, strengths and weaknesses? Loving friendship?

5. The plot as reflecting the thirties, the atmosphere of the Depression, the poor, the nature of jobs and work, life on the farms? The film's attention to detail and the way of life, the authenticity?

6. The initial portrayal of Weed, George and Lennie running away, the importance of the bus tickets and the bus ride? Presenting them as victims at the opening? Sympathetic victims - George as boss, Lennie as slow-witted especially in regard to the ticket? The bus driver tricking them and their having to walk? Indication of characters and themes?

7. The change of work: their approach to the farm, the interviews with the boss and George not wanting Lennie to talk? Candy and his immediate friendship with the men? The introduction to Crooks, Slim, Carlson and the others? The attention to detail on their work? Lennie's strength, George's aid? Slim supervising their work? Curly's intervention? The authentic way of life in the bunkhouse with cards, the birth of the pups, the men's talk? An authentic human world?

8. The introduction to George and Lennie in flight? This resumed at the ending? The bond between the two, the background of their being cousins, George saying to Lennie to jump in and Lennie being grateful for being saved? Their common memories? The strong and the weak, the big and the small, the brains and the innocence? George's shrewdness and Lennie's naivety? Their mutual needs? The importance of Crooks' story and enlightening the audience about the two?

9. George in himself as a small but strong man, yet not able to handle things ultimately? His doing the business, his mistaken? His being the dreamer and teller of stories? His plans, coping with the work, his goodness? The importance of his putting the money in the post and not spending it? His protection and care of Lennie?

10. The contrast with Lennie as so big, yet weak, forgetful and simple, childlike? Too strong for his own good in killing what he loved and protected?

11. How was this well symbolized with Lennie's treatment of rabbits, dogs, birds, Curly's wife?

12. The symbol of the dogs? Candy's dog and the prelude to its being shot, its being likened to an old useless man? The significance of shooting what was no longer useful? Curly's wife as symbolized by the pup fondled by Lennie?

13. The significance of Slim and his place amongst the men, Curly's attitude, Curly's wife and her flirting? Slim's strength of character in confronting them all?

14. How sympathetic a character was Candy - his symbolism, uselessness, injury, dog? The treatment of the dog and Carlson's advice about its death, its being shot? His sharing in Lonnie's and George's dreams, offering the money? Exhilarated by the plans?

15. The significance and symbolism of Crooks as the black man on the white farm? As seen initially, his education? His inviting Lennie in? His observations about the plight of the black man? His sharing the vision and dream with Candy, Lennie and George?

16. The contract with the owner and his attitude, especially seen at the meal table with Curly's wit? Curly as his con, a small and vicious man, attacking people, jealous, arrogant especially at the meal? The confrontation with Slim? The fight with Lennie and his hand being crushed and his having to keep face? The hostility towards Lennie at the end?

17. Curly's wife and her dreams, her story and her hopes about Hollywood, her being bored, escaping from home to husband? Her flirting, her work? Her hurt at Curly's treatment of her? Her flirting with Slim? Her decision to leave, her being killed while being protected by Lennie?

18. The presentation of the farm, themes of the farm, the men? Their all joining in the hunting of Lennie and their sense of justice but their savagery?

19. The finale with Lennie returning to the creek, their plans? The initial sequences at the waterhole with their meal and their dreams? The irony of the futility of the return?

20. Lennie's death and George’s decision? Was it the only thing to do in the light of the death of Candy's dog?

21. The impact of the ending with Slim, the Sheriff, George's going into custody with the Police? His future?

22. American themes, the background of the Depression, the more universal application of themes of human nature?

ON PROBATION (BURGESCHAFT FUR EIN JAHR)
East Germany, 1981, 93 minutes, Colour.
Directed by Hermann Zschoche.

On Probation is an East German social documentary-drama. It focuses on Nina, a deserted mother of three, unable to manage her life and her children, even though she wants them. The film focuses on administration and the decisions of Nina, a woman trying to improve her situation for her children and her failure. The film is set in Berlin, observes the East German way of life - and shows how social and human problems are the same the world over.The film is well-acted and leaves the audience asking themselves questions about the issues and the characters.

1. Interesting social drama? Its quality of observation and insight? Compassion?

2. East German film-making, production values?

3. The picture of East German society? Life in Berlin? The comparisons between East and West? Particular lifestyle? Affluence? The modernisation of East Germany? Social problems as universal?

4. The focus on Nina: the resume of her life read in her presence, her acknowledgement that it was true? Her inability to manage and yet her wanting her children? How much did she want them? Why? Her home situation and trying to improve it? Her good intentions and inability to fulfil them?

5. The sketch of her children - relationship with her mother, with their, father, being in institutions? Rene and his love for his mother? Jacqueline and her antagonism, withdrawing? Mireille as being young, her problems? Outings? Her walk with Frau Behrend and her tantrums? The outing with Nina and Heiner? Heiner's approach to Jacqueline and her wanting affirmation and communication? The final sequence with Nina and the children - her intending to put Jacqueline up for adoption? The support that Nina got from her neighbour, Frau Braun?

6. Nina at work, her discussions with her work companion, especially about the abortion and her consoling her at the end? her house, changing it around, painting etc.? Her budgeting and the help from Frau Behrend? Her love for Werner and the Board's approval of his companionship? The party at home and the attraction to Heiner? The outing? Her hopes in him? The clash with Werner and her losing him? The clashes with her husband and his refusal of support, taking her money? Her ignorance, capacity for learning, growth in management, failures? Her self-centredness and yet her love for her children? Outings and dancing? Taking the money for shopping? Her drunken sequence?

7. The picture of the Board: their attitudes, correct interpretation of the situation, need for compassion? The pros and cons of Nina's situation and the pressures for a decision? For the good of the children? Nina?

8. Nina's supervisor - work on the railways, helping her move the furniture. his final exasperation with her?

9. Frau Behrend and her place on the Board, her work and teaching music (and the sequences with the boy and his decision between music and football), her loneliness, her interest in Nina and helping her with the budgeting, taking Mireille out, exasperation. growing fonder of Nina, sharing her sorrows, letting her alone - the end?

10. The picture of the men and their relationship to Nina: Werner and his devotion. Heiner and his attraction and his fearfulness and not loving her. the neighbour and his sexual advances, her husband and his irresponsibility?

11. The film as a portrait of Nina - age, experience, as woman, mother, wife, needing people, loving, failing, coping, having to make final decisions about her children?

12. The film's themes of social comment and insight into human nature?

THE OUTRAGE

US, 1964, 97 minutes, Black and white.
Paul Newman, Laurence Harvey, Claire Bloom, Edward G. Robinson, William Shatner, Howard da Silver, Albert Salmi, Paul Fix.
Directed by Martin Ritt.

The Outrage is a Hollywood remake of Akira Kurosawa’s Rashomon (1950). Rashomon has been hugely influential because of its structure: an event shown from the perspective of the different participants, different perspectives on the truth, leaving it to the audience to try to understand what happened, motivations, the truth behind the events and the characters. In the original, the Samurai setting was important, with a Samurai confronting a husband and wife travelling through the Japanese countryside. In the remake, the setting is Mexico. Paul Newman appears as a Mexican bandit who confronts a couple travelling through the rugged countryside, he intends to rape the wife and rob the couple. Other characters include a preacher (William Shatner) and a snake-oil salesman (Edward G. Robinson).

Paul Newman is interesting as the bandit, relying on his charm, but communicating an offbeat sinister atmosphere? Laurence Harvey has little dialogue but has to be bound and gagged as the victim of the bandit. Claire Bloom has a stronger role as the wife.

The film takes ordinary western conventions but explores them in a European/Asian kind of way – also in the black and white photography, and the bravura style of James Wong Howe’s camerawork.

The film was directed by Martin Ritt, many of whose popular Hollywood films were much more serious-minded than the average. His earliest films was the John Cassavetes-Sidney? Poitier, Edge of the City. He directed Paul Newman in a number of films including The Long Hot Summer, Paris Blues, Hemingway’s Adventures of a Young Man, Hud, Hombre. He also directed Joanne Woodward in The Long Hot Summer and No Down Payment.

Other interesting films include The Spy Who Came In From The Cold, a film about Irish miners in the United States, The Molly Maguires, race themes in Sounder and Conrack. He also tackled social justice issues in Norma Rae and a film about the Black List, The Front, because he himself had experienced blacklisting.

Other remakes of Kurosawa films in the United States included The Magnificent Seven (The Seventh Samurai). Sergio Leone also drew on Yojimbo and Sanduro for his Clint Eastwood Man With No Name westerns.

1. The meaning of the title? Its presentation in the storm?

2. How much did this film depend on style for its impact? Black and white photography on wide screen? The fable overtones of the film? The changing tones of the film from solemn through questioning of human behaviour to rather preposterous presentation of behaviour? The film was based on a Japanese original. How did the Western try to show the Japanese style? In the make-up of the characters? In their gestures and movements? In the stylistic presentation of the scenery, especially where the outrage took place?

3. The film was a Western. What conventions of the Western did it rely on? The bandit, sheriff, posse, justice etc? How were these conventions used for fable purposes?

4. How successfully did the film use flashbacks? For the variety of stories? For communicating the subjective aspects of the stories?

5. How was the preacher a focus for the audience of the values of the film? How was he a symbolic type of character? The fact that he was almost too good? Yet his running away from reality and then returning to reality disillusioned? Was this what happened to the audience?

6. Or was the audience meant to identify with the cynical passer-by (Edward G. Rcbinson)? His dampening of the enthusiasm of the story-tellers? The ironic and humorous remarks that he made? His scepticism about the stories and the truth? And yet he was continually surprised by the stories? How successful a device was it to have the preacher and the stranger confronting each other?

7. How important was it for the old man to be there? In the station? The fact that he also told lies and later told the truth? How significant was this? The fact that the audience knew the stories from the old man and the preacher? (Could they be entirely trusted? The old man telling stories to conceal the truth about himself? The preacher telling stories and presenting the characters too nobly?

8. Compare each of the stories and try to work out what actually happened. Note the two stories that the bandit told. The fact that he had nothing to do with it? The story with him as hero? What kind of person was the bandit? How did he present himself? How heroic? The fact that he was the best of bandits? (How did this compare with the sheriff and his story - of his capture of the bandit, and the big posse and the film showing the enormous posse chasing the bandit etc;) What attitude did the bandit have towards the wife and the husband? How did the wife's story differ? as disdaining her? Her attempted self as the forlorn lowly person the husband's story vary from this? (Did it matter? The fact that the wife was still alive?) Her picture of the husband’s suicide? Her picture of her trampled by everyone? How did if the seemed far-fetched, that he found him still The attitude of the husband towards the bandit? How did this contrast with the old man’s story? that each of the characters seemed quite ridiculous?

9. Why did each of the characters try and say the best about himself or herself? Is this human nature? Even the old man telling the story to present himself in the best light?

10. What did the film have to say about truth? About objectivity? About subjectivity?

11. What did the film have to say about human nature and the truth? The human inability to tell the truth? With the fact that people do not see the truth but only what suits themselves?

12. How significant was the ending of the film? The effect of the variety of stories on the stranger? On the preacher? Why did he go back then to the town? Did he go well or was his disillusionment too strong?

13. What is the value of a fable like this?

14. Some people say that this is a masterpiece. Others say it is ridiculous. What would the popular audience think of a Western like this?

ONE SUMMER LOVE (DRAGONFLY)

US, 1976, 98 minutes, Colour.
Beau Bridges, Susan Sarandon, Mildred Dunnock.
Directed by Gilbert Cates.

One Summer Love (Dragonfly) is a small and modest film from the 1970s. Beau Bridges portrays a young man who is released from a mental hospital and wants to find his family. He has no memory of why he was committed.

During his journey, he encounters a young woman, played by Susan Sarandon. She is understanding and sympathetic, helping him to cope. He also encounters a young Down’s Syndrome boy with whom he can communicate.

In the background is the story of his mother, played by Mildred Dunnock, an artist, with religious symbolism in her paintings, but unable to relate to her children, herself experiencing mental illness.

The film probes an understanding of mental illness and its consequences. It also evokes sympathy for a person suffering from mental illness especially in coping with the reactions of ordinary people who do not understand.

The film was written by N. Richard Nash, a writer of many Hollywood films like Dear Wife, Mara Maru, but who is best known for his play and the film versions of The Rainmaker. The film was directed by Gilbert Cates who began his career in television in the 1960s. During the 1970s he made a number of small but significant films, about emotional issues, I Never Sang For My Father, Summer Wishes, Winter Dreams, The Affair, The Promise and a television version of Arthur Miller’s After the Fall. In more recent years he is best known as the producer of the Academy Awards ceremonies.

1. Interesting drama? relationships? Religion? Romantic drama? Sanity and madness? Family?

2. The American locations, the country town, the road, homes? The summer atmosphere? Musical score?

3. The title and its focus on Jesse, his release from the asylum, the encounter with Chloe, meeting his family again, the confrontation with his mother? The alternate title, Dragonfly, and its reference to something haunting him from the past? His mother’s painting? Its Christ symbolism? His overcoming his fear?

4. The portrait of Jesse? Beau Bridges sympathetic and his sympathetic style? Life in the asylum? The interview with the doctor and his being released? His being haunted by the memory of his death? On the road, his hesitancy, lifts, arriving in the town, seeking out his family? His awkwardness in the town and people's reaction ? His visit to the cinema and being disturbed by the horror? His being sick and the manager being unsympathetic?

5. Chloe and her selling him the sweets, her concern, taking him home? Her fears his reassurance? His courteous behaviour? moving out, returning?

6. His help on the building job, getting work, enjoying his work? Going in search of his family? Meeting his brother's wife, the Downs Syndrome child and his playing with him, communicating? His sister-in-law's suspicion, sympathetic reaction? Gabriel and his caution? Priorities, filling in the past? The irony of his mother still being alive? His going in search of his mother, her pretending she wasn't his mother, her resistance? The final confrontation? Her disdain of her child, her religious symbolism, the crucifixes? The humiliation? Jesse standing on his own feet? Able to face a future?

7. Chloe and her work? sympathy for Jesse, taking him home, her fears, reassurance? His courtesy towards her? Helping him in his quest? Support?

8. Gabriel and his relationship with Jesse? The visits to the asylum? The fear of madness? His wife and her suspicions? Lonnie and his Downs Syndrome condition? Playing with Jesse? Gabriel's decision to help him find his mother?

9. Jesse's mother, her past, her own madness, dislike of her children, escaping her violence? Her art? Its suffering Christian symbolism? The dragonfly and its terror? Her breaking down in front of her son?

10. The background of the asylum, life and work there, the doctor and his care for Jesse, his coming to meet him, helping him in the reconciliation with his mother?

11. Portrait of characters? Sanity and insanity? Situations of family tension and reconcile and support?