THE STING 2

US, 1983, 102 minutes, Colour.
Jackie Gleason, Mac Davis, Teri Garr, Karl Malden, Oliver Reed, Burt Remsen, Larry Bishop, Ron Rifkin.
Directed by Jeremy Kagan.

The Sting 2 would be an enjoyable enough film if audiences had no awareness of the Oscar-winning original. David S. Ward’s screenplay won an Oscar, the film won best film and best director and starred the partnership of Robert Redford and Paul Newman along with Robert Shaw as a villain. Jackie Gleason and Mac Davis play the characters in this sequel – a very different proposition from Redford and Newman. Oliver Reed, however, is a strong villain.

This screenplay was written by David S. Ward, nine years after the original. However, the enjoyment of the original film was the final discovery of the sting itself. In this version, there are many stings – which puts the audience in a very wary frame of mind as they watch what is going on.

Because The Sting itself was a classic, and this film is merely ordinary, it is disappointing. It was directed by Jeremy Kagan who directed a number of television movies as well as the fine Jewish film, The Chosen.

1. The reputation and enjoyment value of the original? Its awards? The necessity for a sequel? Quality? Audience expectations? The work of David S. Ward as author? Changes in director from George Roy Hill to Jeremy Paul Kagan?

2. A comedy for the '80s? The emphasis on confidence tricks? The effects of the tricks? A laugh comedy?

3. The particular styles of the stars and their combination for this comedy? The shifting of time to the early '40s? The New York backgrounds - with the touch of Florida? The atmosphere of the '40s, of the films of the time? Nightclubs, gymnasiums, the streets etc.?

4. The continued use of Scott Joplin's music and its attractiveness, mood setting?

5. The contrivances of the plot: cleverness, tricks, suspense etc.? The use of the various confidence tricks: the restaurant and Veronica and her robbing Jake? Jake and O'Malley at the railway station - and the repetition of encounters with O’Malley? The encounter with Micalasky and the dance, luring him to bet against Jake? Veronica's emphasis on culture? The billiards game? Jake and his boxing? The con trick with the posing as Life Magazine photographer, the gas leak? The betting and the counter-betting? Veronica and her being in two camps? The build-up to the final fight and the changes in planning? The end and the revelations of who was helping whom? The pleasure of the confidence tricks and the anticipation of their success?

6. Jake as attractive conman, drifter, relationship with Fargo? The initial encounter with Veronica? The set-up with O'Malley, the visit to Fargo in jail and the preparations for the sting? The boxing exhibition? The attempt to escape from O'Malley - and the rides on the roller coaster? The use of Coney Island? Falling in love with Veronica? The encounters with Micalasky and leading him on? The bout and the various signals? His decision to stand on his own feet at the end and win?

7. The contrast with Jackie Gleason's style as Fargo? Reputation, prison and people dancing attendance on him? His plan for the set-up? His shrewdness, posing as the gentleman against Micalasky? The bout and proving Jake a fighter? The fight and his control? The revelations at the end - especially about Veronica?

8. The various con types: the entourage, the jobs, Tuxedo and his bets and his suave style, the experts at the gymnasium, arranging the bouts, posing as the Life Magazine photographer, Tuxedo posing as Chancellor? The Damon Runyon gallery?

9. Veronica and her style, her tricks, her meeting Jake, the dance, luring Micalasky, falling in love with Jake, her being in the camp of Lonnegan, helping with the changing of the bets? The final revelation of her being Fargo's daughter?

10. Lonnegan and the background of the original film? Oliver Reed and his style, vengeance? His henchmen? The initial murder? The set-up? Lonnegan's quoting Shakespeare? Having O'Malley in his pay? Hostility towards Micalasky? His giving him the information - and his having to escape at the end?

11. Karl Malden's liveliness as Micalasky? Reputation, women? Repulsive style, roughness? Proposing to Veronica and Fargo's acting the gentleman? His being taken in at the billiards? Falling for Jake's pretence? The bout set-up and the coach? His arrangement for the second bout and the group thwarting him? The huge bet? Wanting to change? Losing and pursuing Lonnegan?

12. An entertaining fantasy? Confidence tricks American style?

STILL OF THE NIGHT

US, 1982, 93 minutes, Colour.
Roy Scheider, Meryl Streep, Jessica Tandy, Josef Sommer.
Directed by Robert Benton.

Still of the Night gives Meryl Streep an opportunity to act in a thriller and a murder mystery. She is the mistress of a man who is murdered and she goes to his psychiatrist who begins a pursuit of the criminal trail as well as falling in love with her. There are echoes of Spellbound – especially with a dream sequence included in the film.

Still of the Night is not an action thriller. Rather, it is a psychological study with Roy Scheider as the psychiatrist and Jessica Tandy as his mother. The important thing is atmosphere.

The film was written and directed by David Newman with director Robert Benton. They had made some amusing films like The Late Show as well as writing part of the screenplay for Superman: The Movie. However, Benton went much more serious in 1979 with his Oscar-winning Kramer vs Kramer. Other interesting films include Places in the Heart, the gangster film, Billy Bathgate, the nostalgia film, Nobody’s Fool as well as directing Anthony Hopkins and Nicole Kidman in the film version of Philip Roth’s The Human Stain.

1. A satisfying and entertaining thriller? Psychological, murder mystery? The perennial appeal of the murder mystery? Nightmare, horror? Puzzle, clues?

2. The influence of and tribute to Alfred Hitchcock: the references to Spellbound with the psychologist, Vertigo with the nature of the murder and the fascination of the psychiatrist with the blonde, possibly criminal, woman, the observation by the murder victim of Brooke as in Rear Window, the North By North West auction, the potential madness of Psycho, the final climax with its echoes of Rebecca and Saboteur?

3. The New York background, Long Island, the wealthy auction business, Central Park and the muggings, apartments, the psychiatrist's off-ice? The special effects? Shocks? The dreams and their atmosphere, colour? Symbols? The musical score?

4. The title, the opening and closing with the moon? The tone of the first sequence with the car thief and the discovery of the dead body? How clear was the plot, the red herrings and clues, the victim and the flashbacks, the reading from the psychiatrist's file? The dream and its clues?

5. The introduction to Sam. his work. his skill as a psychiatrist, his own personal life and the experience of the divorce? His background as psychiatrist, the influence of his mother? The phone calls indicating his way of life? His reliance on his mother and her wanting to arrange new dates, the meal and discussion about the dream and its meaning? His feeling the pain of the divorce and her endorsement of this? The memories of his growing up and his need to follow Brooke and solve the mystery?

6. Sam's involvement and his obsession? His knowledge of George, reading his file and the importance of the flashbacks? Brooke's sudden arrival in his office and the puzzle about the watch, her hurrying out to avoid the police? The importance for the audience of getting to know that Sam knew a great deal about Brooke? of her relationship with George? The enigma, for instance, of George's looking at the massage? George's reference to Brooke in discussions with Sam as 'your girlfriend'? George's taunting Sam about not asking details of Brooke? Sam's fascination, his impulsiveness to follow Brooke, his susceptibility? His not telling the police or his mother the full truth? His following Brooke, the walk in the park, searching her office, deciding to save her, believing her? Brooke's corresponding to his needs: as psychiatrist, in terms of his relationship with his wife, his apprehensions -the laundry sequence, the importance of going to her apartment - seeing her in the park and following her, the mugging and his behaviour? The experience of the auction and buying the painting, saving her? Professionally and personally unravelling the mystery, commenting on the dream?

7. The initial audience response to Brooke: the Impact of her nervous visit, the watch, avoiding the police, suspicions with her presence at the laundry, her bringing him the gift of the statue? How did she appear in the flashbacks - as coloured by George's retelling of the incidents rather than from Brooke's own point of view? George's cheapening her? The significance of his Rear Window seeing her with the Asian masseur? The phone calls, her ignoring him when he was with the police in the office, her invitation to the auction, her suspicious actions in the office, her busyness on the phone and her efficiency, the counterpoint of her bids and Sam's disappearing from the room, her not killing him when she discovered him - with the audience expecting her to? The escape to her parents' home? The dramatic impact of her long monologue explanation of her life? Explanation of her parents, her emotional tangles, her father's death? The unravelling of the dream and walking through the house with Sam? The confrontation with Gail and the melodramatic ending? The echoes of Hitchcock's blonde enigmatic heroines?

8. The police officer, his warnings to Sam, his investigations, his presence at the auction, the interview with Gail and the irony of his death?

9. Gail and her brief impact in her efficiency, the tour of Crispins, the indication of clues, giving information? Her style and strength? The encounter with the police? The confrontation in the house - the stabbing of Sam, the fight with Brooke and the Rebecca/Saboteur/Vertigo death?

10. George's dream and its ingredients - Brooke's home, his perception of Brooke, the little girl, the fear, the green box and the revelation about Gail? The interpretation?

11. The filming of the auction sequence with this atmosphere, comedy, style, dramatic tension, Sam's disappearance, Brooke's being busy with the bidding and her anxiety?

12. How well did the film work on the level of thriller, psychological study, nightmare? Homage to Hitchcock?

THE STRANGE AFFAIR

UK, 1968, 113 minutes, Colour.
Michael York, Jeremy Kemp, Susan George, Jack Watson, Nigel Davenport, Madge Ryan.
Directed by David Greene.

The Strange Affair is both entertaining and depressing. It is an interesting story of a young policeman, enthusiastic but lacking in judgment, who is caught in too many moral issues and decisions and cannot handle them, with tragic results for himself. It is also depressing as is any study of police corruption (by the weak as well as the over-zealous getter-of-his-man) and the young falling victim to manipulation.

Michael York is good as P.C. Strange, who foolishly becomes entangled with a mod-girl, only to be bizarrely photographed by the girl's mad aunt and uncle and have the photographs used as a source of blackmail to help the over-dedicated policeman nail an ex-policeman trafficking in drugs. Jeremy Kemp is frighteningly excellent in the role of a man consumed by duty and pride. (He is a very good actor - compare his comedy role in Darling Lili.)

Some of the details of sex and violence are provocative and sadistic, but this is a thoughtful film about the pitfalls awaiting the naive of this world.

1. What impression of English police life did the film give you? Was it just and accurate? Was it pessimistic in highlighting a corrupt official, a paranoiac seeker of justice and a young constable who made mistakes?

2. How real is the possibility of corruption in a police force - officials being paid off and criminals being protected? Do exposures of such dealings frequently get into the papers?

3. What impression of the beat did the film give - ordinary events, bizarre people - for instance, Fred?

4. How well did P.C. Strange handle his relationship with Fred? Was he too lax, careless or naive? What kind of character was Peter Strange - failure at University, desire to do something social, enthusiasm for his work?

5. The paranoiac policeman - should his superiors have noticed his state (did they - warning him off etc.)? Why was he so set on getting the ex-policeman? Why did he hate 'bent' policemen? Would he have thought himself wrong in fabricating evidence and blackmailing Strange into helping him?

6. Did Strange see his alternatives clearly? If he intended leaving the force, wouldn't it have been better to tell the truth and suffer the humiliation of the photos? Why did he consent to fabricate the evidence?

7. Strange seemed young and naive. Could such entanglements and exposure have happened like this?
8. The opening of the film and Strange's conviction would lead us to believe that he had abused his position seriously. By the end of the film how guilty did you judge him, how corrupt, how irresponsible? Was he also guilty because his actions discredit the work of the police? How much sense of responsibility towards his organisation does a policeman have?

9. The 60s atmosphere in London? Police world, criminal world, drug world, pornography world?

10. Peter Strange and his behaviour with Fred? His being used by Pierce? His being the target of the corrupt police? Pierce’s hold over him because of the filmed sexual encounter?

11. Fred and her age, attractiveness, leading Strange on, her uncle and aunt? Their characters and behaviour and using their niece?

12. A satisfying blend of crime thriller, police investigation and London underbelly life?

SOUTHERN COMFORT

US, 1981, 106 minutes, Colour.
Keith Carradine, Powers Booth, Fred Ward, Franklyn Seales, T.K. Carter, Lewis Smith, Peter Coyote.
Directed by Walter Hill.

Southern Comfort is a fine and tense thriller. It was co-written and directed by Walter Hill, a writer in the 1970s who began directing with Hard Times, with Charles Bronson. Other strong films of this period include The Driver, The Warriors, The Long Riders. He became more popular with his Eddie Murphy-Nick? Nolte film, 48 Hours. Other films include Extreme Prejudice, Red Heat with Arnold Schwarzenegger, Another 48 Hours. He concentrated on themes of the west in the 90s with Geronimo, Wild Bill and Last Man standing. In more recent times he worked as writer and producer.

The film about a group of Louisiana National Guardsmen lost in a swamp and firing blanks which roused the ire of the Cajun population who then pursue them, picking them off one by one, is a variation on the Lost Patrol theme (updated into space in such films as Alien). Keith Carradine and Powers Booth are the leaders of the National Guardsmen, Brion James is the leader of the Cajuns.

The film is well edited, the tension constant. It is also strong in atmosphere with the music of Ry Cooder.

1. The irony of the title? The gruelling film with the ironic title? How well does the film work as entertainment? As melodrama? As fable about war and stupidity? As an allegory of American involvement in Vietnam -and defeat?

2. The work of writer-director Walter Hill? His study of American types and American groups ? His use of individuals and groups as symbols? His treatment of journeys and quests? Trials, endurance and survival? A grim picture of society? The delineating of individuals as characters and as representatives of attitudes? His background in classics and taking classic plot outlines and incorporating them in contemporary America?

3. The background of Louisiana and the colour photography? The effect of the bleached colour, the continued immersing of characters and audience in swamps and forests? The physical impact of the film? Light and darkness? The eerie visuals, the ominous sounds, the creating of tactile impressions? The swamps, the river, night and day? The Cajun world of mystery and alienation from mainstream American society - even in the town? The sudden eruption of trains and helicopters? The visual style: profiles and close-ups, tableaux, patterns, collages and superimpositions? The blend of static sequences with poetic motion? Special effects - the visualising of violence? The importance of the technical aspects for communication of theme and mood?

4. The background of the National Guard and its purpose? In 1973 - the parallels with Vietnam? The willingness and unwillingness of the guards to be present, on duty? The parallel of the guard with soldiers? The picture of the group, the interaction, the individuals? Some- being at home (the rednecks) some feeling alienated, especially Hardin with his background of Texas? Spencer and his involvement as well as aloofness? The National Guard and their patrols, supervising, fighting, intruding, blundering? Death and madness? Desperate survival tactics and cynical disregard of others? The deaths merited? Rescues deserved? The hidden enemy? Men in crisis reduced to crisis reduced to fear and losing their humanity?

5. The background of such films as The Lost Patrol, Agatha Christie's And Then There Were None, the physicality of Deliverance, the Vietnam overtones of Apocalypse Now? How well were films like this quoted? For interest, suspense. horror? The possibilities for audiences observing or identifying?

6. The importance of the opening: the quick outlining of the situation. the individuals in the group, the cohesion and lack of cohesion in the group, a feel for place, time, the purpose of the exercise for the guard? Motives, the playing games. the serious and the fooling characters? A cross-section of American men?

7. The mission and its simplicity? The map? Getting lost, things beginning to go wrong, the losing of the boats, the plan to wet the whores at the end of the trip, the initial encounter with the Cajuns and suspicions of them, the taking of the boat and leaving the note, the dislike of the stranger? The confrontation about the boats? The mad shooting by Stuckey and disaster imminent? The death of Sergeant Poole? The sudden capsizing, the losing of the compass etc., the men trying to save themselves? The beginnings of chaos? A leaderless group and the strained dynamics of interaction?

8. The greater focus on the environment and its hostility: water, trees, swamps? Lack of maps and compass? Losing sense of direction? The growing cold and wetness? The tableau effect of the environment? Suddenly moving into motion - with the dogs savaging the group. the men being hunted as well as hunters, becoming more animal-like, getting caught in traps, fearing the dark? The hellish overtones of their being lost?

9. The military background of the group: obedience to orders, professional know-how, abiding by the rules? The gradual frustration and emergence of anger, strong language, fights, dislikes and hatreds? The problems of morale?

10. Sergeant Poole and his ability to hold the men together? His death? His having made the decisions and the men being left with them? The importance of loyalty? Casper's decision that Poole be carried? The grumbling reactions and the physical difficulty? The burial?

11. Stuckey and his practical jokes, the young redneck, firing at people. wanting not to be blamed and blaming others, ready to fight, response to him in the group, Reece's friendship? The grief at Reece's death, wanting to court-martial Hardin, his final mission with Casper and his desperate sinking in the swamp - reaching out to the helicopter? His sinking with no trace?

12. Coach Bowden and his righteousness, asserting the rules, his background as history teacher, gung-ho attitudes, his reaction to the prisoner. going berserk and painting the cross, becoming the avenging angel, his burning and exploding the Cajuns' house? His descent into madness, his apology? His being able to recite the 'Our Father' - and failing at the funeral? His withdrawal into silence? His being tied by rope and becoming inhuman, an animal led by the others? The pathos of his finally being hanged?

13. Reece and the redneck hatred, his loud mouth and bigotry, antagonism of everyone, his having bullets and Hardin's forcing him to share them? The arrest, the anger at the Cajun? His trying to drown the prisoner? The build-up to the fight with Hardin and the violence of his death?

14. Cribbs and the negro presence with Simms? The ordinary guard, the lookout, marijuana, being killed in the trap after his gleeful speeches? Simms and his being scared, becoming punch-drunk, his motivations, fears, digging, arguing, loyalty, firing in a berserk manner, shouting that 'I shouldn't be here' before his death?

15. Casper and his reliance on orders, seniority? Working by the rules and proper manners? His being in charge, the nature of his decisions, trying to do his best, carrying Poole's body? His attitude towards the Cajun prisoner? The fights and the siege? His making the explosives? His being deposed and unable to do anything about it? His anger at Spencer? His determination to succeed - the final patrol and the gung-ho suicide rush at the enemy?

16. Hardin and Spencer and the bonds between the two? Hardin's Texas background, E1 Paso, toughness, reasons for being in the National Guard, background of his work, wife, his criticism of the group? His lack of humour? His swiftness in bringing the knife to Reece for the sharing of the bullets? His reaction to Poole's death, anger, puzzle about the interaction in the group? His bond with Spencer and urging him to take charge? His wanting to stay alive? The anger with Reece and the fight to the death? Spencer and his cynicism, criticism yet loyalty, fears, calmer control, decisions, reactions to the various men, taking over from Casper, trying to exercise commonsense and leadership?

17. The discovery of the Cajun - his capture, the brutality of the men's treatment of him, the language difficulties? Spencer and his use of French? Bowden and his madness and the exploding house? The capture, roping the Cajun and leading him as an animal? His escape attempts and final success? The setting of the dogs on the men? Reece's trying to drown him? The stealthy and stalking presence of the other Cajuns? His reappearing and shouting 'Kill'? His letting Spencer and Bowden go after the hanging of the Coach? his speaking in English? His explanations about the intrusion-and the reaction by the Cajuns?

18. The men being literally hunted: traps, the corpses being dug up, the dogs, the terror in the siege, the end?

19. The irony of Spencer and Hardin being so near to the train line? The odd feeling as the train thundered past? The Cajun helping them to get to the town? The truck and the couple, the atmosphere of the Cajun fair, the singing and the dancing and the merriment - but the suspicions? The slaughtering of the pigs and the eating? The ordinary people and their seclusion? The isolation of the Cajuns and their place in the United States? Hospitable? Hardin's tension with the arrival of the Cajun hunters? Their being stalked through the town? The knife and the noose? The boat? The escape and the arrival of the helicopters?

20. The dramatic effect of audiences identifying with the gruelling chase, the succession of deaths, the loss in the swamps, the almost-rescue? Symbolism and realism in this experience?

21. The film as a piece of Americana? A picture of America and war, violence? A cross-section of American types? Strengths and weaknesses? The American ugliness? Stress and response? Facing death? Instinct to live and survive? The film's comment on America in the '70s?

STAR TREK : THE WRATH OF KHAN

US, 1982, 116 minutes, Colour.
William Shatner, Leonard Nimoy, Ricardo Montalban, De Forest Kelley, James Doohan, George Takei, Walter
Koenig, Nichelle Nichols, Kirstie Alley, Paul Winfield, Bibi Besch.
Directed by Nicholas Meyer.

Star Trek: The Wrath of Khan is the second film in the series of Star Trek features focusing on the initial crew of the Enterprise, led by William Shatner and Leonard Nimoy. The first film was Star Trek: The Motion Picture directed by Robert Wise in 1979.

This film has all the regulars on board including Kirstie Alley as a lieutenant. However, the strong focus is on the villain, Khan, played by Ricardo Montalban.

The film was directed by Nicholas Meyer, novelist and screenwriter, especially of The Seven Percent Solution, his fictitious story about Sherlock Holmes and his addiction. He directed the time-travelling, Time After Time, where Jack the Ripper escapes in H.G. Wells’ time machine into the 20th century. He also directed the sixth in the Star Trek series.

The Star Trek franchise went on to several successive series, also filmed.

1. The popularity of the television series over so many years? Its becoming a cult - why? Interest in space, the future? The mission of the Enterprise? The characters and their interaction? Humans and Vulcans? The meaning of the future and space exploration?

2. The popularity of space films in the late '70s-early '80s? Space wars and adventures? The overtones of fable and myth? The parallels with the myths of the past? Myths for the present? Blend of realism and symbolism? An interpretation of the present? Inspiration?

3. The background of technology, space craft, galactic war? Scientific advance - and the Genesis Project and man creating a world? man's control over the universe? Machines, power. speed? Technological background for perennial human interactions? Contribution of Panavision. colour photography, special effects? Musical themes and score? The focus on human beings and the groupings for the tableau of human beings - action for adventure, stills and tableau for the human story?

4. The trek in space and the human quest? Audiences identifying with this?

5. The ordinary basic plot yet treated with grandeur? The training of cadets, peace in the galaxies for a hundred years, the Genesis Project and hope. Khan and the themes of revenge and war? Heroism and self-sacrifice? Achievement?

6. The background of evil and hatred, hellish hatred and madness? Torture -the galactic earwigs and the torture of the brain? Khan as the epitome of evil? The contrast with Kirk as hero, ageing, restless, his ability to command and win? Spock and his Vulcan background of clear thinking, logic, intuitions? Doctor Marcus and her creativity? Her son and his relationship with Kirk - from hatred to acceptance and love? The background of war. death, rules and ingenuity? The final comments about the star trek?

7. The background of the 23rd. century: peace, Genesis. man's control, creation of beauty, self-sacrifice?

8. Audience familiarity with the personalities of the crew: Kirk and his being Admiral. retirement, command. ingenuity, friendship with Spock, saving Dr. Marcus and the group, the confrontation with Khan? Spock and his intelligence, trainees. impassioned logic. intuitions, gift of The Tale of Two Cities, his final self-sacrifice? Doc. Scotty? The emphasis on having a woman as captain of the ship - her ability., the tests, her femininity, her being like Spock? The various personnel, the cadets? The variety of types and their interaction? American types? Crises and the handling of crises?

9. The build-up to the conflict between Kirk and Khan? Winning and manoeuvres? Spock and his giving his life - and the echoes of A Tale of Two Cities and Sidney Carton?

10. Men and women in the future on star treks? Rules and going by the book? Changing the rules for success?

11. The sub-plot of Genesis - Dr. Marcus and her hostility. David? The capture? The rescue? Khan imprisoning them in the dead planet?

12. The torture of the commanders by Khan? The negro officer killing himself before killing Kirk?

13. Training, the opening training sequence and its seeming real? The use of strategies?

14. The blend of reality and unreality for enjoyable space sagas?

A STAR IS BORN

US, 1954, 154 minutes (Restored version 1983, 172 minutes), Colour.
Judy Garland, James Mason, Jack Carson, Charles Bickford, Tom Noonan.
Directed by George Cukor.

A Star is Born is one of the great classic American musicals. In 2000, it was put on the National Registry of Film.

The original story was by William A. Wellman with a screenplay by acerbic writer, Dorothy Parker, in 1937. That was an early colour version and starred Frederic March and Janet Gaynor (both Oscar-nominated). The film was remade in 1976 with Barbra Streisand and Kris Kristofferson, a loud, rock and roll version (though Barbra Streisand won an Oscar with Paul Williams for the original song, ‘Evergreen’).

This is the classic version. Judy Garland is excellent as the showgirl who becomes a great actress. It is sad that she did not win the Oscar but lost out to Grace Kelly for The Country Girl. James Mason was nominated for his role as Norman Maine, the actor who meets the showgirl, marries her, is alcoholic and his career goes down. Mason lost to Marlon Brando for the Oscar for On the Waterfront. ‘The Man That Got Away’, a classic Garland song, was also nominated for an Oscar.

The film is the conventional Hollywood story, the star who was born, the star who falls. However, this film is so well acted, convincing – and has great pathos in the contrast between husband and wife. The climax is an award night when the actress announces herself as Mrs Norman Maine.

The film was released in 1954 with cuts of about twenty minutes. However, many of these cuts were restored to a one hundred and seventy-three minute film in 1983.

The film was directed by George Cukor who had guided a number of performers to Oscars including James Stewart in The Philadelphia Story, Ingrid Bergman in Gaslight, Ronald Colman in A Double Life, Judy Holliday in Born Yesterday. Cukor was to win his own Oscar for a musical, best director for My Fair Lady and directed Rex Harrison to his Oscar-winning performance.

The film is still very strong more than half a century later.

1. The film is now considered a classic. Why? What is the basis of its reputation? The value of its style, the performance of the stars, the overall achievement?

2. What impression does the film make as drama? As a musical? As an expose of Hollywood? As a combination of all three?

3. The significance and glamour of the title? The implicit irony? The indication of themes?

4. The use of Cinemascope, colour, Hollywood locations, songs, the reprisal of musical themes throughout the film?

5. The importance of the film's structure: the benefit at the opening and the end, the rise of Esther, balancing the fall of Norman? The interaction of characters during the rise and fall? The sense of balance and the sense of tragedy?

6. The importance of focusing on Norman Maine at the beginning? The anticipation of his downfall? The attitudes of Niles and Libby? The focus on Maine's alcoholism? His happiness in dancing covering up his real self? Esther in this context and in the context of her act and singing 'You Gotta Have Me Go For You'? Her helping Maine? Her genial response? Aftermath? The irony when seen in the light of her final announcement?

7. The quality of Judy Garland's performance as Esther? How attractive was she when we first saw her? Her encounter with Maine, her love for him, her coping with him, her career, transformed by him, acting and singing for him?

8. Why was Maine attracted by Esther? His seeking her out? His reputation in the nightclubs? The importance of the song 'The Man That Got Away'? The irony of its significance within the themes of the film? Maine's talk of her star quality, offering her an audition, persuading her to stay in Hollywood? was this credible? The use of musical background during this conversation? The cut sequences of Maine's drunkenness, going on location for the pirate film, his search for Esther's address, Esther's farewell to her pianist? Her waiting in Los Angeles, moving, sunbathing etc? The use of stills with soundtrack to show Esther's dependence on Norman? The dramatic effect of these omissions?

9. The detailing of Esther's life as a starlet? The insight into Hollywood and its methods? ('Glad to have you with us'?) The impersonality of Hollywood? The humour of the train sequence and seeing her face? Her being paid and her name being changed? The fact that Maine had to trick Niles into substituting Esther for the musical?

10. The film's communication of the atmosphere of success? The Hollywood preview? Esther stopping to be sick on the way? The importance of 'Born in a Trunk' to convince the audience that Esther had star quality? The dramatic impact of this sequence? Its indication of the life of a Hollywood star? (As an epitaph to Judy Garland herself?) Esther's gratitude to Norman after this success?

11. The cutting of the rehearsal sequence with its freshness and Norman's proposal? The lyrics corresponding to the proposal? The recording and playing of the proposal?

12. The parallelling of success and failure? The growing in love, the marriage and its implications? As seen by the studio? AS seen by themselves? The irony of the quiet marriage and the officiator gradually recognising the stars? The honeymoon? Esther on radio? 'A New World'? The importance of the support of Danny all throughout the film? His relationship to Norman and his support of Esther? Libby's arrival at the wedding?

13. Norman's going downhill? Rejection by the studio? Mr. Vicki Lester? How convincing and moving? His speech at the Oscar ceremony and its irony and pathos? Esther's speech and her support of Norman? Norman's going to the sanatorium, the pathos of Niles' visit and offering him the script? Libby and the taunts? His drinking again and jail? The severity of the judge's comment on his character and behaviour? His being supported by Esther at how? His wanting to hear her sing 'A New World'? The pathos of his overhearing her giving up her career? The decision about death? The ocean and his death?

14. Esther's success, her joy, her dancing for Norman (satires on musicals and e.g. Piaf), the importance and humour of the sequence of 'Someone' and the lavish style of the Hollywood musical? The impact of her giving up her career, her willingness to do this, Norman's death as she sang?

15 The dramatic impact of the Oscar night? What made this so successful?

16. The contribution of the characters of Libby and Niles? The judgment on Hollywood 'types'? Libby loathing Maine, cowering, punching? Niles and the buying of his contract? The court? Freeing Esther?

17. The impact of the death as the end of glamour and a career?

18. The picturing of Esther's grief versus Libby and the communications to the media? Real feeling and Hollywood phoniness?

19. The dramatic impact of Esther's appearing, Danny's forcefulness and announcing herself as Mrs. Norman Maine?

20. The value of the songs in themselves, their contribution to the atmosphere of the film, to the plot and characterisation?

21. What were the important themes of the film: men and women, ambitions and success, popularity, the American Hollywood dream, survival, alcoholism and weakness, love and support, the cruelty of the world? How pessimistic? Optimistic?

SPLENDOR IN THE GRASS

US, 1981, 96 minutes, Colour.
Melissa Gilbert, Cyril O’ Reilly, Ned Beatty, Eva Marie Saint, Michelle Pfeiffer.
Directed by Richard C. Sarafian.

Splendor in the Grass is a play by William Inge. It was first filmed in 1961, making it something of a classic, as it featured the adult Natalie Wood and a newcomer, Warren Beatty. The subject was controversial, young adults, love, sexuality – and the consequences for themselves and for families and society.

Twenty years later, the subject was not so controversial. This is a television remake for the home audience. It features Melissa Gilbert, most famous for Little House on the Prairie, but a star of many television films. The lead is Cyril O’ Reilly, also a television actor. However, the other members of the family are higher profile: Ned Beatty as the father, Eva Marie Saint as the mother and a young Michelle Pfeiffer as the sister.

The film was directed by Richard C. Sarafian who had made an impact in the early 70s with such films as Vanishing Point, Man in the Wilderness, The Man Who Loved Cat Dancing. His main work was in television and in remakes of films such as The African Queen in 1977.

1. The importance of William Inge's play in the '60s? The original film version and its status and impact? Audience familiarity with the material? The value of a remake? The qualities? Greater "freedom"? A film for the '80s - themes, Americana, memories of the '30s?

2. The quality of production: re-creation of period, 'period' issues? The design of the film for television audience? The cast and its qualities? The musical score? The impact for home audiences and their reactions and response?

3. The work of William Inge? His drama and its contribution to the American stage? His slices of life, critiques of the American dream? Impact in the '50s and '60s? '80s?

4. The title of the film? The reference to Wordsworth? Its being quoted in the film? Its significance and symbolism: beauty, youth, fleeting beauty, memory?

5. The atmosphere of the town: the families, the traditions of family life, customs, school, the dances and socialising, work, ambitions, hopes, drives? Parental pressure? The heavy emphasis on respectability and tradition? Surface respectability - and the repression of realities? The film as an examination of the life of the town,' an expose? Highlighting repression and the consequent explosions?

6. The film's focusing on each family? The family life? Better of worse? Bud and his relationship with his father? An ordinary student, his ambitions, experience of pressures, the emphasis on qualifications? His father's money? Self-image? The background of Wall Street? His father not listening to him? His love for Wilma Dean? Curiosity about sex? Permissive attitudes? Final commitment? The contrast with Wilma Dean and her silent father, her mother and the strong emphasis on respectability, traditions, her mother's narrow views, fear of sex, emphasis on propriety and being a good girl? Times, permissions? Her mother not facing reality? The eventual shock? Her wanting to protect her daughter? The good American family - but ready to break? Wilma Dean's collapse and breakdown? The film's critique of the parents, of the next generation?

7. Bud as hero, local hero, pleasant young man, attraction to Wilma Dean - sexual attraction and the question of how far to go? Activities? Moods? The liaison with Juanita and the effect? His father's push? The pressures to go to college? His not wanting to go? The discussions with the Head? His ability to cope? Decisions? His letting go? The Wall Street crash? His wanting to be a farmer, establishing his farm, marrying, his children. relationship with his wife? His meeting Wilma Dean again? Regrets? A spoilt life? The portrait of the adolescent American male? The American male trying to be adult? who controls the decisions?

8. The sketch of the college friends, pressures, behaviour, incidents at school, support of Bud? The background of school and growing up?

9. Wilma Dean seen at home, her relationship with her mother, her youthfulness, adolescence? her experiences with Bud? Her inner preoccupation about good and evil, sexuality as bad, her low self-image? School and her ability? Wandering, the poem? Alienating Bud and the hurt about Juanita? The growing crisis? Her breaking and inability to cope? Sexuality, health, wanting to die? The experience of the hospital and the clinic? Going to the institution? Her experience there?

10. The sketch of the parent generation and the screenplay being critical of them? Vicarious living through their children? The father who would not listen and who made decisions for his son to be in his own image and causing his rebellion? His inability to face life when his own financial world crashed? The silent father and the prudish mother and the effect on their children?

11. Girls growing up in the 20s and '30s? Parental pressure? The emphases on propriety? Their inability to understand themselves and their inner feelings and drives?

12. Themes of education - for professions rather than for life?

13. The mental institution, the grim aspects, the parents' unwillingness to face Wilma Dean's going there, Wilma Dean coping and learning?

14. A story of the American past - its relevance to the present?

SPLASH

US, 1984, 111 minutes, Colour.
Tom Hanks, Daryl Hannah, Eugene Levy, John Candy, Richard B. Shull, Bobby di Cicco, Howard Morris.
Directed by Ron Howard.

Splash was very popular on its first release. It is a contemporary fairy tale – a plot about a mermaid which was used previously in two British films, Miranda and Mad About Men, with Glynis Johns as a mermaid.

Tom Hanks fell into the sea when he was a young boy on holidays. He returns to the scene as an adult – and falls into the sea again. Each time he is rescued by Madison, a mermaid. When she is dry, she has legs and decides to go to New York to find him. It is a romantic love affair – with Madison trying to keep the information that she is a mermaid quiet. There is amusing support from Eugene Levy and John Candy.

The film is an early directorial effort by Ron Howard. He had made Night Shift with Henry Winkler and introducing Michael Keaton. Howard was to go on for several decades becoming an even more respectable director as time went on with a wide range of films in many genres. Included in these films are Parenthood, Backdraft, Willow. In the 90s he made The Paper, Far and Away and Apollo 13. He won an Oscar for A Beautiful Mind in 2001 and went on to direct The Missing, Cinderella Man and, most famously, The Da Vinci Code.

1. A pleasant romantic comedy? Contemporary fairy tale? The attraction of mermaid stories?

2. A Disney production - geared towards adults and adolescents? Contemporary tone? The self-conscious daring (touches of nudity, swearing, free relationships)?

3. New York locations, Cape Cod (and the use of the Bahamas)? A city romance? The commercial world of shops, television - and the send-ups? The focus on science and experimentation? Car chases? A contemporary blend for entertainment? The songs - and the finale with Rita Coolidge?

4. Love stories and romances - popular elements, irony? The ending with the focus on the rat-race - and an opting out alternative?

5. The prologue in black and white. Cape Cod, the '60s. the families? Alan alone? Freddie and his dropping the coins to pick them up and look up the girls' dresses? Alan going overboard, the encounter with the little girl mermaid? His being rescued? A dream for Alan? The tone for the film?

6. Alan and the '80s, busy, the phone calls from Victoria and her leaving him, his being upset, angry at the wedding and shouting at the guests? His work, the deals? The frantic shouting, the bad cherries etc.? The exasperation with his brother? A lonely, frantic romantic?

7. The contrast with Freddie and his size. boorish manner, sense of humour, many times married. crude. the letter in 'Penthouse', his deals and gambling? Affection for his brother, pushing him around? And still dropping the coins!

8. The world of the markets, deals? The absent-minded secretary and her humour?

9. Cape Cod and Alan going back there, his drinking with his brother and the disappointment, seeing the couples in the bar, the taxi ride, the beach. the encounter with the scientists, Fat Jack and his boat (and the comedy of his diving overboard), getting the boat started, falling overboard, hitting his head, the vision of the mermaid. losing his wallet? His return (and the humour of the Vietnam injury and the big deal)? The police call. being reunited with the girl? Calling her Madison after Madison Avenue?

10. Daryl Hannah's style as Madison? A credible mermaid? Her rescuing Alan? Hiding in the bushes on the island? The audience seeing her legs and her fin? The emotional impact, the six days on Earth? The Statue of Liberty and her appearing nude? The reaction of the police? Alan taking her home? The relationship? Her going shopping. clothes, make-up? Watching the television - and learning television commercial English? Exercises? Telling her dolphin name and breaking the TV sets? The lyrical romantic sequences? Her gaffes e.g. eating the lobster in the restaurant? Alan's proposal and her secret? Her wanting to talk at the President's Dinner? The scientists pursuing her to try to turn her into a fish again? Her guarding her secret from Alan e.g. when she took the bath? Turning into a mermaid? The tests and her suffering. the abrasions to her fins? The final rescue? Her going back into the water? A credible delightful mermaid?

11. Alan and the effect of the relationship, the gifts. sharing, the proposal, the reaction to the truth, his being tested, his rejection of her, low self-image, his brother reprimanding him, rescuing her. the final dilemma and his inability to go with her, the military pursuing., his diving in and opting out?

12. The life of the city, the shops, television, busyness, the markets?

13. Walter and his scientific investigations, his two helpers?

14. Slapstick and chase sequences?

15. An old style fairy tale of the prince rescuing the princess - modern style?

STEALING CANDY

US, 2002, 83 minutes, Colour.
Daniel Baldwin, Coolio, Alex Mc Arthur, Jenya Lano.
Directed by Mark L. Lester.

Stealing Candy is a straight-to-DVD thriller. It is a curiosity item because it was directed and co-written by Mark L. Lester, a director of many exploitation films who also made The Class of 1984 as well as Commando with Arnold Schwarzenegger and an adaptation of the Stephen King story, Firestarter.

This film is a four-hander, a group abducts a Hollywood movie star – with the kinky premise that they are going to force her to perform sex on pay-for-view website. Daniel Baldwin is the computer expert, rap singer Coolio is violent-prone and Alex Mc Arthur plays the mastermind. Jenya Lano is the actress.

1. Popular pulp fiction thriller? The touch of soft-core pornography? The audience appeal? Cinemas? Video?

2. The California settings, the film locations, the mansion, the house in the countryside, the open road? Authentic atmosphere? Musical score? Atmosphere?

3. The title, the overtones of sweets? The actress's name? Making money out of her? The irony of the plot twists and it being her idea?

4. The opening, the potboiling plot, the wealthy wife, the bodyguard, the massage, sexual advances, the shootings - and it being a film? Candy on the set? Working with the director? Her prim attitudes, prudery, her contract? Her wanting to be alone, reading the script? Her devotion to her father?

5. Fred and his following Candy, videotaping her? His meeting up with the team? Brad and the long friendship, jail? Walt and his ingenuity with computers? The scam, the kidnap, the advertising the program, performing live on television, making millions, channelling the money to the Cayman Islands?

6. The execution of the plot, the kidnap, on the road, being held up by the police? Brad being trigger-happy? Walt and the background of his separation, his jail term for fraud, his son needing the operation, his motivation for the money? The arrival, the set-up, Brad shooting the man by the river? The element of violence, his wanting to attack Candy? Fred and his being in charge?

7. The personalities of the kidnappers: Fred, his idea, in charge, dominating Brad, friendship with Walt? His orchestrating the performance? Brad, trigger-happy, black, suspicious of white people, the shooting? His attraction towards Candy? Using the camera? Walt, his fears, not wanting violence, going in to Candy and explaining the situation to her?

8. The set-up, the advertising on the internet, her complying? The news reports? The collage of audience? The millions paid for the performance? The performance itself - the soft-core presentation of hard-core?

9. The aftermath, Fred being in control, the relationship with Candy, the revelation that she was in on the scam? The outbreak of violence, Candy and her escape, the pursuit by Brad, her attacking him, finally his being shot by Fred? Fred being knocked out, reviving, his wanting to help Candy - but her having rung the police, her pretending he was an attacker, his being shot? Brad shooting Walt?

10. The police arriving, comforting Candy, her pretence? The aftermath with the television interview, her appearing so dignified, not wanting a film contract about her experiences, paying for Walt's son's operation? The irony of her looking at the computer and seeing the money in the Cayman Islands?

11. Crime scam thriller, no honour amongst thieves, violence and death, the amoral tone, especially in Candy's success?

STEALING HARVARD

US, 2002, 86 minutes, Colour.
Jason Lee, Tom Green, Lesley Man, Megan Mullaly, Dennis Farina, John C.McGinley, Richard Jenkins, Chris Penn, Tammy Blanchard.
Directed by Bruce Mc Culloch.

Stealing Harvard is a pleasant comedy while it is up there on the screen – but is forgettable. Jason Lee, who had appeared in a number of Kevin Smith’s films, and then who appeared on television in his series, My Name is Earl, portrays an uncle who turns to a life of crime in order to finance his niece (Tammy Blanchard) and her attempts to go to Harvard for study. Leslie Mann is his girlfriend who also wants money for a down-payment on a house. His friend is played by Tom Green (usually gross-out in comedy like Freddy Got Fingered) who is much more moderate here. It is a chance to see comics like Dennis Farina as well as Megan Mullally, Karen from Will and Grace.

The film was directed by Bruce McCulloch?, Canadian director who made such films as Dick but worked mainly in television. However, he also directed the children’s film which is hard going, Unaccompanied Minors.

1. An entertaining comedy, the touch of the vulgar - but very restrained for Tom Green, compared with his other films?

2. California settings, homes, gardens, mansions, companies, shops, authentic atmosphere? Musical score and songs?

3. The original title: Uncle? Reference to John and focus on him? Stealing Harvard and the escapades that John had to get up to for his niece?

4. John's voice-over, the question of fate, choices? The flashback from the races? In himself, ordinary nice young man, the death of his parents (and the priest having to do up his tie)? His sister and her trailer-trash lifestyle? The video of the promise to his niece about giving the money for Harvard? His relationship with his girlfriend? Elaine and her demands, crying in bed, her plan for the house? The meal, the down-payment on the house? His desperation, unable to tell Elaine the truth? His trying all his relations and their flat refusal? His going to Duff? The various plans and the execution? Going into the house, meeting the owner, the grief for his wife, having to dress up as his wife, the photo? The use of the connections for the photo and the blackmail and the man being the judge? The plan to rob the lottery money, going to Duff's uncle, his demands, getting the guns, painting them, the masks? Going to the shop, the young man and his getting the shotgun, shooting, telling the police that they had taken the videos? The escape? Going to the top thug, memories of school? The getaway car, John's reaction, hitting David with the steering clamp? Elaine's reaction, his forcefulness and her supporting him? Her father giving her the photo, her hearing the story, believing it? The plan to rob her father, getting Duff, going into the centre, her being excited, the police arriving? The interrogations? The court case, the judge, getting off? John going to the races - and winning the money, the wedding, happy ever after?

5. Duff, landscape gardening, stupid and intelligent? The comic routines? His advice to John, not going into the house after making such a mess when he found the safe? His uncle, the shemozzle of the raid on the store, the complaining about names? The interrogation by the police? The getaway car and John's anger with him? His wanting privacy from his mother? His not liking Elaine, deciding to help with the robbery, trying to break the window, the dog attacking him? The end and his meeting the judge?

6. Elaine, demanding, complaining? Her relationship with her father? Crying, putting the down-payment, suspicious? Learning the truth, happy with John, participating in the robbery, annoyed with her father for not supporting her, the happy ending?

7. Elaine's father, the boss, his demands and interrogations, surveillance, seeing John run from the house? Going back, his being trapped with the photo? Pursuing them when they were robbing his firm, the police taking him in? The character of the dog, his use of the dog, the comedy with the dog? The touch of the crass?

8. Noreen and John's love for her, her failing the spelling test, the promise about the money, going to Harvard, the party and her gratitude? Patty, trailer trash, her love for John, the party and the men in the trailer, her supporting him, maid of honour at the wedding?

9. The judge, his routine with intruders in the house, dressing them up, his talking, the photo - and his being the judge in the case?

10. The policeman, earnest, turning forty, the toothbrush crass joke, his pursuing the group, arresting, the court case?

11. The popularity of this kind of easygoing comedy?