SEVEN WOMEN

US, 1965, 87 minutes, Colour.
Anne Bancroft, Margaret Leighton, Sue Lyons, Flora Robson, Mildred Dunnock, Betty Field, Eddie Albert.
Directed by John Ford.

John Ford began his directing career in 1917. Almost fifty years later he directed his last feature film, Seven Women. Ford had directed during the silent era, had made a big impact during the 1930s with a range of films from Mary of Scotland, The Plough and the Stars, Wee Willie Winkie and The Hurricane. However, with Stagecoach in 1939 as well as Young Mr Lincoln and Drums Along the Mohawk that same year, he came into his own. He had won an Oscar for directing The Informer in 1935, was to win another for The Grapes of Wrath in 1940 as well as How Green Was My Valley in 1941. He also won an Oscar for best director for The Quiet Man in 1952.

Ford was best known for westerns, especially with John Wayne, and a portrait of the American cavalry and its activities in the west. It seems a strange choice for him to have made Seven Women as his last film – following on Cheyenne Autumn.

Seven Women is a film about dedicated missionary women in China in the 1930s. A group of Mongolians led by a warlord is attacking their mission. They have to protect themselves.

The film is particularly interesting for its cast. Anne Bancroft is the leader of the mission. Margaret Leighton is the overall head. Flora Robson is the head of the British mission. Other women include Sue Lyon (after appearing in Lolita and The Night of the Iguana), Flora Robson, Betty Field, Anna Lee. The men in the cast include Eddie Albert as a mission teacher and Woody Strode as a warrior.

The film is a mixture of psychological drama as the women interact amongst themselves as well as an action drama in an exotic setting, something which Ford was able to communicate well.

Anne Bancroft had won an Oscar in 1962 for The Pumpkin Eater and was soon to appear as Mrs Robinson in The Graduate. She is a strong presence (chain-smoking, doctor with a sharp tongue, atheist) who challenges the authority of the mission head, played by Margaret Leighton in one of her many neurotic performances.

1. The focus of the title, especially on the women? The women as individuals and as a group?

2. The importance of the wide screen photography, colour, music?

3. The atmosphere of China as a location? How was it helped by the sets?

4. John Ford as director of this film? Its qualities, his traditions with westerns? Noticeable here?

5. Audience response to the presentation of the mission, the nature of the work done and its value? The way in which it was done? The picture of Christianity, strengths and weaknesses? The puritanical attitudes of the staff? As illustrated in the lessons and way of life at the mission? Miss Andrews and her leading the mission, influencing the mission by her attitudes and ways? Her hold over the missionaries and the Chinese? Pethen and his role at the mission, as a man? Teacher? His wife and her hysteria? The atmosphere of loyalty, the neurotic hold of Miss Andrews and loyalty? The anticipation of the doctor? Did the film make any value judgements about the nature of such missions?

6. The film's focus on Miss Andrews: as a person, as one of the women, the nature of her intensity, her investment of her life in the mission, her running of others and dominance, the attraction and hold over Emma, the sexual undertones in her unwillingness to face these, her immediate hostilities and fears, her reaction to childbirth? The effect of the loss of everything on her? Her bordering on the brink of madness? What comment on her as a woman, as a missionary?

7. The doctor and the anticipation of her arrival? Her style, her background in America, the reason for her being there? The doctor as a woman? Her skill as a doctor? Her rough attitudes and yet her knowledge of life? Her reactions to each of the missionaries, telling them the truth? The effect of her own story on her life? Comment on her dedication as a doctor, her coping with the plague, the significance of her getting drunk after it?

8. How important were the choices for the doctor? Her way of saving people? The clash of values with puritanical outlooks? Her good nature? And yet the hurt of the choice? Comment on the visual impression of this? The lead-up to her death? The rough irony of her last words and the last sight of her? How interesting a character?

9. Comment on Emma as a growing woman, her role in the mission, her dedication to her work, her response to Miss Andrews, her attraction to the doctor? The dilemma of the choice between the values Miss Andrews presented and the contrast with the values the doctor presented? How important was this dilemma as a focus for the values of the film and the exploration of women?

10. The role of Pethen and his wife? Pethen and his inadequacy, the significance of his death? His wife and her fear of the child, her possessiveness, her consciousness of her age, hysteria? What did she contribute to the mission? What insight into femininity?

11. The older missionary and her helping and support of Miss Andrews?

12. The contrast with the two missionaries who came with the fleeing victims? A different denomination, their missionary style, the two personalities as women? Their contribution to Miss Andrews' mission?

13. The background of China and its barbarity? The chiefs and their ruthlessness, their violence and their sexuality? The barbaric fight, the women terrorized, the doctor and sexuality? What comment was made on this barbarism?

14. How did it contrast with American values and way of life? The women as standing for western and American values? Choices, contrasts?

15. The insight into religion as tested by real and violent situations?

16. Comment on the film's attitude towards morality, right and wrong, a sense of right and wrong, appearances and reality? What is the basis of moral choice? How should moral choices be exercised, for oneself, conscience, others?

17. The insight into men and women? Into life and death?

THE SEVEN YEAR ITCH

US, 1955, 105 minutes, Colour.
Marilyn Monroe, Tom Ewell, Evelyn Keyes, Sonny Tufts, Robert Strauss, Oscar Homolka, Marguerite Chapman
Directed by Billy Wilder

The Seven Year Itch was one of the most popular films of 1955. It is an archetypal Marilyn Monroe film – not only for the famous picture of her standing over the vent in the Manhattan street and her skirt lifting (imitated in so many films – and explored in theme in Insignificance, directed by Nicolas Roeg).

The film is very funny, was based on a play by George Axelrod who could write amusing screenplays, Bus Stop, Breakfast at Tiffany’s, How to Murder Your Wife as well as serious films like The Manchurian Candidate and The Fourth Protocol. Billy Wilder wrote the screenplay. He had begun in screenwriting after leaving Germany in the 1930s. He was to win Oscars as best director for The Lost Weekend and The Apartment. However, he is noted for his many comedies. He directed Marilyn Monroe in what is considered one of the best comedies of all time, Some Like It Hot.

Tom Ewell, who won a Golden Globe for his performance, is a reader for a publishing firm who stays in New York during the summer while his wife and son go to holiday camp. He resolves that there will be no experience of the seven year itch. However, Marilyn Monroe is upstairs, which leads to fantasy, to encounters – and his realisation that he loved his wife and missed her.

Excellent characterisations, amusing dialogue – and a nice moral to finish with.

1. The tone and humour of the title? Its meaning? The comic tone of the whole film, the introduction in the credits and the Indian prologue?

2. The value of the colour, widescreen, music, style and colourful approach to the film? Was this the right approach to this kind of comedy?

3. The film was based on a stage play. Was this evident? The confining of the sequences to the room? The small number of characters and their interplaying? The sharpness of the dialogue and the humour?

4. How successful a comedy was this? Was it a comedy to be laughed with? How satirical was it, how telling was the satire? What were its main targets?

5. Comment on the portrait of the typical American middle-aged male? Ageing, getting fatter, tired in his job, the 'itch', prone to fantasy, dreams, unable to cope with reality, avoiding reality. The enjoyable parallel with the Indians and their holiday and 'seven year itch'?

6. How well was the character of Richard Sherman portrayed? Tom Ewell's comic style? What kind of character was he? His deadpan style, talk and comment? His relationship with his wife and boy, seeing them off for the holidays, remembering them, telephoning, sending the canoe etc.? The satire on his job and the irony of sensationalising books? His relationship with his secretary - in fact and fantasy? His good resolutions and the inevitability of his not keeping them? His fantasies about romance? The real confrontation with the girl? The nature of his fantasies with her compared with the reality? The guilty fantasies of imagining his wife? The guilty fantasies of the girl announcing the truth over television? What had he learnt by his experience with the girl? A leering man forced to morality? How moralizing was the tone of this film? What attitude did it take towards double standards?

7. How important was the impact of the girl? As played by Marilyn Monroe? Her charm and comic flair? Her naivety and freshness? Why was she so likeable? As a typical American girl or not? Her glamour, her ironic comments on classical music etc.? Piano playing, champagne, sympathy for the 'Creature from the Black Lagoon', the film and Richard Sherman's fantasies about her?

8. The function of Tom Mc Kenzie in the film? As a comic character? As a romantic foil for Helen? For the aggression of Richard Sherman and his fantasies of aggression?

9. How amusing was the character of the doctor? His psychology and the explanation? Giving psychological jargon and fashion to explain and make an impact about the seven year itch? The comic scene about psychiatry?

10. How humorous were the scenes with the plumber and the irony of the seven year itch? Appearances being worse than reality?

11. The intermittent comedy and the touches, for instance, the waitress and her appeal for the nudist colony? What did these touches add to the film?

12. How effective was this kind of satire? How sharp is American satire? Could it be sharper?

13. What values in the audience were presupposed by this film? Did the film play to the values or did it challenge them? What morality stances did it presuppose? Was it clear or did it endorse some kind of double standards? In this sense was the comedy a type of light morality fable?

SHANE

US, 1952, 116 minutes, Colour.
Alan Ladd, Jean Arthur, Van Heflin, Brandon de Wilde, Jack Palance, Ben Johnson.
Directed by George Stevens

Shane is one of the classic westerns – and was put on the National American Registry of Cinema in 1993.

While there is action, this is a film about life in the west, about pioneers, about families, about gunslingers and the havoc that they could achieve in a small community.

Alan Ladd finds a top role as Shane, a gunman who comes to work for a family (Van Heflin, Jean Arthur and the young Brandon de Wilde). Into the town comes a sinister villain, played in a most sinister way by Jack Palance. (Palance and Brandon de Wilde both received Oscar nominations for best supporting actor but lost out to Frank Sinatra for From Here To Eternity.)

The film is beautiful to look at, winning an Oscar for its cinematography. It also has a memorable score.

The film has well-drawn characters, strong picture of interrelationships, a whole culture of the west including its violence but transcending that.

The screenplay was written by western novelist A.B. Guthrie and was an adaptation of a novel by Jack Schaefer who wrote such stories as Tribute to a Bad Man and Monte Walsh.

1. The impact of this western? Classic status?

2. Audience expectations of a western? The use of conventions, which conventions used here: hero, villain, black and white characters, the cattle, the western way of life?

3. The importance of colour, scenery, atmosphere, the musical background?

4. The importance of focusing on a hero? The mysterious individual cowboy? Alan Ladd's contribution as Shane?

5. The importance of seeing Shane in the contrast with Joe and his settled way of life, and Wilson, the evil gunfighter? How did Shane emerge from these comparisons?

6. What were the values that Shane stood for? What kind of man? The conventional western stranger? The significance of his riding in, lack of background, air of mystery, his strengths, his decision to work and help, saving Joe from difficulties, saving the ranchers, establishing friendship, deserving loyalty and love, helping with fights, enjoying the dance? Did Shane change at all during his stay? The atmosphere in which he left? Shane as a symbol of the mythical American cowboy? Did the film try to give him this status?

7. How important for audiences was the fact that Shane was seen by Joey? The reason for the loyalty and Joey's love? Joey's imitating of Shane as a model? Guns, violence, heroism?

8. What was the impact of Shane on Joey? Did the audience share this point of view? Joey as the future of the American west, receiving this heritage? Joey's not participating in the events of the film but observing? The clear values of the west as seen in the growing child? His capacities for comparing and contrasting? The effect of this period in his life on his future life?

9. The value of the various scenes at home, discussions, ordinariness, meals Joey learning to shoot, Marian getting dressed in her special dress, the shopping, watching the fight etc.?

10. What kind of man was Joe Starrett? Strength, hard work, wanting his own battles fought by himself, the value of the land, collaborating with the ranchers, fighting oppression? The fact that he needed Shane?

11. Marian and her place in all of this? Her relationship to Joe, love for Joey, fascinated by Shane?

12. The Rykers and their pressures, lounging around saloons, bullying the townspeople, with their gunmen, inviting the gunfighter, greed and power, trampling ranchers etc.? What comment did the film make on these bandits of the west?

13. The significance of deaths in the film? As part of the town's life? Mourning? The joy of the fair and the dancing by contrast?

14. The significance of law and its administration in this west? The nature of the final shootout? Joe being put out by Shane? The significance of Shane facing Wilson? The dramatic filming of this shoot-out?

15. What did this film achieve? Why is it considered one of the great westerns?

SHOCK TREATMENT

US, 1964, 94 minutes, Black and White.
Stuart Whitman, Carol Lynley, Roddy Mc Dowell, Lauren Bacall.
Directed by Denis Sanders.

Shock Treatment was an arresting thriller of the 1960s. It was daring in its presentation of the inside of a mental institution, the patients, their illnesses, their nightmares.

Stuart Whitman is the hero who goes into the asylum to spy on an inmate who has disposed of over a million dollars. He needs to track down where the money is hidden. Lauren Bacall is the doctor in charge – also interested in the money. Other patients include Carol Lynley and Ossie Davis.

The film was directed by Denis Sanders who had a mixed career, making Warhunt with the young Robert Redford and Sidney Pollack, making the documentary Elvis: That’s The Way It Is as well as the biography of Norman Vincent Peale, One Man’s Way.

The film and its description of inmates and their experiences is still somewhat shocking today.

1. The purpose of this film, entertainment, its capacity for repelling its audiences?

2. The use of cinemascope, black and white photography, the atmosphere of the asylum, the courts, the strident melodramatic music? Contributing to the mood of the film?

3. The macabre look of the opening, the build-up, the shock killing, the credits of the title, an indication of tone? What feeling was there about the film, the reason for audiences continued interest?

4. The focus on Martin Ashley: the initial murder, the court case, the nature of his madness, the motives for this murder, his attitude towards money, his love for roses, the background of the orphanage and his explanations to Dale? How was he tricked by Dale? His need for a friend, his being lead on? His reliance on Dr. Beighly? The distrust of Dale and the attempt to kill him? The irony of the money really being in ashes? The brutality of his death? Was he a credible character for this kind of film, interesting?

5. The contrast with Dale, his role as an actor, the proposition to go to the asylum and the reasons for his acceptance? His reading and background for his part? The crimes to get him into the asylum, court decisions? The impact of the bus ride on him, the inmates? His skill in insinuating himself into Ashley's confidence? What kind of character was he? Strengths and weaknesses? Money motivation? His attraction towards Cynthia? The dance? Dr. Beighly's suspicions and his reactions? What had he achieved when he had ingratiated himself into Ashley’s favour and discovered Dr. Beighly's practices?

6. Did audience sympathy change for him when he was discovered, tortured? His ability to pretend to the ? Engaging Cynthia's help? The irony of the death of his sponsor, the police chasing him, his final encounter with Ashley and Dr. Beighly? The significance of his final compassion for her? Did he merit the happy ending?

7. The strength of the portrayal of Dr. Beighly? Her aims, her words at the court case, her handling of the interns and training them, the significance of the film and her dealing with animals and catalepsy? Her confidence in herself, her need for the money for research? Her ability to see through Dale? Her shrewdness in using hypnosis on Ashley? Her cruelty to Nelson and making him a victim of experimentation? Her frustration when the money was revealed to be Ashley's? How incredible was her breakdown, her behaviour in the court case, her role in the asylum as mad? What comment was the film making on psychiatrists?

8. The importance of Cynthia, her explanation of her background, her madness, her fears and sexuality, teasing and yet her reputation as a good girl? Her helping of Nelson? Could she be cured?

9. The portrayal of the staff, the patients, especially the black inmate who had been on the staff? The way of life in the asylum and its details of meals, dormitory, the portrayal of therapy for e.g. the hypnosis of Cynthia? How authentic did it seem?

10. The enjoyment value of the film as a hospital melodrama?

11. As a violent horror and murder movie?

12. With the background of science fiction, especially the mad experimenting doctor?

13. Is this kind of psychological horror thriller satisfying? Why? What does it presuppose in its audience?

SHOWBOAT

US, 1936, 110 minutes, Black and White.
Irene Dunne, Allan Jones, Charles Winninger, Helen Morgan, Helen Westley, Paul Robeson.
Directed by James Whale

Show Boat is a 1930s version of the Jerome Kern/Oscar Hammerstein Broadway musical, and was made within ten years of its first being performed on Broadway. Irene Dunne was a popular star in the mid 30s. Allan Jones was a popular singer, appearing in The Firefly (and singing the popular ‘Donkey Serenade’), as well as Rose Marie with Jeanette Mac Donald. He also appeared in A Day at the Races and A Night at the Opera with the Marx Brothers. Kathryn Grayson and Howard Keel took the roles of Magnolia and Gaylord in the 1951 version. Charles Winninger is Cap’n Andy (Joe E. Brown in 1951). Helen Morgan who had a film made about her in the 1950s, The Helen Morgan Story, with Ann Blyth and Paul Newman, is Julie – Ava Gardner in 1951.

One of the advantages of seeing this film is hearing Paul Robeson sing ‘Old Man River’.

The film was directed by the British director James Whale – whose biography was presented in the film Gods and Monsters with Ian Mc Kellen. He came to Hollywood after directing Journey’s End, directing Frankenstein and The Bride of Frankenstein as well as The Old Dark House. This is an opportunity to see and hear Show Boat close to its origins in the theatre.

1. The popularity of the show: stage, screen, music? The traditions of the songs and the way that they were sung? How well does this film fit into the tradition?

2. The film as an example of mid-thirties musicals? From Universal Studios rather than from M.G.M.? Black and white photography, the singing, choreography? The working in of the songs to the plot? The style of singing and its pace?

3. The importance of the stars, especially Irene Dunne, Paul Robeson and his singing of 'Ole Man River'?

4. The quality of the music and its presentation, the quality of the songs, their popularity, their place within the drama?

5. How well communicated was the world of the Showboat, 19th century entertainment? The people on the boat, the river way of life, entertainment, putting on a show?

6. How engaging was the character of Captain Andy? His wife? The running of the Showboat, Captain Andy being bossed around? Their love for Magnolia? Their support of her throughout the years?

7. How attractive a heroine was Magnolia? Irene Dunne's verve and particular style? Singing and dancing? Naivete and innocence, romance? Her songs illustrating her character? Her love for her parents, the way of life on the Showboat, her devotion to Julie - and their singing and dancing and sharing together? The repercussions of this in her later life and Julie bowing out for Magnolia's success? The arrival of Gay? His character, charm? Songs illustrating his character? The bond between the two? Their marriage, Kim, their way of life, gambling? His decision to leave and the effect on him, on Magnolia? Magnolia's bringing up of Kim, leading her own life? The significance of the evening at New Year's Eve? The success over the years, career? International tours? The irony of the ending and Gay's arrival at the theatre? The reunion? The gap of so many years?

8. The character of Julie, her songs? The importance of her illustrating racial themes and prejudice? The pathos of her later life?

9. The world of the blacks in the southern state, characters, Joe, the singing of 'Ole Man River' and its indications of themes?

10. How entertaining a piece of Americana is “Showboat”? Entertainment, illustration of 19th century American themes?

SHOWDOWN

US, 1973, 99 minutes, Colour.
Rock Hudson, Dean Martin, Susan Clark.
Directed by George Seaton.

Showdown is an old-style western, even for 1973 when it was released. The stars, Rock Hudson and Dean Martin, were coming to the end of their screen careers and concentrating on television, Dean Martin with his own shows, Rock Hudson with Mc Millan and Wife. Susan Clark was a good standby at this stage of her career – in many films from Universal Studios.

The film was directed by George Seaton, his last film. A prominent writer and director for several decades, Seaton stood out with his Miracle on 34th Street, the Oscar-winning The Country Girl and his second-last film, Airport.

1. How enjoyable a western was this? How typical in its story and characters? Its use of robberies, the small town, sheriff, chase? How different was it from other westerns? Was it better than other westerns? Why?

2. Were the characters stock figures? Or were they enhanced by the script and the acting? Audience response to Rock Hudson and Dean Martin?

3. How much irony did the film use? The changing relationships of friends, the involvement of justice in friendship?

4. What did the film have to say about justice? Your initial response to Billy and his robbing the people on the train, Billy as a criminal, his shooting of his pursuer, his going to jail, his fear of death and his escape? How did your attitudes towards Billy and his guilt change? Identifying with Chuck and seeing justice through his eyes? How did Kate see justice as regards Billy?

5. How successful were the pursuits in the film? As typical western ingredients? Billy pursued by the other criminals? Chuck's pursuit of Billy? Billy's returning to Kate? The final chase? The comment on the west, that it was a life of such pursuits?

6. How important was the township for the atmosphere of the film? Its vindictive nature? The leading citizens and their hatred?

7. Comment on the violence in the film. Was it exaggerated, or did it fit into the atmosphere of the west? Billy shooting his pursuer? The final gunfight and Billy's death? What comment on the gun and violence did the film make?

8. Why did Billy return to Chuck and Kate? Why did he rely on them so much? Why had he left? How was his life a disillusionment?

9. The importance of the prison sequences and the building of the gallows? Its effect on Billy? Were they justified in so terrorising him?

10. How was Billy's fear contrasted with the self-righteousness of the town and of P.J. Wilson? The contrast then with the more humane attitude of Chuck and Kate?

11. How exciting was the escape? Did Chuck have any other option but to chase him?

12. The dramatics of the finale? Were they convincing? Inevitable that Billy should die? Chuck’s behaviour towards Billy in his death?

13. How well did the film use the flashback technique? In establishing the main characters in the past, their way of life, their dreams, their work, the falling in love and its changing them? How did the flashbacks humanise the film? Showed Chuck and Billy as real people? Made Kate a genuine heroine?

14. What was your overall impression of the west? It showed what the west might have been? Why couldn’t it succeed in its dreams? To this extent, the film is a pro-western? Do you agree? Why?

SIGN OF THE PAGAN

US, 1954, 92 minutes, Colour.
Jeff Chandler, Jack Palance, Rita Gam, Ludmilla Tcherina, Jeff Morrow
Directed by Douglas Sirk

Sign of the Pagan was Universal Studio’s attempt to move into the big-budget spectaculars that were introduced by The Robe and the advent of Cinemascope. Since The Robe looked at early Christianity, the history of the church seemed to be a good field for this kind of spectacle.

This time it is the era of the fall of the Roman Empire. Jeff Chandler portrays a Roman centurion who is captured and taken to Constantinople where the Emperor Theodosius is planning to attack Rome with the help of the barbarian Attila. Pulcheria, the sister of the empress, falls in love with the centurion.

The film gives a brief background of the era and the politics of the decline of the Roman Empire. It also gives a glimpse into the growth of the barbarian tribes and their inroads into the empire, leading to the fall of Rome.

Jack Palance has an opportunity to chew the scenery as Attila. Historically, he was stopped in 451 by Pope Leo the Great as he attacked Rome and withdrew.

Another film about Attila was made at this time, in Italy, with Anthony Quinn as the emperor and Sophia Loren in support.

The film was directed by Douglas Sirk, who had made a number of films in his native Germany, come to Hollywood in the 1940s and made a variety of genre films. However, he was to be best remembered for another 1954 film, The Magnificent Obsession, with Rock Hudson and Jane Wyman and a number of high-class soap operas including All That Heaven Allows, Written on the Wind.

1. Why do audiences enjoy costume spectacular epics?

2. The significance of the title? The visualizing of the symbol of the Huns, versus the Cross of Christianity? An indication of the film's themes?

3. How interesting and valuable was the reconstruction of this Roman world? The attention to detail, visualizing an empire and the Barbarians?

4. The audience response to the Roman Empire? Its might and power, its decline, its values and decadence? The contrast with the Barbarians and their way of life? The clash of values of civilization and barbarism? Which values were valuable? Attila's explanation that the Romans had used conquest, like his, for their empire?

5. The film's focus on Attila? Was he a credible character? As leader of the Barbarians? His method for conquering? His strength? His superstitions?

6. The contrast with Marcion? The Christian hero? The clash of personalities with Attila? Attila's sparing him? The fascination of Attila's daughter for Marcion? Marcion and his status as a poor man, as a Centurion, in relationship to Pulcheria? His advice to the emperors? His final conquest?

7. The significance of the role of Attila's daughter? As a Barbarian princess, fighting with the sword and the clash with Marcion as she learnt to fight? Her fascination with him, her becoming a Christian, her letting Pope Leo know about the lightning striking the tree? Attila's reaction to her?

8. The role of Pulcheria in the film? As Empress, as a woman and her relationship with Marcion, her hostility towards her brother, her liaisons and diplomacy? The significance of the dance for the Barbarians? The happy ending?

9. The picture of the two emperors: the decadence and the deals in Constantinople, the Emperor fleeing from Rome and leaving everything to Marcion? The status of emperors in the empire?

10. The contrast with Pope Leo and the visualizing of his confrontation with Attila? The Sign of the Cross? His advice to the Barbarians, Attila's dilemma and his reactions?

11. How important were the details of the Empire's way of life, the Court, the class distinctions, the fighting, banquets, the entertaining of the Barbarians etc.?

12. How interesting and convincing were the battles?

13. The theme of religion and superstitions? The fate hanging over Attila, the advice from his soothsayer, the fact that he was defeated as foretold?

14. How much enjoyment in this kind of popular epic? How much to be learnt?

THE SINGER, NOT THE SONG

UK, 1960, 132 minutes, Colour.
John Mills, Dirk Bogarde, Mylene Demongeot, John Bentley, Laurence Naismith.
Directed by Roy Baker

The Singer Not The Song is a melodramatic story, set in Mexico, from a novel by Audrey Erskine-Lindop? and adapted for the screen by novelist Nigel Balchin. Opinion was divided on the film’s release – and this divided opinion continues.

Many people enjoy the film and take it seriously. Others thing that it is highly camp.

The film focuses on John Mills as a priest in Mexico, working in a parish. He confronts the local bandit, played by Dirk Bogarde in black leather. A young woman in the parish also gets a crush on the parish priest (played by Mylene Demongeot). The priest has to face the reality of his ministry as well as clerical celibacy. He also has to face the confrontation with the local boss and is interested, of course, in saving his soul.

The film is somewhat exotic in its presentation of the characters – especially British hero and villain in a Mexican town.

The film was released at the time that the Second Vatican Council was in preparation – and, while there were some stories about priests and their sexual difficulties, this was something of a taboo on the screen. Half a century and more later, audiences might find this difficult to understand.

The film was directed by Roy Ward Baker who had directed John Mills in The October Man and Morning Departure. He had a brief stint in Hollywood with Don’t Bother to Knock and Inferno but returned to England with such good films as The One That Got Away and A Night to Remember. In the 60s he directed television and in the 70s a number of horror films.

1. The significance and tone of the title? The indication of theme, its explanation and verification in the film?

2. The importance of colour, widescreen, length of the film, Mexican settings, the British stars?

3. How successful was the film as melodrama, as romance, as a religious film? The successful blending of all three elements?

4. How well did the film create the Mexican atmosphere? The arrival of Father Keogh, the colourful nature of the town, the people, the squalor, religious atmosphere and lack of it? Could these events have taken place elsewhere in such a way? The passionate nature of the Mexicans? The Irish missionary among them?

5. How well-drawn was the character of Anacleto? His youth, his role as the boss of the town, the significance of his black clothes, his role as a leader, his fascination with power? His hold over the other priests? The clash with Keogh? His liking of Keogh? The cruelty of the murders? The conflict of motivations? His killing of Old Uncle to save Keogh? His friendship with Locha? His saving her from the marriage? The significance of the ending and his hold over Father Keogh? His reaction against the sermon? The significance of his death? The signs of his repentance? Yet for 'The Singer, Not The Song'? The nature of his friendship for Father Keogh? The inevitability of its fatal ending?

6. The contrast of Father Keogh: an earnest priest, entering into a town and trying to influence it, the possibility of destruction? His horror at the violence? His encounter with Locha and infatuation with her? His understanding of celibacy and his obligations? His reaction to the people? His refusal to be subjected to Anacleto? Yet his desire to convert him? His taking of stances, the sermon when Locha was saved? The reason for his intervening in the gunfight? The impact of his death? His consolation with Anacleto's repentance? The symbolism of their crossed bodies in death?

7. The role of Locha in the film? Dramatically and emotionally? Tomboy, her home in the town, her fascination with Anacleto, her growing love for Father Keogh, the nature of her marriage and her jilting the bridegroom? The nature of her sacrifice and her acceptance of this? An interesting and convincing character?

8. The film's explorations of power, cruelty, life and death, love and friendship?

9. The picture of the church and its traditions, the role of the priest, celibacy and its obligations, its suffering and its availability for others?

10. The sense of realism in the plot and in the characters? Or was there more symbolism? Was this a religious film in its exploration of religious values?

BRILLIANT LIES

Australia, 1996, 96 minutes, Colour.
Gia Carides, Anthony La Paglia, Zoe Carides, Ray Barrett, Michael Veitch, Catherine Wilkin, Neil Melville.
Directed by Richard Franklin.

Sexual politics and harrassment issues are at the centre of Brilliant Lies. David Williamson has a reputation of being a satirist as well as a moralist. Both aspects are seen here.

The difficulty with listening to both versions of a harrassment case (as the arbitrator must) is that both can seem plausible and one has to be alert to inconsistencies, to body language, to the reliability of witnesses. Here Gia Carides accuses Anthony La Paglia of harrassment and the issue goes to mediation and then to court. The screenplay heightens the ambivalence by showing dramatisations of both versions in stylised flashback style. Audiences have to compare what they see with what they understand of each character and of motives.

There is further complexity with issues arising from family scandal and brothers and sisters taking sides with regard to their father. Richard Franklin used to direct thrillers but made Hotel Sorrento last year and has now made an efficient and thought-provoking version of a play that is relevant and, while geared to a popular audience, nevertheless invites them to think. Modern morality play.

1.The work of David Williamson, in the theatre, for the screen, his setting of scenes, the importance of verbal encounters?

2.The locations: the office, home, the tribunal? The musical score?

3.The structure: the introduction to Susie, to Gary, to Katie? To the family, their father and Paul? Gary and Vince in the office? Seeing different perspectives? The importance of the flashbacks, the camera style, the contrast between truth and lies? The childhood flashbacks to the father’s molesting his daughters?

4.The title, the issue of truth and lies, lies by each of the characters, deliberate, by habit? Intended deceit?

5.The audience and listening to Susie’s story, Gary’s perspective? The workplace, the harassment, Susie’s reaction?

6.The audience believing Susie? Her speaking to Marian, Marian’s questions, counsel? The importance of documenting the assault? The claim for forty thousand dollars, Susie’s intent?

7.Audience reaction to Susie and her lifestyle, her father’s wealth, her childhood (and later discovering the molestation and her explanation of it and her reactions)? Studying overseas, having to come home, the loss of the money, not getting a job, her moral behaviour, taking Ecstasy, promiscuity? Her relationship with Katie? In her home, irresponsible? The selfishness? The possibility of getting the money? Katie at work, her father, Paul persuading them to have the party for their father’s birthday? Her wanting to go to other parties? The truth about the molestation? Paul and his reaction? Katie and the truth about the accusations? Marian and the questions, her lie about Marian being attracted to Katie? The confrontations with Katie?

8.Gary as a person, seeming innocent, his version of what happened, the various discussions with Vince? Vince believing Susie? The past, Gary and his work, jokes to the women, the phone calls, the innuendo? The golf game with Vince? The bets and Gary winning? Gary’s anger with Vince? His anger at the tribunal?

9.The building up of the pictures, their being modified by the various comments?

10.The family themes, the father, his life, womanising, drinking, treatment of his wife, molesting his daughters and his explanation of being concerned about their growing up? His attitude to each of his children? The discussions, the party, his discussions with Paul, thinking Paul weak? Appreciating the party, his defending himself? The operation, the aftermath?

11.Paul, his life, being in debt, work, his Christian background, his girlfriend, his concern about profane language, his relationship with his sisters, persuading them to have the party, the discovery of the truth about his father, his negative reaction?

12.Katie going to see Marian, her admitting the truth? Marian being married?

13.The hearing, the claims, Susie standing firm, the reaction of Gary and Vince? Katie and her interventions, observing? Marian presiding?

14.The tribunal, the lawyers, the judges? Susie telling her story? How much truth, how much lying? Gary and his reaction, shouting, his wife being present? Susie denouncing Gary, his womanising, his lies? The effect on Gary, the effect on the judges? The audience trying to gauge what really happened – and the later conversation with Katie about the fifty-dollar note?

15.Susie giving the money for the operation, the party afterwards, the discussion with their father? His marrying again? The effect on each of the members of the family? Susie’s future and her changing her lifestyle? Gary, buying the company, his being humiliated?

16.The relevance of issues of sexual harassment in the office? Molestation in the family? Dysfunctional families? The legal background? The importance of truth and lies?

THE GROCER’S SON

France, 2008, 96 minutes, Colour.
Nicolas Cazale.
Directed by Eric Guirado.

Low-key might be the best word to introduce this very French drama about a young man, alienated from his family, who is drawn back into the family life and grocery business out in the provinces, when his father is hospitalised.

We watch the characters sometimes in a detached way, sometimes emotionally. Antoine (Nicolas Cazale) is not strong on people skills, especially when he goes on the daily rounds through the attractive hilly countryside, a service to those who are not mobile. And we go on the rounds with him many, many (too many?) times. However, when Claire, a friend from Paris who is studying for entry into a Spanish college, accompanies him on his rounds, she charms all the customers with her genial interest and help.

You know that Antoine will mellow, at least a little, but it takes him a long time to break through his rather bitter attitude towards life. He also clashes with his older brother who is concealing his broken marriage from his parents who see him as the better son and who becomes suicidal.

This is a slice of country life. The director has made films which show an interest in society and customs in regional France which makes this film something of a blend of sociological documentary with dramatic fiction.

1.The title, the focus on Antoine, his parents, their shop, the traditions of the grocer’s shop in the village?

2.The city sequences, the hospital, the district, the apartment, the shops?

3.The contrast with the country village, the home, the countryside, the mountains? Musical score?

4.The situation of the father being sick, hospital, the memories of the past, his mother and her anxiety, Francois and the favoured son, Antoine not going in to see his father, remaining outside the door?

5.Antoine and his character, age, the memories of the ten years and the clash with his father, leaving home, his being a cook, cantankerous, losing his job? His friend with the shop, his not being able to greet customers, the friend’s comments about his inability with people? Friendship with Claire, her studies, helping her?

6.The mother offering the job, the payment, his deciding to go home? Taking Claire, Claire able to study, do her revision? The summer and the prospect of going to Spain to study?

7.The shop itself, Antoine’s mother working in the shop? The truck, going to his friend to get it fixed, doing the rounds, going into the countryside, the range of customers, Antoine’s harsh manner towards them, wanting the money, the clash with Lucienne, bad manners, people feeling insulted, Lucienne and the accident of her hitting her head?

8.The film showing the grocery rounds so often? Different detail? Antoine going with Claire, the contrast, her friendliness, her conniving with the customers to insult Antoine, the exhilaration of painting the truck?

9.The mother, her change of attitude? The father’s sudden return, his anger with his wife, anger with Antoine? The bad memories?

10.Antoine and Claire, the bond, the sexual encounter, Claire and her work, the exam and posting it, Antoine losing it, throwing it away, Claire discovering this, her decision to leave?

11.Francois and Antoine, the clash, the meals, Francois’ wife, the scenes with her talking, the divorce, his not telling his parents, the lies? Going fishing with Claire? The bond with Claire? Taking her to the railway station? His wife’s rejection of him, his decision to kill himself, Antoine and the coincidence of seeing him, rescuing him from the water? In hospital?

12.The father, his decision to retire, his entrusting the work to Antoine?

13.Claire, going to Paris, getting the results in Spain? Her return, the bond with Antoine, a future? Antoine’s future?

14.The director, his documentary background, sociological interest, combined with fiction?