U 571

US, 2000, 116 minutes, Colour.
Matthew Mc Conaughy, Bill Paxton, Harvey Keitel, Jon Bon Jovi, Jake Weber, David Keith.
Directed by Jonathan Mostow.

U571 is an American World War II story. It concerns submarines and the capture of an Enigma machine to break the German codes during the war in the Atlantic. In fact, the Enigma was gained by the British (and can be seen in the UK film of 2000, Enigma, directed by Michael Apted).

Whatever the facts of the case (and the end of the film gives some historical information about American activity and the breaking of codes as well as submarine action) the film is in the tradition of Crimson Tide, Hunt for Red October and, especially, the German Academy Award-winning The Boat.

The film also shows the issue of leadership quite strongly, with Matthew Mc Conaughy as a young officer wanting to be in command but his superiors finding him unready for the task. There are strong speeches by Bill Paxton and Harvey Keitel on the nature of authority in a submarine. When the boat is sunk, a group who has boarded the German submarine is stranded and Mc Conaughy has to take charge. There is a great deal of cat-and-mouse activity as the destroyer pursues the submarine and the submarine, against all odds being repaired, is able then to destroy the destroyer.

Jonathan Mostow made the interesting thriller Breakdown and went on to direct the third Terminator film.

1. The popularity of films about submarines, life on the submarine, activity in war? Hazards and dangers?

2. The re-creation of 1942, the destroyers, the submarines, action in the Atlantic? The action sequences, editing and pace, special effects? Musical score?

3. The historical background, the Enigma machine, the role of the British, the claims of the Americans, actual American activity as indicated at the end of the film? Fact and fiction, sixty years afterwards?

4. The strategy for gaining the Enigma machine, the information from the U-boat, the plans about enemy destroyers, the old submarine being taken out for the mission, the young man who could speak German, the plan of taking the submarine by force, getting the machine? The reality of the pursuit of the submarine, the dangers of the encounter, the sinking of the American ship, the Americans being stranded, being able to float and to use the German submarine? The pursuit, their prisoner giving Morse Code messages, going deep, repairing the submarine, coming up and destroying it? Gaining the Enigma machine? The heroism in World War II stories?

5. The personalities of the sailors: Tyler, his youth, enthusiasm, skills, his approaching Commander Dahlgren, the commander telling him that he was not ready, the long speech about the nature of decisions to be made by commanders, Tyler's compassion for the crew, hesitating in making hard decisions? His work on the ship, his command, his relationship with the chief? Leading the mission, the approach to the German submarine, the attack, taking it over? The confrontation with the German boat and the crew coming out to meet the submarine? His taking command, the chief telling him off for saying that he didn't know the answers? The strong speech about leadership and the commander knowing even when he didn't know? The strategy, its effectiveness, the tension, the success in destroying the German ship? Commander Dahlgren, in command, going to the meeting for the plan, the interview with the young man speaking German, his relationship with Tyler, the speech, trusting him? She ship going down at his death? Chief Klough, efficient, wise in command, explaining to Tyler the nature of command? His being able in the crisis?

6. The other officers, their work, interactions, reactions to Tyler, following the commands? Lieutenant Hirsch and his intelligence work, the plan, recruiting the young man who spoke German?

7. Marine Major Coonan, intelligence, the plan, the explosives?

8. The range of younger sailors, the black sailor, the sailor who lacked confidence in Tyler, the sailor who spoke German?

9. The Germans, the opening and their conversation on the submarine, the subtitles? The destruction of the submarine? The approach to the American submarine, thinking it was German? The retreat, the attack on the ship, taking it over? The taking of prisoners? The captain going down? The officer taken, imprisoned, tapping out messages, his being killed?

10. This kind of war story sixty years after the event, the role of the Americans, the role of action heroes? The nature of war, strategies and tactics?

THE UNEXPECTED MRS POLLIFAX

US, 1998, 90 minutes, Colour.
Angela Lansbury, Thomas Ian Griffith, Ed Bishop.
Directed by Anthony Shaw.

The Unexpected Mrs Pollifax was filmed as Mrs Pollifax Spy in 1970, a star vehicle for Rosalind Russell as she moved towards retirement. After a long film career, a successful television career, especially as Jessica Fletcher in Murder, She Wrote, Angela Lansbury follows in Rosalind Russell's footsteps and is a very lively Mrs Pollifax. The film was directed by her son, Anthony Shaw, responsible for so many episodes of Murder, She Wrote.

At 73, Angela Lansbury is quite sprightly. A widow, she volunteers to be a CIA spy and finds adventures in Marrakesh, Paris and Geneva. The locations are attractive, the dialogue humorous. And, as played by Angela Lansbury, the doings of Mrs Pollifax as a spy seem almost credible. This is PG-rated spy stories - with some wry comments about the efficiency and intelligence of CIA operatives as well as highlighting the dangers of international terrorism. It has a post-fall of the Soviet Union setting with nuclear devices available to rogue buyers. An entertaining drama with comic touches - something like a pilot for a series on Mrs Pollifax.

1. Entertaining comedy-drama? For Angela Lansbury fans? Her screen persona, the tradition of Jessica Fletcher, intelligence, detection, coping with any difficulty?

2. The locations: Washington and the CIA, Marrakesh, Paris, the apartment and the dungeons, Geneva and the hotel? Musical score?

3. The title, the focus on Mrs Pollifax, her ambitions to be a secret agent - and her fulfilment of these ambitions?

4. The character of Mrs Pollifax: talking to her husband at the grave, the device of talking to her husband throughout the film as a continual way of giving information, revealing character, highlighting eccentricity for her to continue her espionage? The discussion with the doctor, his urging her to follow her secret dream when she was young? The phone calls to Washington, to the congressman, her going to Langley, the authorities not wanting to meet her, the interviews, her being left alone, the mistaken identity, going on her way as a spy? Her skill in memorising what she had to do?

5. The CIA, the characters, Carstairs and his being in control, Bishop and his ineptitude? Mason and the interview with Mrs Pollifax? The continued phone calls to Langley? Things going wrong, Carstairs and Bishop having to go to Europe, the double agents, the torture? Mrs Pollifax and Farrell being in the embassy? Their paying her off? Losing track of her again, wondering whether she was a double agent? The mistaken order to sanction her? Everybody arriving in Geneva and the resolution of the espionage problem?

6. Mrs Pollifax in Marrakesh, with the tourists, noticing the man following her, ringing Carstairs? Her going to the bookshop on the wrong day, the shooting, her getting the book and the pack of cards? Her return, her being abducted along with Farrell? In the plane, in the truck? In the dungeon? Thinking that they were in Albania?

7. Farrell, his shadowing Mrs Pollifax, his being shot, their being abducted, her tending to his leg? In the truck, their escape, to the Paris embassy, his being restored to health?

8. The false agent in Marrakesh, the interrogation and abduction of Mrs Pollifax? His cover for being a double agent? The interrogations? The arrival of Alice, her sinister reputation?

9. Mrs Pollifax seeing Alice in the street, following the taxi, going to Geneva, going to the hotel? Her being a guest, her encounter with Robin, the jewel thief, the irony of his death and his being Mossad? The goings-on, Alice and the build-up to the auction, the nuclear devices? The assassin sent to kill her, Farrell saving her? The geiger counter, discovering the nuclear devices? The deception in the sauna, the confrontation at the auction, the police coming? The resolving of all the problems? Her return to New Jersey, the assassin in her home, hitting him with the pot-plant? Farrell turning up - and the happy ending?

10. A rather engaging espionage story? The attraction of Angela Lansbury and her manner of getting things done?

UP AT THE VILLA

US, 1998, 115 minutes, Colour.
Kristen Scott Thomas, Sean Penn, Anne Bancroft, Edward Fox, Jeremy Davies, Derek Jacobi, Dudley Sutton.
Directed by Philip Haas.

Up at the Villa is based on a story by W. Somerset Maugham. It is set in Italy at the eve of World War II, just after the Munich agreement. A group of overseas aristocrats lives a comfortable life near Florence, but are threatened by the ever more powerful fascist regime. (This is the group of expatriates that Franco Zeffirelli portrayed, especially the English group, in his Tea With Mussolini which takes place at much the same era and into World War II.)

The film focuses on the penniless widow, Mary Panton, played quite exquisitely by Kristen Scott Thomas. Scott Thomas has taken the market in this kind of role, veering from the sympathetic to the very cold (A Handful of Dust, Four Weddings and a Funeral, Gosford Park, The Horse Whisperer, Random Hearts, Life as a House). Sean Penn appears as a rakish American who is able to help Mary in a crisis as well as to invite her to broaden her horizons. The film has a strong supporting cast led by Anne Bancroft as a garrulous and gossip-mongering American who has married into Italian nobility, Jeremy Davies as an Austrian refugee, James Fox in his usual role as the stiff-upper-lip reliable Englishman and Derek Jacobi camping it up as an expatriate who lives on his reputation and on being invited to social events.

The film was written by Belinda Haas, the wife of the director, Philip Haas. They were responsible for such films as The Music of Chance and Angels and Insects (also with Kristen Scott Thomas).

The film recreates the period, has lavish colour photography, highlighting the beauty of the Tuscan villas. It also has sinister overtones with the expatriates relying on the Munich agreement for peace in our time, but sensing that the fascists under Mussolini are moving towards war.

1. The work of W. Somerset Maugham, interesting characters, relationships? The 1930s, the Italian setting, the Munich agreement, the aggression of the Nazis, Mussolini and the fascists? The expatriates, the British? The film working at personal levels of interaction, social levels of Italy at the time?

2. The re-creation of the period, the homes and their interiors, the villas, costumes, the life of the wealthy, hotels, parties and picnics? Florence and its environs? The atmosphere and setting? The musical score, songs, the period?
3. The title, the focus on Mary, the villa and the happenings inside the villa?

4. Italy, fascist rule, Leopardi and the Black Shirts, his presence at the dinners, his being the boss, getting Rowley's gun, the pressure on Rowley? His secrets, known by the princess? The refugees from Austria, the anti-Semitic tone? The flavour of the period?

5. The portrait of Mary and Kristen Scott Thomas's screen presence? British, reserve, dependent? The widow? Penniless? Charity at the villa? Her being accepted into this expatriate society? Their interest in her being married? Edgar, his arrival, the proposal, her wanting time to think about it? Expectations on her? The parties and social life? Talking with the princess, Mary as impressionable and romantic, absorbing the princess's gossip and stories? Rowley and his arrival, attractive? The dinner, the violinist and his bad playing? Mary leaving the large tip? The discussions with Rowley, the car, her slapping him? Going back to the house, seeing Karl on the road, bringing him in, the meal, the beauty of the villa? Taking pity on him, his story, the night together? Her coping with this, the visit to the art museum? The princess and her inquisitiveness? Karl's return, tense, the gun which Edgar had given her, her threatening him, his taking the gun, killing himself? The impact on her, ringing Rowley, his coming to help, the body, pretending to kiss on the road to avoid detection? The late night, sleeping in, the maid hearing the noise? Mary and her ability to carry it off despite being terrified, the gossip about the death at the table? Her being able to cover? Rowley's support?

6. Rowley arrested, Leopardi and his interrogating her, finding out that she had given him the gun? Her going to the princess, getting her drunk, getting the secrets about Leopardi, going to her house and getting the documents, to the jail, blackmailing him, the release? Her telling the whole story to Edgar? The effect on him, the dilemma about the marriage, his future as Viceroy? Decisions? Her telling the princess, her cynical response? Telling that the story of her love was false? Mary and her decision to leave, a sense of freedom, seeing Rowley on the train, having the drink with him? A future?

7. Edgar as very British, India, giving her the gun, his tolerance of what had happened, his political dilemmas, her reputation? Her refusal to marry him? His leaving?

8. Rowley, rakish, American, travelling in Italy, knowing the situation? His absent wife? His manner, with the expatriate crowd, the socials? With Mary, more honest, not planning, live being open? Their clash, his helping her with the body, covering up? His arrest, in prison, release? On the train?

9. The princess and her style, her stories, her place in society, as a patron for Mary, telling her stories, revealing her secrets, condemning her at the end?

10. Lucky Leadbetter, his presence in Florence, camp style, the guide, relying on invitations, the princess inviting him at Mary's behest? His helping Mary?

11. Karl, the refugee, his story, playing the violin, the tip, on the road, the meal, the beauty of the villa, the night with Mary, his return, his desperate love, killing himself?

12. The portrait of a society, real and unreal, rich and privileged? Leopardi and his control of the expatriates, gathering them together for supervision of their documents - and their applauding him? Their world about to change?

13. A glimpse of Europe pre-World War II, issues of relationships, honesty, society?

UTILITIES

Canada, 1981, 89 minutes, Colour.
Robert Hays, Brooke Adams, John Marley.
Directed by Harvey Hart.

Utilities is quite an amusing satire on big business, the power brokers with the public services who have the public in their grasp. The film focuses on a particular company, its cruelty towards its customers and the protest that is possible against such big business (as well as the lengths that they will go to preserve their power and wealth).

The film is directed by Harvey Hart, director of a number of movies including Fortune and Men's Eyes, The Sweet Ride - although he was more successful with telemovies. The sympathetic hero is Robert Hays, from Flying High, Take This Job And Shove It, Scandalous. Brooke Adams is the heroine (Days of Heaven, A Man, a Woman and a Bank, Cuba). John Marley leads the supporting cast.

The film is particularly American, has American targets - although, it is quite clear that the points being made are universal.

1. Enjoyable comedy? Satire? With social point?

2. The city, the utilities firms, police precincts, apartments, computer programming rooms? The special effects for the blackout of the city etc.? Musical score?

3. The title and its American tone? The focus on the utilities companies? Their services, boards of management, advertising, power and wealth hunger, strong-arm tactics, flouting of the law? The focus on the ordinary people fighting against them?

4. Bob and his work, meeting people, his despair? The apartment block? The old lady and her being cold, trying to get the power on? The protests and demonstrations? Her death? The importance of his stances, going to the bank, going to the utilities offices? His frustration? The demonstrations and the encounters with Marion Edwards? His being arrested? Interrogated? His friend and their breaking into the computer system? The hand on the wet paint - and the code name of The Finger ? Covering his tracks? Rallying people? The further exploits of The Finger? The counter-terrorism by the company? The on and off relationship with Marion? The build-up to the demonstration, the court case, the filibuster? The lights going out as protest? The winning of the court case? Reconciliation with Marion?

5. Marion as policewoman, breaking up the demonstrations, her tricking Bob and arresting him, the interrogations? Their verbal fighting? Falling in love? The on and off relationship? Her police stands? The confrontations with Bob? Concern about his involvement? Her taking the side of the law? The winning of the case? Reconciliation?

6. The people in the apartment block? Their lack of income, the utilities company and its exercising its power? The old lady and her being cold? Her death? The protests in the street? The protests against the company? Going to court? The demonstrations in court? The representatives of the ordinary people and their protest against big business?

7. The company and the board meetings, the few people there, the television commercials? The slick advisers? The decisions against people? Money motives? The protests, the possible loss of income? The breaking into the computer? The irony of people getting refunds on their bills? Their cashing them? The desperate measures and the criminal hired to sabotage, imitate The Finger? The court case and the hold over the members of the Bench, the photos, the legal blackmail? The irony of the mad criminal and his enjoying his sabotage work? The irony that he caused the protest with the lights out? The come-uppance of the company? How much satire, how much caricature, how much reality?

8. The members of the Bench - upright citizens, their secrets. sexual aberrations, the photos. their being pressurised and influenced in the court case? The prolonging of the case. the witnesses? The final decision?

9. Ordinary people and their being victimised, the fairytale touch with their getting cheques and their money back?

10. The confrontation between ordinary people and those with power? In the United States context? In the context of the utilities companies?

11. A pleasant fable? Social point?

USED CARS

US, 1980, 112 minutes, Colour.
Kurt Russell, Jack Warden, Gerrit Graham, Frank Mc Rae, Deborah Harmon.
Directed by Robert Zemeckis.

Used Cars is an odd film. On the surface it looks like a film pandering to the young American audience - a young hero without scruple trying to exploit his situation in selling bad cars to unwary customers in order to raise money to pay a deposit so that he can be elected to the Senate. Jack Warden appears supporting Kurt Russell as the hero: two brothers - one an old man genuinely trying to sell cars and the other an ambitious go-getter. There is clash between the two car firms. This intrudes into advertising (interrupting such television programmes as important sports fixtures and President Carter's addresses to the nation). There is a huge car procession cum chase at the end with over 200 cars and other vehicles. However, political satire and social satire seems to be always intruding. There is a lot of political and social comment and an amount of black comedy. The end seems bulkily cynical as exploitation wins the day. Whether the film is to be seen merely as entertainment or as a black comedy satirising the political state of America in the '70s is probably debatable.

1. Seventies style entertainment: cars., the road, car sales? The cynical tone? Black comedy? Entertainment value? Message and point? How seriously was the film meant to be taken?

2. The atmosphere of New Mexico - as representing the United States? The old style car lot and the modern pushy style? Sales pitch? Television advertising? The atmosphere of the town, apartments, prison, court rooms? The background of the desert? Authentic atmosphere for this kind of black comedy? The atmosphere of the musical score?

3. Audience response to cars? Machinery, engines, old and new models, redoing cars and selling them? The fascination of the car lot? The examples of selling and pressure? owning cars, identifying with them? The film's capitalising on audience interest? In car sales and the wars amongst dealers?

4. Kurt Russell's style as Rudy? As hero? His sales pitch and push, his relationship with his helpers, his reliance on old Fuchs? His relationship with the girls? The popular image of the American type? His involvement in a battle with Leo Fuchs? The importance of the TV tactics and the interrupting of the programmes? The irony of interrupting the President? The farcical aspects of the advertising and the sensationalism of language and nudity, their being seen on family television? The pathos of old Fuchs' death? His being buried and literally covered up? The arrival of his daughter and Rudy's lies? His relationship with the daughter and her disillusionment with him? The digging up of old Fuchs and his body being in the racing car? The build-up to the expose and trial? The finale with Rudy leading the 200 cars? His switching at the end of the film back to his go-getting self and persuading the girl to join him? Values, the black satire on ordinary values? The irony of Rudy's political ambition and the people supporting him? Comment on American politics - "would you buy a used car from this man?"

5. The sketching in of Rudy's assistants, their help, characters? Work? Old Fuchs' daughter and her background., his fear that she was from Consumer Protection? Her values? Disillusionment with Rudy, trying to manager the sales by herself? The court case and her relying on Rudy?

6. Old Fuchs and his homespun style, his being his own nun, defying his brother, the melodrama of the scare ride and his hear attack, his first burial, his crashing and second death?

7. The contrast with Leo Fuchs and his wealth, push, spying, manipulating the death of his brother, his political links and his bribing, the investigation and antagonism towards Rudy, his tantrums, his advertising and his being mocked by Rudy, his final defiance and comeuppance?

8. The advertisements and the satire on advertising - the interrupting of Carter, the games? The pushiness, sex, explosions? The point of the black humour?

9. The black humour in the death old Fuchs, his first burial, his resurrection for the crash and explosion?

10. The trial and the echoes of the old screwball comedies with their court scenes, the heroine in the dock, the support of the hero, the judge deciding he wanted to see things for himself?

11. The build-up to the finale and the long procession with the 200 cars?

12. How enjoyable an entertainment, a subversion of accepted values? The black comedy and the message? Sincere, cynical?

UNFAITHFULLY YOURS

US, 1948, 105 minutes, Black and white.
Rex Harrison, Linda Darnell, Barbara Lawrence, Rudy Vallee, Kurt Kreuger, Lionel Stander.
Directed by Preston Sturges.

Unfaithfully Yours is an amusing black comedy. It was written, produced and directed by Preston Sturges, a screenwriter in the 30s who emerged as a successful writer-director in the early '40s with such classics as The Palm Beach Story, Miracle of Morgan's Creek, Hail the Conquering Hero.

The film is a fantasy, a fable about jealousy as a famous conductor suspects his wife of infidelity and plans her murder while conducting classics by Tchaikovsky, Wagner. Rex Harrison, who had emerged as a successful star in Britain, was becoming an international star at this period (Anna and the King of Siam, The Foxes of Harrow). Linda Darnell is the beautiful heroine. There are amusing supporting roles for Lionel Stander, Rudy Vallee and Barbara Lawrence.

The film was remade as a Dudley Moore vehicle in the '80s, directed by Howard Zieff, with Nastassia Kinski and Armand Assante. Richard Libertini is more amusing than Lionel Stander in the equivalent role.

1. An amusing comedy? Reputation? Remake?

2. The work of Preston Sturges, his sardonic wit, polish? His skills as writer, director?

3. Black and white photography, the range of classical music and its incorporation into the plot? Domestic comedy? Satire on society? Fantasy and comic reality?

4. The music, Alfred as conductor, the music as played, as background to the plots, as inspiring Alfred in his work as a conductor?

5. The structure of the film: reality, fantasy, comic reality once again?

6. Situations and character: contrived, credible? The plane and its delay, waiting, reuniting of husband and wife, August and Barbara in the background, Hugo, Tony, Daphne and her devotion? The basis for subsequent twists?

7. Rex Harrison as Alfred: English, titled, musical genius, rehearsals? The Englishman in the United States? British style, vocabulary? His love for Daphne, infatuation, spoiling her the clothes? Hugo and his help? Tony and his assistance? August and his sneering? The detective's report? The clash with August, tearing up the report, booting it out, trying to burn it? The visit to Sweeney (and the humour of the talk with the neighbouring tailor)? Suspicions, the effect? The visit to the cinema and watching the film about the dog as a man's best friend? His harshness, hurting Daphne? Conducting, imagination: the planned murder: setting up the recording, slashing Daphne's throat and framing Tony, the court case, the 'guilty' verdict, his execution? The contrast with the second fantasy and his tenderness, forgiving her, writing the cheque? The third fantasy and Russian Roulette, explaining it to Daphne and the irony of his death? His behaviour between the pieces? His hurry away from the concert, the return home? The slapstick contrast with his fantasies? The mess of the apartment, not finding the recorder? Daphne and her anger, her attitude towards Tony? The revelation of the truth, their being reunited? A humorous portrait of jealousy? Imagination and insinuation taking over?

8. Daphne and her beauty, love for Alfred, faithfulness, not wanting the clothes, supporting him, being hurt - the scene with the zip, at the concert, her different images in his fantasies, the contrast with reality?

9. August and his pomposity, the detective? Barbara and her sneering, relationship with Tony?

10. Tony as pleasant, the relationship with Barbara - and his place in the fantasies as Alfred's victim?

11. Hugo and his help, ironic remarks, type?

12. Sweeney and his love for Alfred's music? The tailor on his lunch hour and the discussion with Alfred? Their going to the concert, the tailor's over-applause?

13. Verbal wit, visual humour? Timing and detail - especially with the wrecking of the room?

14. '40s sophisticated stylish comedy?

UPTOWN SATURDAY NIGHT

US, 1974, 104 minutes, Colour.
Sidney Poitier, Bill Cosby, Harry Belafonte, Flip Wilson, Richard Pryor.
Directed by Sidney Poitier.

Uptown Saturday night is very entertaining frivolity, relying on the personalities and styles of its leads and their rendition of comic gangster and robbery situations. Sidney Poitier (who directed) exercises his old charm and is well matched by Bill Cosby's quick-patterned good humour. A tour-de-force sermon by preacher Flip Wilson is excellent and there is a bonus with Harry Belafonte's clever take-off of Marlon Brando's Godfather. It is certainly an all black world (only two whites glimpsed), but with all the film's brothering and presentation of the suburban black world, delightfully suburban with home life and parish picnics, ugly criminal with slow-motion violence, it is a typical enough American comedy.

1. Why was this film enjoyable? The nature of its comic qualities? Its feeling of humanity? Its treatment of folksy attitudes and sentiments? Its enjoyment of its fantasy? Its use of sentiment and feeling in characters and from the audience? were these well-blended?

2. How important is it to see the film as a black film reflecting black ethos and pride? As a 1970's black film? The fact that only two white people were glimpsed? The role of the black man in modern American society?

3. How much did the film rely on its city background? Friends in this kind of background? The clubs and their wealth? The possibilities of crime? The portrayal of work, taxis, home-life? The role of the Church and the singers? The congregation and its personalities? Parish picnics etc.? Did the background give an authentic picture of black life of the 70's?

4. How attractive were Steve and Wardell as heroes for the film? How much warmth did they have; how was this conveyed? The personalities of Poitier and Cosby? Their differing styles? Audiences being able to identify with them? Their night on the town? Identifying with their loss and the pursuit of the lottery ticket? Their looking at the club - and the long portrayal of the style of the club? Their relationship with their wives? The quality of their adventures? Their playing tough? Their shrewdness? Their relentlessness and final success?

5. How important was the portrayal of the wives? The homely atmosphere of Steve and his wife? The importance of family life for blacks as this film showed it?

6. The portrayal of Madam Zenobia and her club? As a portrayal of black affluence in modern America? The gambling, the style?

7. The point of the satire with sharp-eyed Washington? The humour of the set pieces? The irony of their being conned?

8. The satire of the portrayal of Congressman Lincoln - and his white image and black image? His surface integrity of the revelation of Mrs Lincoln? The satire on political talk?

9. The character of Mrs. Lincoln - her enthusiasm at the club her relationship to her husband, her easiness in helping Steve and Wardell?

10. Why was the sequence in the bar with the little crook and his big guard so humorous? Bill Cosby's style of storytelling? Hitting on Poitier? The humour of the fight yet its violence? Was this successful comedy filming?

11. How humorous was the portrayal of Buford? Harry Belafonte’s impersonation of grandiose godfather? The criminal character in himself? His greed? His attitude towards the two heroes? The realities of the shoot-ups?

12. The personality of Silky Sam? The suave negro cook? The deals? A touch of reality to balance Buford? Blacks joking about their own criminals?

13. How important was Flip Wilson's featuring in the film? His early scene and the discussion of drink? The congregation and its responses? The Choir? How successful as comedy was his sermon about loose lips? The humour and the point? The vitality of Wilson? The irony with the situation?

14. How attractive was the picnic sequence? The criminals enjoying the baseball, sack races etc? The change of atmosphere with the arrival of the police? The nature of the chase with its emphasis on Poitier and the car rather than just speed? The spectacular falls into the river?

15. How important an example of black, humour was this film? Its goal, dialogue and situations, How important as portraying a black situation with humanity? The values that it stood for?

UP TO A POINT

Cuba, 1983, 70 minutes, Colour.
Oscar Alvarez, Mirta Ibarra.
Directed by Thomas Alea Guttierez.

Up To A Point is a film made by director Tomas Alea Guttierez, director of socially-minded films as Memories of Underdevelopment and The Last Supper. This is a slighter film, a film about making a film. A playwright is interested in machismo in Cuba of the '80s. With a film producer, he researches the theme in the Cuban docks, interviewing and then falling in love with an attractive dock supervisor. While the interview material highlights obvious changes in the equality of the sexes, the action of the hero in falling in love illustrates a basic macho mentality in men, even those who think they are liberal minded. The interplay of the film interviews, the preparation for the film-making and the love story make for interesting social observation. The device of showing film-makers making a film has been used effectively in Wajda's Man of Marble and the film about Northern Ireland, Acceptable Levels.

1. A Cuban film and its ethos, impact? For Cuban audiences? Universal audiences?

2. The atmosphere of Cuba in the '80s: city, port, theatre. apartments? The feel of location photography? Cuban lifestyles? Musical score, songs?

3. The focus on films and filming as a technique for portraying a story thematically? The device of interviews, research? Statements on issues? Stances dramatised? A critique of the macho theme? The quality of the writing, editing and the experience of preparation for the film? The audience as observing. and participating? The discovery that truth has many faces and facets? Final judgments of the audience about people, themes?

4. The machismo theme? Cuban preoccupations with machismo? The Spanish tradition? Equality of the sexes - and the remark that treatment of women was Stone Age? The effect of the revolution in Cuba and the lack of equality? The ordinary lifestyles - and the universal subjugation of women to men? Men and their own standards - and expectations of women and their behaviour? The interviews with the men and the stating of traditional themes? The comparisons with Oscar and Arturo. professional men and their relationships to their women? Treatment of them? Emotional machismo?

5. Oscar and Arturo's expectation of the ports - the workers, their roles, hard work and labour? Their comments on the docks and workers? The portrayal of the men at work, the meetings?

6. Lina emerging from the life of the docks, her speech for the workers and about conditions? A woman of passion? An attractive woman? Her story - family, pregnant at 17, her decision to have her child, bringing up her boy, the reaction of her own and the father's families, mixed race questions? Her leaving home, getting work? The supervisor in the docks and observing the changes throughout the 1970s? Her home. looking after her son? Her delight in training her son? Her friendship with Diego? The possibility of a change, night study, future? An enterprising woman in this Cuban world?

7. Lina as a character - feminine. charming, a woman of warmth? Her response to Oscar? Sharing with him, talking, the details of her life? Her showing her love for Claudio to him? At play, dancing? Her work experience and the discussions with Marion? Her entering into the affair? Her delight in Oscar's company? Her exasperation at his double values? The rejection of Diego, the response to his molesting her? Her being hurt by both men? Her decision to leave? Where did audience sympathies lie?

8. Oscar and his work, the success of his play, a successful artist? In Cuba? Humour and social issues? Relationship to Marion? Friendship with Arturo and his wife? The idea for the film, the research for the script? The video interviews? His attraction towards Lina. looking at her, following her? Learning from her, sharing her experiences? Did he exploit her in the research? Beginning the affair? His deceiving Marion? His honesty with Lina - and his fear of hurting Marion? His trying to get the script written, Marion's criticisms, Arturo's? Strategies for making the film? The portrait of husband and wife? His relationship with Marion, avoiding her sexual advances, headaches etc.? His spontaneity with Lina? His hurting the two women?

9. The comparison with Arturo, film producer, his age, Flora's stories about his affairs? His expectations of Oscar?

10. Diego, the relationship with Lina, the parallel with Oscar and his treatment of Lina? More obviously brutal but no less telling than Oscar?

11. Cuban exuberance? Machismo attitudes? The discussion of the relationships of men and women, their roles? Changes in attitude? Who changes whom and why?

12. The initial and final theme of the bird and the possessor not clipping the wings because of love for the bird and wanting it to be free?

UP THE SANDBOX

US, 1972, 98 minutes, Colour.
Barbra Streisand, David Selby.
Directed by Irving Kershner.

Barbra Streisand fans will probably enjoy this small comedy about a modern housewife, an educated woman who enjoys being s wife and mother, but finds the pressure of being a subordinate support to a professional husband disturbing - so much so that she floats off into wild, adventurous fantasies or dreams of her fears (providing an opportunity for comedy, farce or pathos). Barbra Streisand, so talented in herself, portrays fairly convincingly the suburban wife and mother in a more restrained performance. Her husband, Dave Selby, is reasonable, but her mother is a trial - both in reality and in dreams. A mixture of pleasant, average, domestic comedy, Walter Mitty fantasy and points made about women.

1. How enjoyable a film, a Barbra Streisand vehicle - her style, comic impact, entertainment value, message?

2. The significance of the title, the reference to housewives, children? Housewives' Lib.? A useful entertaining message film about women and their place in society, rights? The basic points being made - how convincingly?

3. The mad world of the ordinary housewife? The oppression of the housewife in her place? How well did the screenplay sympathise with Margaret, her ordinary way of life, her need for change and development? Her rights? The imaginative interpretation of Margaret and her needs - and of Margaret's imagination?

4. Barbra Streisand interpretation of Margaret - her relationship with Paul: the sequences at home, his academic work, parties, his secretary, the decisions about moving from Manhattan etc.? Margaret's pregnancy and her decision to tell Paul or not? Abortion? Margaret and her relationship with her mother - love and clash, with her father, the rest of the family? Margaret and her own possibilities - instead of being her husband's typist, proof-reader, support? Women identifying with Margaret as a character, and with the issues?

5. The portrait of Paul - in comparison with Margaret? His work and his abilities, seeing him at work with his secretary, the domestic sequences - love of the children, coming home, meals, lovemaking, clashes? At intellectual parties? His response to Margaret's pregnancy, looking after the children? Hope for the future?

6. The sketch of the children and the validity of the domestic sequences?

7. Margaret's imagination - her coping with reality, her breaking down? Her discussion with the women in the park, with her friends? Her Inability to cope the place of the fantasies and their significance? As the other side of her character, compensation, dreams?

8. The adventure in her imagination: the encounter with Castro and her work as a journalist, the seduction, the dancing? The choosing of Castro for adventure? Her being involved with the black militant group, the revolutionaries blowing up the Statue of Liberty, the overtones of the popular spy adventures of the time? Her presence in Africa and the anthropology studies and rites - the women warriors? The association of Africa with childbirth?

9. The feminine themes in her fantasies - the role of the woman reporter, the masculine-feminine relationship of Castro and herself, the ridiculous revelation that Castro was a woman? Her place with the black revolutionaries? Her presence in Africa and childbirth and death?

10. Her fantasies in which she was victim - the secretary coolly talking about the fulfilling relationship with her husband? Her mother and the wire cutters with the door? The long sequence of the party, the anniversary, the speeches, the playing of the piano, the discussion about moving, the home movies - and the fantasy argument with her mother, the violent clash, her mother's face in the cake?

11. The reality and fantasy blend towards the end? Margaret's wanting to leave the fashionable party, tell the truth to Paul? Her visit to the doctor? The fantasy of the abortion, Paul rescuing her? Her need for a day by herself? The changing of roles? The final going off by herself - reality or fantasy?

12. The film as domestic comedy, the Jewish comic tones? The message in the film - communicated by the style, imposing itself on the audience? The message by involving the audience in the process of Margaret's life and imagination? The humour of the message, the acid tones? An effective message film?

UP THE CREEK

US, 1984, 95 minutes, Colour.
Tim Mattheson, Jennifer Runyon, John Hillerman, Stephen Furst, James B.Sikking.
Directed by Robert Butler.

Up the Creek is a raucous piece of adolescent entertainment. It is reminiscent of so many of the films geared for adolescent and young adult box office success in the early '80s, Porky's, Porky's 11, The Revenge of the Nerds etc.

In fact, this film is reminiscent of The Revenge of the Nerds. The heroes are nerds - and are shown as the least successful students at the least successful university. (With John Hillerman doing a surprise small turn as the Dean of this university. They are expected to win a canoe race - and their competitors are the usual mad jingoistic team, the all-American WASP team, a girls' team etc. There are a. lot of juvenile shenanigans - with the almost-mandatory insertion of some lewd sex material.

Needless to say, the nerds (led by effective comedian Tim Matheson - letting his hair and wits down from such films as To Be Or Not To Be) win. All in all, a raucous piece of obvious comedy - but not untypical of so many of the films made in the early '80s.