UNWED FATHER

US, 1974, 74 minutes, Colour.
Joseph Bottoms, Kay Lenz, Joseph Campanella, Beverly Garland, Kim Hunter.
Directed by Jeremy Kagan.

Unwed Father is an interesting and unusual telemovie directed by Jeremy Paul Kagan, director of the telemovie Katherine starring Sissy Spacek as a revolutionary, and of the feature films Heroes, with Henry Winkler and Sally Field and The Big Fix with Richard Dreyfus . This film stars Joseph Bottoms, brother of Timothy, at the beginning of his career when he made such feature films as The Dove. Kay Lenz was also at the beginning of her career. The film shows two teenagers at school about to become parents and their differing attitudes, the girl wanting the baby to be adopted and the boy suing for custody. His efforts to provide for the child are very interesting and raise many questions about the role of parents. The film finally opts for his giving the baby away for adoption for its own betterment but not before a very serious struggle and much reflection. An interesting blend of entertainment and social reflection.

1. The role of telemovies - entertainment in the home, social comment, the raising of questions? How well did this film blend these aspects? How moving, how many questions did it raise?

2. The title and its irony, variation on the unwed mother theme? Audience expectations? The rights and wrongs of the father asking for custody? The emotional treatment of the theme, audience identification? The use of songs and the lyrics during the film?

3. How authentic was the film: Peter and his playing football at the beginning, at school, his age? Vicki and her dancing? Vicki's parents and their attitudes, social status, influence? Peter's nether as adoptive mother, widow, drinking and watching television? Friends, Peter's job? The background of school. law agencies, shops? The judge and his comment? Could audiences easily identify with the characters and situations?

4. The film's reflection on the themes of parenthood: pregnancies, unmarried parents, age and responsibility, experience? Discussions about abortion? Discussions about adoption? Opportunities for the child? Adoptive parents versus the love of natural parents? Family, marriage commitment, premarital sex?

5. How well did the film sketch the situation in its brief running time: Pete as character, his strengths, emotional reactions, his attitude towards his mother and adopted children, his disappointment with her. his asking much of her, his anger with her? His learning of the child? His meeting with Vicki's parents and discussions? His reaction to Vicki and her not wanting the child to be cared for by him? His discussions about studies and advancing his leaving class, his angry reaction with the bike and crashing into the car? His job, his boss and the jokes, his trying to persuade him to advance him a permanent position? What did he learn by his preparations for fatherhood? His shopping, pleading with his mother? His encounter with the law advisers? His hearing the comments of the judge and acting on them?

6. How right was Vicki in wanting the child adopted? Her preoccupations about herself, her lack of experience? Her worry, antagonism towards Peter? Fighting the case, her reaction to the birth, her reaction to the judge's comments?

7. Vicki's parents and their support of their daughter, helping her, the father and his trying to pull strings at the college, Vicki’s brother and his comments, especially about abortion etc., Vicki's father and his taking sides yet supporting Peter at the end?

8. Peter's mother and her story, drinking, television? People's opinion of her? His discussions about the adoption and her agreement? Her change of attitude, the smashing of the television? His final confrontation with her, her presence at the court?

9. The finale with Peter and looking at the room, walking the city, looking at his child in the hospital, making the decision to give the child up? Was it the correct decision?

10. Peter's decision in the light of what the judge said, the probationary period? The responsibilities, natural love, opportunities?

11. How well do films like this raise issues, present a point of view, stir the audiences into serious social reflection?

THE UNSEEN

US, 1980, 91 minutes, Colour.
Barbara Bach, Sidney Lassick, Lelia Goldoni.
Directed by Peter Foley.

The Unseen is by no means an original horror film but it is done competently. The focus is, once again, on an early '80s television personality and her friends being terrorised. The background of the terrorising is of some interest: small town America, an eccentric brother and sister who have produced a monstrous child that they lock in the cellar. Her is the unseen. There is a lot of chase and suspense action towards the end after the portrayals of madness on the part of Lelia Goldoni and Sidney Lassick. The heroine, tormented and intrepid, is an attractive Barbara Bach.

1. Enjoyment of horror films? The Halloween trend? Multiple murders and terror? Nightmares and identification? What if ...?

2. Colour photography, Californian locations, American Gothic? The town and its celebration, European origins? The celebration and detail? Television coverage? Contrast with the Gothic house, the cellar? Reality and unreality?

3. The intrepid heroine, her television career, her boyfriend and his trying to prove himself, her girlfriends, the crowded towns, accommodation, seeing her at work, the return to the house, the discoveries, the imprisonment and the terror? The final confrontation and heroics? An experience of horror?

4. The kindly old man - seemingly so? Help, smooth talking, curator of the museum? His house, his sister and his hurting her? Seeing him and his madness, greediness, persecution of his sister? Cruelty to Junior? The death of the girls and his getting rid of their bodies? The discussions with his sister and his plan for trapping the heroine? Luring her into the cellar, trapping her there? His death? American madness?

5. The contrast with his sister and her sadness, housework and cooking, her fears, her lamentations, love for her son - her response to her brother's cruelty? Her decisiveness in killing him?

6. Junior as a result of the incest, his retarded state, the cruelty of his being in the cellar, his wanting to play with the heroine, the horror of his chasing her? The violence?

7. The sketch of the girlfriends, tiredness, the accommodation, the terror and their deaths? Their being trapped and terrorised - and Junior being an innocent predator?

8. The sketch of the hero, sports background, injuries, exercise - the credits sequence? His chasing the heroine, coming to her help, inability to help her because of his leg?

9. Scares and shocks and suspense effects?

10. A satisfying short horror film?

AN UNMARRIED WOMAN

US, 1977, 124 minutes, Colour.
Jill Clayburgh, Alan Bates, Michael Murphy, Cliff Gorman, Pat Quinn.
Directed by Paul Mazursky.

An Unmarried Woman was written and directed by a man, the offbeat Paul Mazursky. This arresting film needs to be reviewed by a middle-aged married woman to attest to its authenticity or not as a piece of feminine sensibility. It certainly seems so. In a frank, somewhat explicit manner, it shows a marriage break up and Erica, the heroine in her attempts to cope with husband, daughter but mainly herself. Jill Clayburgh's performance is excellent and also illuminating, making us share in the shattering experience. Michael Murphy embodies the callow husband very well. However it is in the wealth of detail of brief sequences that ring very true, and in the woman's experience that the film has value.

1. The focus and tone of the title? The emphasis on the woman and her point of view? The implications of unmarried? Social aspects, moral aspects, feminist aspects?

2. The film received many awards and nominations. Why? Its qualities of production, them, acting, insight? Jill Clayburgh and her performance? A film reflecting the 70s?

3. The film's contemporary appeal and interest? An American film, its universal insights and application?

4. How much insight into women? The portrait of Erica and her behaviour and her personality? The portrait of the range of her friends? Pattie, Tania? A portrait of persons and their feelings, opportunities? Marriage and love, loneliness? The background of the oppression of women and their emergence in the later 20th. century?

5. The presentation of men - of equal value to women? The comparisons made and their odious tone? The impression made by Martin? The contrast with Saul? Charlie and his opportunism? Men like Hal, Bob, Phil and his relationship with Pattie? The downplaying of the male?

6. The fact that the screenplay was written by a man, the director being the author? Masculine presentation of feminist themes?

7. The importance of the use of New York city, the approach during the credits, the river, streets, apartments? Social background of New York? The importance of the score and the use of the instruments, the variations for mood of the central them?

8. The structure of the film: the relationship between Erica and Martin? The break and Erica's life by herself? Erica and Saul and the future? The repetition of patterns and themes in each phase of the structure?

9. The build-up of the film and introduction to the characters and themes: the exhilaration of the jogging, the incident with the sneaker indicating Martin's moodiness and Erica's response to him? Their love, quarrelling, making up? The place of Pattie in their lives? Erica's rising in the morning and her ballet dancing and the intimations of what she might have been? Her yearnings? The insight into sixteen years of marriage - happiness, each believing in the other? Pattie as a symbol of this? The fact that this idyllic life would be shattered and was only a surface life? Erica's presumption that all was well?

10. The bond between Erica and Martin as illustrated in the jogging, the arguing, the fact that Martin lied so much, the sexual relationship and the ease with which they spoke about sexuality, the intimacy of their love and lovemaking? Martin and his work, the contrast with Erica's? Martin on edge and the potential for breakdown and worry about age and career? The importance of fidelity? Breakfast scenes and the discussion about Pattie and school? The build-up to the lunch sequence and Erica's chatter and Martin's miserable approach? The discussion in the street and his telling her the truth? His baby kind of attitude and weeping, her horror and harshness? Her lonely walk and Martin's walking away? Her being physically sick? The transition then to hatred, the breaking of a relationship? Erica jogging by herself, the encounters with Martin and her hostility, the story of Marsha and Bloomingdales? Money, the antagonism in the office? Erica's making him see his daughter? Her refusal to take him back? The importance of the bonds of the past, the change and the irrevocability of the break?

11. The personality of Erica and Jill Clayburgh's vitality and performance? The indications in her dance sequence, her capacity for love and fidelity, the attitudes towards Charlie? The experience of being shattered and having to cope?

12. The relationship with her girlfriends and their meeetings? The importance of the long talks? The significance of Jeanette and her discussion about her relationship with the younger man, his massage, her worry about her son and the boyfriend's parents? Blaine and her drinking and cynicism? Her being hurt? Sue and her practical common sense? Her discussion about sexuality and relationships? Mutual support and help? The scene in the restaurant, the scene in the bar and the discussion about the divorce? Sue thinking the marriage was not yet over? The scene at Erica's place and the discussion about film stars and feminine heroes, Pattie's contribution? The looking over the new apartment and Elaine's advice about Saul? Erica's bond with these women? The frank talk about sexuality, social and moral stances? Insight into women and their relationships?

13. Erica and her love for Pattie? The way that she was bringing her up frankly in the home? Discussions about Phil and her virginity? Her love for her father and her turning this to hatred? The two supporting each other? The importance of Erica's outburst against Phil and then inviting him back? Pattie's reaction to Saul? The tender sequences between the two - Erica advising Pattie to get used to her father's absence. the singing of the song at the piano? The bond between mother and daughter?

14. The immediate impact of the separation on Erica and its souring her attitude? Her brooding, weeping? The outing with Elaine and Hal and its comic tones. her solicitous friends and their trying to help? The incident in the taxi and her outburst at the pass? Her antagonism towards the doctor and his pass? Taking this out on Phil and Pattie and her apology? Her visit to Martin and the hostility? The decision to go to the therapist - the patient listening and guidance of the therapist? The long discussion about her first period, her crying and seeking of advice? Tania's advice about dating and experimentation?

15. The wisdom of going by herself to the bar, the friends she met there and the discussion about the gallery, Charlie and her decision to go to his apartment, her nervousness. the break-off? The significance of the later fight at the party?

16. The encounter with Saul - the flirting at the gallery, the immediate sexual encounter? The quality of their discussions, shared stories, insights? Saul's story about his upbringing, family, career? His love for Erica? Her being wary, loving him but discovering her independence and her own personality? The party, the fight with Charlie? Pattie and testing her attitude towards Saul? The walk with the ice cream and the discussion about the holiday in Vermont? Erica's seeking advice, Elaine's counselling of her? Her decision not to go and the reasons for it? The giving of the painting and her carrying it through the city -an appropriate conclusion to the film, open-ended?

17. How well did the film portray the crisis of a woman and the changes in her life? Indications for her future?

UNION CITY

US, 1980, 81 minutes, Colour.
Dennis Lipscomb, Deborah Harry, Everett Mc Gill, Pat Benatar, Sam McMurray?.
Directed by Michael Reichert.

Union City is an offbeat first feature by writer-director Mark Reichert. It is a brief stylised film from a Cornel Woolrich story called 'The Corpse Next Door'. The story is set in the '50s in New Jersey and colour photography and decor re-create a garish deadened suburbia. The acting is very good indeed, especially by Dennis Lipscomb has Harlan. There is offbeat casting with Blondie's Deborah Harry as Lilian. The film is perhaps more interesting to reflect than to sit through, since it deals with suburban paranoia. As an evocation of this paranoia, boredom, alienation and the deadness of superficial American virtue, the film is well worth seeing.

1. The success of the film as a first feature: its development of plot, opening out of a short story, creation of characters, visual style?

2. The re-creation of the period - garish 1953, New Jersey? New Jersey itself, the streets, the block of apartments, the apartments and their interiors? Decor and costumes? The attention to detail? The visual impact of rooms, shapes, garish colours? The score?

3. The title and the focus on the city and suburbia? The irony of the short story's original title?

4. The introduction to Harlan: the ordinary American citizen, his work, coming home, the encounter with the paper boy. his interests, family life, love for Lilian, relating to her? His age? Meals, going out to drink at the hotel, return home? His focus on the stealing of the milk bottles? The growing obsession? The preparation of devices to trap the thief? The intense and over-serious discussion with Lilian. with his secretary? His being in bed and the elaborate device to trap the thief? His catching him? The thief's taunt about his impotence? His being deceived by Lillian? The violent eruption? The ordinary American husband killing? The elaborate hiding of the corpse and his worry? Cleaning up the blood etc.? The shock in what he had done? The stylised realism of the killing? its symbolic significance?

5. Harlan's growing paranoia? Fear, guilt, self-justification, discussions about becoming a Catholic to confess? The poor relationship with Lilian? Clashes? Going to work and neglecting his work, drinking? The Contessa and his antipathy towards her,' her concern? Larry and his not being suspicious of him but disliking him? The elaborate plans to move but his inability to move, legal and technical complications? Antagonism towards the new couple? The build-up of their examination of the apartment? His fears, cover-up? The irony of the bed being empty? The ugliness of his futile death?

6. The attention to detail of his life, the portrait of an obsessive character and his suspicions? His inability to really communicate? His fear and his opting out of responsibility?

7. The portrait of Lilian - Deborah Harry and her interpretation of the suburban wife? Her dubious background? Domestic sensuality? Her affair with Larry? Her not understanding Harlan? Domestic detail? The discussion about her dyeing her hair? Growing alienation from Harlan? (Her future?)

8. Larry and his ownership of the apartments, managing, the sweaty and singleted man, the affair with the tenant's wife? His reaction to Harlan and the move? His treatment of the new couple?

9. The style of the Contessa and her behaviour, attitude towards Harlan, compassion, reaction to his death? Harlan's secretary and her interest, listening to his devices etc.?

10. The new couple and their examination of the apartment? The atmosphere of suspense - the audience wondering about the discovery of the body?

11. The initial introduction to the thief, his vagrancy, war background, people's disregard of him? His stealing the milk? Taunting Harlan about his marriage? Provoking the violence? The final irony of his watching Harlan lying dead?

12. An insightful short story? The stylised plot and treatment? Insight and observation on the American way of life?

THE UNIDENTIFIED FLYING ODDBALL

US, 1979, 93 minutes, Colour.
Dennis Dugan, Jim Dale, Ron Moody, Kenneth More, John Le Mesurier, Rodney Bewes, Robert Beatty.
Directed by Russ Mayberry.

The Unidentified Flying Oddball, U.F.O., is a Disney contribution to the space exploration trend of the '70s. A previous example was The Cat from Outer Space. However, writer Don Tait has borrowed from Mark Twain's story A Connecticut Yankee in King Arthur's Court and has brought it into the space age. The result is a pleasant combination of space gadgetry with Camelot. The hero arrives in Camelot from his space craft to the natural amazement of all and the antipathy of Sir Mordred, a snarling Jim Dale. Kenneth More and John Le Mesurier enjoy themselves as King Arthur and Sir Gawain. The exploits in Camelot include magnetic swords, a flying chair, laser guns and Merlin's jealousy about all these. The result is a very pleasing fantasy for younger audiences which adults accompanying them should enjoy. Humour consists very much in situations, parodies of chivalry and in the presentation of the future and especially American jargon to the English of King Arthur's day. An enjoyable Disney comedy adventure.

1. The appeal of Disney films? Disney in the space exploration age, the space adventure and the humour of it? The use of Mark Twain's story? Updated? For what audience was the film made? Successful for children, adults?

2. The American appeal with the space development,, the British appeal with chivalry and King Arthur? The combination of British and American interests? American star, British locations? Colour photography, the score and its overtones of romantic adventure?

3. The opening American sequences and the presentation of the space craft - and its turning out to be a model? The satire on politicians, scientists, money? Tom and his making of the humanoid and its being like himself? The preparation for the space exploration, the accident of his going off with the humanoid?

4. The presentation of Camelot: introducing Alisande and her story of the goose. her reaction to the monster. her friendship with Tonuny, her friendship also with Hermes? The humorous reactions of the people of Camelot to Tommy - Sir Mordred and his hostility, King Arthur and his Court?

5. Tommy as American hero, the average American boy, naivety and ingenuity? His story about history and putting King Arthur and court to sleep? Prison, his being burnt but saved by the asbestos, his showing how the laser gun worked,, his using the space craft and its magnetism to win the battle, his flying chair and his strategies? The communication with Hermes for winning the battle for King Arthur? His love for Alisande, her love for Hermes especially before the tournament? Her final decision and love for him? His return to Camelot for her?

6. Audience expectations of King Arthur and the Knights of the Round Table? The humorous but conventional portrayal by the British cast? Arthur and his rule, the attack of Mordred and Merlin, King Arthur and his victory? Sir Gawain and his absentmindedness and remarks? The various knights, the Round Table? The comic presentation of Camelot?

7. Mordred and his being the villain in black, his initial attack on Tommy, the accusations of the court, his cruelty to Alisande's father, the burning of Tommy, the tournament and the joust, the revelation of the truth. his attack on Arthur and his inability to win? Merlin and his magical demonstration at court, his evil intent. his luring Alisande in order to get the laser gun? His being thwarted? The humour of the burning and Tommy's survival? Hermes coming to pieces in the joust and being put back together, the humorous attack?

8. The battle sequences and modern technology winning the day?

9. The happy ending with King Arthur and ignition.. the goose surviving the trip back and Tommy and Hermes returning?

10. The atmosphere of Camelot and its old-fashioned ways, Alisande's belief that her father was a goose, Merlin and magic? The contrast with 20th. century technology?

11. A pleasant fantasy. the humour of the future being revealed to characters of the past? The blend of 20th century science fiction with old-fashioned mediaeval adventure?

UNFINISHED PIECE FOR A MECHANICAL PIANO

USSR, 1976, 97 minutes, Colour.
Aleksander Kalyagin, Elena Solovei.
Directed by Nikita Mikhalkov.

Unfinished Piece For A Mechanical Piano is one of several Russian film versions of Chekhov's stories. Another made in the late '70s with great international success was The Shooting Party. The film relies on a re-creation of atmosphere, Chekhov's picture of society with its comic touches and its grim implications. This film is based on an early play called Platonov. The director made the internationally successful film about the early Russian film industry and the revolution, A Slave Of Love.

1. Russian cinema and its qualities? Entertainment value? Presenting a picture of the Russian past - an interpretation of Chekhov and his work in the '70s? Russian audiences and response, international audiences?

2. The work of Chekhov and its international popularity? His interpretation of Russian society at the turn of the century? The universal values explored in his stories? The presentation of setting, illustration of character? Characters in their environment?

3. The contribution of colour photography, locations, decor and costumes? The score?

4. The basic plot and audience identification - the picture of provincial society, the cross-section of people involved? The large country house, early summer and its beauty? The interaction of the widow of the general, the doctor, the stepson of the widow on honeymoon, the capitalist and what he represented? The kind old landowner? Establishing these characters within their context, their human qualities, limitations? The preparation for interaction?

5. The appearance of Platonov -:the complexity of his character, the disillusionment about his lost ideals, his attitude towards compromise, his loveless marriage. cynicism. his shallow relationships? The change of mod?

6. The arrival of Sofia - the memories of love, her marriage, unhappiness? The interaction with Platonov?

7. The focus of attention of the audience on Platonov and Sofia? Regrets, yearnings for happiness, decisions? Indolence and action?

8. The reaction of the various characters to Platonov - his effect on their lives, changes, understanding?

9.The basic themes of human nature explored - perennial questions of identity, relationships. betrayal. love? The need for change? Hope? The significance of the title and its symbolism?

THE UNFINISHED DANCE

US, 1947, 101 minutes, Colour.
Margaret O'Brien, Cyd Charisse, Danny Thomas, Karin Booth.
Directed by Henry Koster.

The Unfinished Dance was a star vehicle for child star Margaret O'Brien. She had had a significant career during the '40s with such films as Journey for Margaret, Our Vines Have Tender Grapes, Meet Me In St. Louis. As she grew older, she failed to make the transition from child star to adult star.

This ballet story gives her a chance for emotion - and also for some ballet dancing. The bulk of the dancing falls to Cyd Charisse who was emerging as an M.G.M. musical star at this time. She was to achieve great fame in the next decade for her contemporary dance style as well as for classical styles. Here she concentrates on ballet dancing. The film also introduces comedian Danny Thomas in a sympathetic and sentimentally comic role. Direction is by Henry Koster who directed some of Deanna Durbin's films, moved to light comedy with such films as The Bishop's Wife and directed a number of the Cinemascope spectacles of the '50s including the first Cinemascope film The Robe.

1. The appeal of this kind of film? Adult audiences? Children? The feminine appeal?

2. M.G.M. production values: colour photography, staging of ballet sequences? Glossy production values? Musical score - with classical excerpts?

3. The adaptation of a French story to the United States? The French touches - in characters and names? Adaptation for a star vehicle for Margaret O'Brien? The highlighting of Cyd Charisse's dancing?

4. The appeal of the ballet? The introductory comments about singing and dancing and the beauty of dance? The visual beauty of the ballet sequences? The style for photographing the dancing, the movements, the tableaux? The pleasure of seeing the ballet excerpts?

5. The prologue about love and hatred? Love and too much love and its destructive force? Fear, lies? Tragedy and change for the better? New opportunities?

6. Margaret O'Brien and her talent - acting, dancing? Her sentimental appeal? Her watching Mademoiselle Bouchet? Her admiration for her, following her about? The credibility of what she was to do to Darina? Her friendship with Josie, the jealousy of Phyllis? Her hatred of Darina? Her scheme and the misadventure of Darina's accident? Her fear? Worries, dreams? Mr. Paneros and his help? Her absent aunt? The head of the dancing school and her wanting Meg to leave? Her more favourable regard after Mr. Paneros' intervention? The dancing classes? Her home life? Her friendship with Josie and giving her the hat? Her fear of the devil in the ballet? Mr. Paneros and his invitation for her to share her secret? Her going to tell Darina the truth and her not being able to, her dancing for her, her admiration for Darina? Phyllis' threats, Josie and the temptation of the coat, her final betrayal after not winning the Butterfly role? Darina's helping Meg to dance, the audition for the Butterfly role, her winning? Her fears of the revelation of the truth and her terror after the performance? Mr. Paneros persuading her to go for a holiday? The reconciliation with Darina and forgiveness? The possibility of a future? The blend of the monstrous and the charming?

7. Arianne and her skill, superficial personality, her ambitions, self-regard, love of clothes and wealth, her fiance? Her gaining the lead roles and her success? Her lack of interest in Darina? Her response to Meg - superficial? Her decision to marry? Darina telling her the truth - and her finding a new force in her dancing? Cyd Charisse's skill?

8. Darina and her reputation, ability? The crisis situation and Meg's hatred? Swan Lake and her becoming the victim of Meg's hatred? Her injury, coping, help from Olga, the possibility of dancing again and her failing, wanting to teach, the discovery of the truth and its pain, her forgiving Meg and wanting to help her?

9. Mr. Paneros - Danny Thomas and his sentiment, comedy? The watch and the head of the school - and later using it for Darina? His awkwardness, sincerity, help? His unmasking the ballet dancer devil? Meals, words of wisdom for Meg? His going to see Darina and telling the truth? A kindly man? (Would he be happy with Meg's aunt?!)

10. The schoolgirls, their dancing, jealousies, bickering? The Butterfly auditions? Friendships and betrayals?

11. The atmosphere of the dancing school: the head of the school, Olga and her support of Darina, the managers and the publicity people?

12. The focus on the world of the child and the child's perspective on life, things larger than life, love, hatred, fear? Learning to cope? The dire repercussions?

13. The world of the arts, ballet - and the possibilities of jealousy and destruction?

14. How persuasive were the melodramatic sequences? The preparation for the accident? The two men at work - and their talking about drinking?

15. A family film? Comedy? Dance? Sweetness and tragedy?

UNFAITHFULLY YOURS

US, 1983, 92 minutes, Colour.
Dudley Moore, Nastassja Kinski, Armand Assante, Albert Brooks, Cassie Yates, Richard Libertini.
Directed by Howard Zieff.

Unfaithfully Yours is a comedy-satire adaptation by Barry Levinson and Valerie Curtin (Diner, Best Friends) of Preston Sturges' celebrated black comedy of 1948. The original was vehicle for Rex Harrison and Linda Darnell. Dudley Moore brings his own comic style to the role of the conductor and Nastassia Kinski her Bergmanesque charm and glamour. There is an excellent supporting cast headed by Albert Brooks and Armand Assante.

The screenplay is updated and the hypotheses for-murder reduced to one (from three in the original). Like Gambit with Michael Caine and Shirley MacLaine?, the film shows the perfect crime and then follows it with the imperfect version. There is quite an amount of humour - more gentle than raucous. There is a good performance by Richard B. Shull as a private detective and an excellent duelling violins sequence. Direction is by Howard Zieff (Slither, House Calls, The Main Event, Private Benjamin).

1. An entertaining '80s comedy? The nostalgia for old style Hollywood comedies? The work of Preston Sturges in the '30s and '40s? Screwball comedy traditions, more gentle black humour?

2. New York, the music and film world, the contemporary tone? Concerts, restaurants - and the editing techniques for the duelling violins? Cinema techniques for the plan of the perfect crime and the parallel ironies of its failure of execution?

3. The musical score: Tchaikovsky and the classics, the duelling violins? Dudley Moore's skill as composer and conductor?

4. The plot and its plausibility, comic exaggeration? Themes of jealousy, middle age, circumstantial evidence? The comedy and the move into farce? working well as a moralising comedy?

5. The introduction to Claude, his explanation of the situation, his success, marriage to Daniella., the freeze-frame and his decision to murder her? The audience invited into the plot?

6. Dudley Moore's comedy style. the little man with talent as Claude? His success as a conductor, relationship with women, skill with music, his recent marriage, the international tours? His affluent lifestyle? His love for Daniella? Settling down in life? His grudging admiration for Max and his working with him for the concerts? His friendship with Norman and reliance on him? Norman's wife? The discovery of the work of the private detective? His Italian valet and the language misunderstandings? The tearing up of the report. his recovering it, reading it in the kitchen? His imagination running riot? His following Daniella. misreading her words. misinterpreting her actions? Continually watching her? Following her into the theatre and the ironing screening of Antonioni's L'Avventura, his arrest and release? Going to the private detective, watching the video, identifying the socks, the rehearsal and his response, his reaction to Max? His going to Max's apartment? Racing home to catch Daniella, the irony of his falling asleep and her nap? Growing suspicions, hurting her? The restaurant and the violin duel with Max? The concert and his planning during the Tchaikovsky recital? The perfect murder and his suave manner and control? The ironies of the reality of the execution?

7. The plan and its plausibility? The smooth version - timing, the tape recorders, the restaurant and the jokes, the laughter and the screams, the masks, the apartment, the crushing of the tablets, the deaths and the video in the hotel? The reality of the missing tapes, the timing, people not wanting to do what Claude expected, having to buy the masks, the return home, trying to crush the tablets, the Coca Cola, the rain?

8. Daniella as attractive? The audience knowing her innocence? The appointment, the misunderstanding, the nap, going to the theatre, her being hurt, the telephone call? Seeing her at work dubbing her film? Her forgiveness?

9. Norman and his wife, Norman and his work as an agent, curious, the irony that his wife was deceiving him? Her conducting of the affair with Max and concealing it, complicity with Daniella?

10. The Italian valet and the comedy with language, Claude's asking him what he would do to advise his friend who was being cuckolded?

11. The detective, his report, his wisdom, Claude's visit, showing him the video? Discovering the mistake, wanting to remedy it, waiting at the theatre?

12. Max and his suave manner, violin-playing, rehearsals, the restaurant outing, the duelling violins, the affair with Norman's wife, the final performance, Max seen as victim of the perfect crime, in reality?

13. The effect of comedy portraying foibles, fantasies, deadly dreams? Wisdom in light and farcical comedy?

UNDER TWO FLAGS

US, 1936, 111 minutes, Black and white.
Ronald Colman, Claudette Colbert, Rosalind Russell, Victor Mc Laglen, J. Edward Bromberg, Nigel Bruce, Gregory Ratoff, C. Henry Gordon, John Carradine, Onslow Stevens.
Directed by Frank Lloyd.

Under Two Flags is the archetypal Foreign Legion story. It was written by novelist Ouida as an adventure in North Africa as well as romance. It was directed by Frank Lloyd, popular director of the '30s who won an Oscar for Cavalcade. It stars Ronald Colman as a debonair Foreign Legionnaire with Victor Mc Laglen as his support. Claudette Colbert is the dancing girl of the town contrasting with Rosalind Russell as a prim aristocrat visiting North Africa. There are the usual confrontations in the town, sadistic training of the legionnaires as well as clashes with Arab leaders. Undemanding entertainment - that was typical of the time (Beau Geste) and influenced a number of desert operas during succeeding decades.

1. The entertainment value of the film? Hollywood hokum about the French Foreign Legion? The popularity in earlier decades of Ouida's novel?

2. The film styles of the early 130s: black and white photography, desert locations, the Hollywood idea of North Africa and the forts? Spectacular battle sequences? Musical score? The stars?

3. The familiarity of the plot (becoming almost a cliche)? Audience enjoyment of the conventions? North Africa, the desert, the status of the Foreign Legion, its isolation, the outposts, the wars with the Arabs, power of European governments in North Africa, dangers, the Arab tribes. the battles? The dominance of the French? The refugees from all countries of Europe who wanted to be anonymous? The later influence of this kind of plot for many Hollywood films?

4. North Africa: the troops, the style of the Foreign Legion, drill and training, danger, missions, battles, death?

5. The town: cafe, the raucous style, Cigarette and her style, Doyle and his presence there, Victor? Challenges, fights? Doyle and little finger? Rivalling of Victor - racing, jealousy of Venetia? Warning? Death?

6. Ronald Colman's suave style as Victor? The encounter with Cigarette, the background in England, fight, on the mission? Venetia and the carving of the horse? The cloud over his past? Going with Doyle on the mission? Heroics?

7. Doyle as tough, gruff? Love for Cigarette? Vengeance?

8. Venetia as the lady, the carving, the contrast with Cigarette. the English aristocrat, the English visitors? The carving of the horse and the story of Victor?

9. The men in the Legion - lifestyle, raucous, heroics? The training, the sadism of going without water, the marches through the desert?

10. A blend of action and romance?

UNDER THE RAINBOW

US, 1981, 93 minutes, Colour.
Chevy Chase, Carrie Fisher, Billy Barty, Eve Arden.
Directed by Steve Rash.

Under the Rainbow is an odd and eccentric comedy thriller. It probably seemed excellent in terms of ideas on paper - but the execution is certainly something different. In many ways it is black and tasteless. It may be funny for American audiences - but critics were hostile, considering it quite unfunny, one commentator even asking whether it was the revenge of the Wicked witch from The Wizard of Oz.

The setting is the mid-west in 1939 and dwarves going to Hollywood for the filming of The Wizard of Oz. (The screenplay parallels the structure of The Wizard of Oz with its realism and dream sequences.) Into the mixture go undercover agents - Chevy Chase quite effective - and Hollywood studios - Carrie Fisher attractive as the manager of the dwarves. There are spies from Hitler's Germany, Japanese tourists and spies, odd collection of characters in a seedy hotel. There is a mixture of raucous behaviour and madcap comedy with mistaken identities. The film was written by comedian Pat McCormick? who plays the part of the dim-witted assistant in the Rainbow Hotel. Not entertaining - but interesting as a cinema oddity.

1. An effective comedy or not? For American audiences? Overseas?

2. Production values: the mid-west and the '30s, Los Angeles and Hollywood? The studios, the hotels? The background of World War 2 and espionage? The musical score?

3. The title and its irony - reference to The Wizard of Oz? The dwarves arriving for their performance? The Rainbow Hotel and the espionage within?

4. The use of the structure twist of The Wizard of Oz? Its effect? The dream and the spoof of the American dream?

5. The midgets and their presentation: ordinary, ugly and raucous -audiences laughing with them or at them? or both?

6. The studios, the film-making, expenses, the skit on the filming of Gone With the Wind?

7. The hotel owner and his girlfriend going off, the nephew and his wanting to manage the hotel, the mismanagement and mess? The mysterious deaths of the tourists?

8. The presentation of Japanese tourists, spoof on them, the multitude of deaths? Japan and World War 2?

9. Hitler and his plans, the fascist dwarf going to America, his self-righteousness, mistaking the contacts, murders? His involvement in the mayhem?

10. The black comedy with spies, deaths, the ruin of the hotel?

11. The prince and the duchess - being stalked by the descendant of Sarajevo? The comedy? The fears, reality? The spoofing of European royalty - Eve Arden's comedy style?

12. Chevy Chase as the American undercover agent - smoothness and comedy? Carrie Fisher as the charming American studio liaison with the dwarves? An attractive couple? Getting involved in the problems?

13. The focus on the hero, his life in the mid-west, going to Hollywood, the hotel, romance, involved with the spies etc.? His waking up to find it was all a dream - and the agents arriving for the filming?

14. Black and raucous comedy - American style?

15. The overall impact of the film as a piece of Americana? Why was this film made in the early '80s?