UNION STATION

US, 1950, 80 minutes, Black and white.
William Holden, Nancy Olsen, Lyle Bettger, Barry Fitzgerald, Jan Sterling.
Directed by Rudolph Mate.

Union Station is a brief crime thriller, the type of film popular around 1950, following the lead of such police thrillers as The Naked City.

William Holden was at the peak of his career and was to win an Oscar for Stalag 17 in 1953. He co-starred with Nancy Olsen in Sunset Boulevard and Force of Arms.

The film shows police procedure, is a film of the realistic style – with a merciless criminal played by Lyle Bettger.

The film was directed by Rudolph Matte, cinematographer for Carl Theodor Dreyer in Denmark in the 1920s who came to Hollywood and made a number of popular thrillers and action films. The kind of film that is now an episode of a television series.

1. The indications of the title for theme and genre? A piece of Americana as a thriller? A film about American police and their methods. the role of citizens for law and order?

2. What conventions of the thriller did the film use: kidnap, suspense, chase, shoot-out? How well?

3. The appropriateness of black and white photography, locations, realism?
4. The impact of the police work: dedication, the danger of being obsessed, of brutality? The right blend of toughness, skill, ingenuity? The risks and dangers,, concern for people? Did the film give an appropriate
presentation of police work?

5. Calhoun as hero, dedicated to his job, embodying his emotions? Was he a character for the film or just a type?

6, Joyce as heroine, a typist, the ordinary woman, the ordinary citizen contacting the police, her hostility towards the police. her prejudices, change of heart? The ordinary citizen prepared to run the risk of danger?

7, The Inspector and his job? His dedication, commonsense, memories of his family and wife? The Irish tone and the tough attitude?

8. How interesting was the kidnapping, the realism, the plan and its execution, the cruelty, the effect of the kidnapping of a blind girl, her terror? The inherent violence and risks?

9. Beacom as a villain, his motivation and greed, his tough ruthlessness, his subduing Gun and Vince, (their participation, risks, greed, deaths?) his relationship with Marge and her supporting of him, his brutality to
her and her telling the truth? The inevitability of his death?

10. How interesting a picture of police detection and follow-up, of decisions about life and tactics? What value are film like this? An illustrating the American genre of police drama?

UNTAMED

US, 1955, 111 minutes, Colour.
Tyrone Power, Susan Hayward, Richard Egan, John Justin, Rita Moreno, Agnes Moorhead, Hope Emerson.
Directed by Henry King.

Untamed was one of the earliest Cinemascope films. It is a star vehicle for Tyrone Power, very popular at this time (King of the Khyber Rifles) and, especially, for Susan Hayward. Somebody remarked that this is a kind of Scarlet O’ Hara across the South African veldt. Susan Hayward is a very strong screen presence and gets a chance to strut her stuff in this film. There is support from Richard Egan with whom she is in love and from Agnes Moorhead.

The film is interesting in terms of the history of South Africa as presented on-screen – especially in the perspective of Hollywood of the 1950s. It shows the 19th century with the Irish leaving Ireland because of the Potato Famine and trying to have some kind of settlement in the New World. As might be expected, there is a battle with the Zulus which is quite spectacular for Cinemascope at the time.

The director is Henry King, a veteran of many films at 20th Century Fox which were quite varied and included The Sun Also Rises, Carousel, Love is a Many Splendored Thing, O. Henry’s Full House, The Snows of Kilimanjaro and David and Bathsheba.

1. The tone of the title, the quality of the adventure story? Did it have the right adventure ingredients? Was it matinee material or was it good adult adventure material? Did it have too much cliche or did it have some originality? An American version of South Africa?

2. How well portrayed were the adventure ingredients? The use of Cinemascope, colour, locations, the popular elements for popular audience consumption?

3. How well did the film convey the South African background? The nature of South Africa and its history, the nature of its pioneering, the dangers, the courage needed, the quality of the exploration? The picturesque aspects of South Africa, animals, scenery? The people who made the treks? The background of modern South Africa?

4. How important were the social and race questions? The importance for South African history? history of the Zulus? The battles of the settlers with the Zulus? The pros and cons? Or did the film tend to bypass these?

5. How did the film show the settling down of the settlers so that they became sedate South African citizens? Cape Town society? The explorers out on the land? Gold and diamonds? The pros and cons of the settlement background?

6. How attractive were the opening Irish sequences? a sample giving background to African settlers?

7. How real was the romance between Paul and Kate? Was it just contrived for the film? The fact that Kate married Sean? Paul's disappearance? The nature of the trek, Sean's death, Paul's sustaining Kate? The importance of the child? Paul's decision to go with the commandos, its affect on Kate? Paul's using Katy's influence for later parliamentary proceedings? The happy ending, was it appropriate? The amount of time lost? The values portrayed by each of these characters? The nature of their clashes, the emotional reality of their relationship?

8. Comment on the film's use of the various phases in Katy's life? Ireland, her response to the trek, her response to settling the land, her response to Kurt, to her wealth, to her loss of wealth, to diamond exploration, the phases of South Africa's history?

9. How ugly a villain was Kurt? his role on the trek? His relationship with Katy, his helping her, turning against her, the importance of the accident? The climax when he was a ruffian leading a mob? The clash with Paul?

10. How enjoyable was this adventure? How human was it? How much a popular exploration of the values of courage, daring, love, pioneering?

THE UNSINKABLE MOLLY BROWN

US, 1964, 128 minutes, Colour.
Debbie Reynolds, Harve Presnell, Thelma Ritter, Jack Kruschen, Ed Begley, Hermione Baddeley, Martita Hunt.
Directed by Charles Walters.

During the first half of the 1960s there were quite a number of lavish and long musicals. However, the 1940s and 1950s and the era of the popular Hollywood musical had gone. However, during the 1960s many musicals won the Oscar for best film, including West Side Story, My Fair Lady, The Sound of Music and Oliver. The Unsinkable Molly Brown fits into this enthusiasm for the big musicals. The Music Man also appeared at this time as well as How to Succeed in Business Without Really Trying.

Charles Walters was the director, a choreographer who had made many films at MGM including Easter Parade and Jupiter’s Darling. The film was a star vehicle for Debbie Reynolds (Shirley Mac Laine had been sought for the part - and it is certainly her style as well as that of Debbie Reynolds) and she received an Oscar nomination. She plays the Denver, Colorado wealthy woman on board the Titanic (played by Thelma Ritter in the 1953 film and by Frances Fisher in James Cameron’s Titanic).

Her leading man is Harve Presnell, a singer from the stage who had a limited career as a star in films (Paint Your Wagon). However, he later appeared in many films as a character actor including Fargo.

The film is bright and breezy, perfectly suited to Debbie Reynolds’ screen presence and style. Thelma Ritter also appears in the film as do English actresses Hermione Baddeley and Martita Hunt. Ed Begley even sings and dances in this film.

It is a story of the American Dream from backwoods to riches. The film is critical of the insincerity of society, although one wonders whether Molly’s achievements, when she enters society at the end, is not ‘having one's cake and eating it’. There is some enjoyable choreography and colour. The score is by Meredith Wilson who wrote The Music Man. Molly was on the Titanic, but these segments are very brief.

1. The American musical and this film within this tradition? Its qualities as a musical and 60s Americana?

2. The quality of the score, the songs, their working within the plot? illustrating themes? The vitality of the choreography?

3. The atmosphere of Colorado, of the city of Denver, the contrast with Europe? The comparison between America and Europe?

4. This comparison and the theme of the American dream? Backwoods and pioneering, easy wealth and gold, the ambitious dreams of possessions and status? How did the film show the dreams being achieved, souring? The affectation with wealth and position, snobbery, the changing of personalities? Did the film remain consistent with its critique of the American ambition? The significance of the ending when Molly was accepted into Denver society? (The film having its cake and eating it?)

5. The significance of the title and the emphasis on unsinkable, the humour of the credits sequence and Molly as a baby, its being taken up with the theme of the Titanic? Why was Molly so unsinkable wherever she was? Where, however, did she founder?

6. The humorous portrait of the American backwoods? Molly and her looking like a boy and being brought up like a boy, Shamus and the backwoods home, work? The atmosphere? The song and the dance? The prospect of Molly marrying, her decision to leave?

7. The humour of Molly on her travels and her hunger? Arriving at the bar, the humorous sequence and the song of her learning to sing and dance?

8. Merry Christmas and the way of life in the small pioneer town? The raucous and the calm atmosphere? The dancing, especially with the girl from the other saloon?

9. J.J.Brown and his Colorado dreams? As a character in himself, his wealth? The encounter with Molly and his infatuation? Seeking her out at the saloon? His teaching her to read, his love for her in building the house, welcoming her? The hasty marriage and his drunkenness? Molly's attitudes at her marriage? Her growing in love, the song about saying Yes? His reaction to the money being burnt, to Denver, to society, to Europe? His realisation of the truth and the gap between them? His having to say No? How much of a musical comedy hero was he? Real, contrived?

10. Debbie Reynolds' style as Molly? Her attitude towards her dreams and reality? The going to Denver and her wanting to get into society, marry a millionaire? The puzzle of her love for J.J.? Life in the town, of the saloon? Her return to the house, to the bed? To the marriage and the puzzle about her being tricked? The build-up to the burning of the money? The house in Denver and its gaudy style as symbolising her? The colours and the red? Her inability to crash into Denver society? Gladys's snobbery? Buttercup and Shamus as a reminder of the past? Her wanting to do everything with money e.g. the donations to the church? The throwing of the party?

11. The priest's advice about going to Europe, was it sound? The dance sequence and the moving from country to country via the backdrops and the dancing? The big spenders in Europe, the Americans abroad? The sequence when she was learning Polish? J.J.'s inability to learn? The entourage of friends? The build-up to the return and audience expectation of what would happen in Denver?

12. The party and Gladys being overawed? The countess and the encounter? reactions? The dancing? and the songs especially about friendship? The joviality of the atmosphere? The arrival of Merry Christmas and the brawl? The columnist and his acid tone? The humorous critique of society?

13. Comment on the personalities in the entourage. Styles, impressions in Denver?

14. The contrast with Shamus and Buttercup, Merry Christmas, and the people from the pioneering town?

15. The inevitability of Molly's clash with her husband? Her being courted by the entourage? The decision to go back to Europe, her empty life there, the encounter with Gladys? The decision to return and the way this was balanced by J.J.'s longing for her?

16. How effective were the Titanic sequences? Audiences expecting more or what was given? Her heroism and style in a small boat?

17. The pomp of the return? What had happened to Molly in the meantime? Meeting her friends, Gladys's mission? her review of her memories before meeting J.J.? The quality of the happy ending?

18. The picture of American values and expectations of success?

UNION PACIFIC

US, 1939, 135 minutes, Black and white.
Joel Mc Crea, Barbara Stanwyck, Robert Preston, Akim Tamiroff, Brian Donleavy, Anthony Quinn.
Directed by Cecil B. De Mille.

Another Cecil B. de Mille extravaganza on American history, this time the 19th century and the 1860s with the opening up of the railroad, the Union Pacific to California.

De Mille had made The Sign of the Cross, The Crusades and Cleopatra during the early 1930s. This time he moves to a much bigger scale in American history. He was to do the same in such epics as The Plainsman in the same year (with Gary Cooper as Wild Bill Hickock). He was then to make Reap the Wild Wind, The Story of Dr Wassell, Unconquered before he went back to Bible with Samson and Delilah. His last films during the 1950s were The Greatest Show on Earth and his remake of The Ten Commandments.

Barbara Stanwyck is a very strong heroine in any film and is the daughter of the railroad engineer. Joel Mc Crea is also a strong hero, given the task of getting the railway through despite the obstruction by bankers and their henchmen – especially in the form of Brian Donlevy as yet another villain.

Robert Preston and Akim Tamiroff are in the supporting cast as is Anthony Quinn in a small role (aged only twenty). Quinn was to marry Katherine de Mille, de Mille’s daughter.

As with all his epics, the characters and the action are larger than life – a type of big-screen comic book presentation of American history with clear struggles between good and evil. The film culminates in a train wreck – one of de Mille’s masterpieces (and he repeated this kind of effect in the train crash in The Greatest Show on Earth).

1. How enjoyable was this Cecil B. de Mille picture of the West? A good Western?

2. The cinema techniques of 1939: black and white photography, rousing music, special effects, especially the train crashes, location photography, the atmosphere of vastness of the West and the railroad?

3. The title, the impact of the railways in America, the patriotism for the United States, the initial caption about the history of the railroad? The role of the railways and the trains in building nineteenth century America? The men and women involved in the building of the railroads?

4. The American tone of the film, the post-Civil War atmosphere, California and the hopes of the railways, President Lincoln and his support of the railways, the linking of one side of America to the other? The background to this sprawling western? The presentation of Burroughs and his type, the amount of greed and trickery in the West? His trying to make money and exploit the railroads? the irony at the end when he was made to work the railroads, his hammering the final peg? The film's comment on this kind of exploiter?

6. Campbell and his type of villainy in the West, the symbol of his drink, his attitude towards his job, the creating of evil? The picturing of him with his henchmen?

7. Dick as a partner for Campbell, his background, his being prepared to share with Campbell the evil effects of disrupting the railroad, the ambiguity of his morality, his love for the heroine, his involvement with her, the wedding? the involvement in the robbery? The sharing in the siege? His being saved, showing his gratitude to Jeff Butler, his going to work for the Central Pacific? The irony of his death in saving Jeff for the heroine? An ambiguous character of the American West?

8. Jeff Butler as the hero, the strong type, the Civil War background, his skill as an engineer, his work for the railroads, his skill with the men, his persuasiveness? His background of fighting with the Indians? The sequence in the saloon where he shoots the card player? His getting the men to go to work by tricking them? The picturing of his clash with Campbell? His love for the heroine?

9. Jeff's investment in her? Sharing in the wealth with her and Dick? His being saved because of Dick's death? The happy ending? The typical ingredients for an American hero of the West? How attractive was Barbara Stanwyck as the heroine, the Irish background, her vigorous nature and work on the post office of the train? Her relationship with her father and his work on the train? Her friendliness with Dick, her love for Jeff, their clashes? her marriage to Dick? her helping him escape and Jeff's reaction to this? Her awareness of the truth about her love? Sharing the danger of the siege, being shot, recuperating? The happy ending?

10. The film's portrayal of the men of the West: the railroad officials, the engineers and their skills, the drivers? the importance of the driving of the train into the towns, across the territories, the sequence of the rails laid on the snow and the spectacular crash and the death?

11. The portrayal of the Indians? How accurate, unsympathetic? Racist overtones? The siege of the train and the deaths?

12. The portrayal of the dangers of the West, the conventional presentation, the military to the rescue etc.?

13. The symbolism of the ceremony with the linking of the railroads, the humour and the irony?

14. The film said it portrayed a vision of the West? What were its main ingredients? The presentation of patriotism, frontier life, nineteenth century enterprise?

THE UNINVITED

US, 1944, 100 minutes, Black and white.
Ray Milland, Ruth Hussey, Donald Crisp, Cornelia Otis Skinner.
Directed by Lewis Allen.

The Uninvited was a particularly successful and entertaining ghost story of the 1940s. It is in the vein of Daphne du Maurier Cornwell stories.

Ray Milland (who was to win the Oscar the following year for his performance as an alcoholic in The Lost Weekend) and Ruth Hussey are brother and sister who find a house on the Cornish coast which they want to buy. Donald Crisp (Oscar for How Green Was My Valley, 1941) plays the owner of the house. The cast also includes the writer Cornelia Otis Skinner in one of her rare appearances on screen as well as the tragic Gale Russell.

The film has the atmosphere of England – and then moves into the area of suggestions of ghosts, supernatural activities, haunted houses. The film is very effective in its way – and received an Oscar nomination for its black and white photography.

1. Was this a good thriller? As a thriller of the 40s? Now? Different impacts in different decades?

2. How enjoyable are ghost stories? How credible are they for audiences? What is their appeal: fears, superstition, fantasy, enjoyment? How did this film measure up?

3. How did the film create its atmosphere? How well? The English atmosphere? the village, the house, the candles and darkness, the suggestions of cold? Dramatic appearances?

4. Were the characters important or were they merely conventional and fictional characters subservient to the plot and atmosphere? Was their sound insight into character in Fitzgerald, his sister?

5. Colonel Badge? Was he developed as a character? His reasons for selling the house, his background knowledge to the haunting, his love for his granddaughter? his knowledge of the truth? The irony of his death? How well developed was his character in comparison with the others?

6. How attractive was the girl? The mystery of her background, the mysteriousness of her personality, her fascination for the home, the reunion with Fitz Gerald, her strengths yet her being possessed and being struggled for by the ghost? How credible was this? How did it engage audience attention and emotion?

7. Did the audience expect the ghosts to be taken as real? Did they expect a trick? The fact that the ghosts were not a trick in this story? How were the presences of the ghosts communicated, a sense of presence, smells, coldness, a sense of evil, noises, the dog and cat unwilling to go up the stairs, cries in the night? The mystery of the ghosts? How fascinating was this? The gradual revelations of the true identities and the meaning of the incidents? Was the cliff in any way menacing?

8. The importance of Miss Holloway as companion, as a menace to the girl, as knowing the truth? The holding the girl in the home?

9. How conventional was the role of the doctor? His discovery of the truth in the books? Did this seem too contrived or was it appropriate for the film?

10. How good an exmple of the ghost genre was this fila?

UNDERWORLD USA

US, 1961, 100 minutes, Black and white.
Cliff Robertson, Dolores Dorn, Larry Gates.
Directed by Samuel Fuller.

Underworld USA is a Samuel Fuller film. Fuller began writing screenplays in the 1930s and eventually began directing in the late 1940s with I Shot Jesse James. He was famous in the 50s for a string of hard-action small-budget brief features including Pickup on South Street, Hell and High Water, Forty Guns, Run of the Arrow. During the 1960s he was to become more ambitious with some violent dramas and melodramas like Shock Corridor and The Naked Kiss. He continued to make films during the 70s and 80s but his main achievement was the big-budget war film about World War One and World War Two, The Big Red One. He continued directing during the 1980s though nothing as significant as The Big Red One.

He was admired by many other directors and imitated – and a number of documentaries were made about him, the most significant being Tigrero: a film that was never made, written and directed by Mika Kaurismaki, where Fuller accompanies director Jim Jarmusch on a trip into Brazil, the location for the intended film.

The film stars Cliff Robertson as a young man who had witnessed the murder of his father by gangsters and who then infiltrates the underworld gangster scene, rising to a position in the organisation where he is able to wreak his revenge. Of the b-budget cast, only Robertson emerged with star quality, winning an Oscar for Charlie in 1968 and continuing for another four decades as a strong presence in films up to Spiderman and Spiderman 2.

1. The popularity of the gangster genre and its use over the decades in America? Its appeal and interest to audiences? Why?

2. The title emphases of this film? The picturing of the Underworld, the broadening into America itself? Theme events as symbols of American gangsterism? The themes of American gangsterism? A way of interpreting America and its heritage?

3. What conventions of the genre did this film use and how well? The setting of the scene, black and white photography, slums, Depression atmosphere, the mobs, their methods and deals, violence, floozies, drugs, the gangsters and their personalities, the atmosphere of revenge?

4. The atmosphere of this particular film, the city itself, the contrast of rich and poor, the police?

5. The impact of the prologue, sharing the young boy's vision of his father's death? Sharing his attitude of revenge?

6. How well did the film develop the character of Tolley? How credibly? Picturing his as a boy, his secret about the identity of his father's killers? The collage of his career through Reform School? His growth into vengeance as an adult? The exploration of his motivation? Its twisted attitudes of revenge? His redeeming features? His shrewdness and cruelty? His response and saying Cuddles and the changing of his attitude?

7. His completing of his vengeance? The fact that he changed because of Cuddles? His death and the cycle starting again?

8. How well can audiences respond to this kind of hero and his administration of his own justice?

9. The film's portrayal of criminals, their small origins, brutality and ruthlessness, growth in power, mutual trust and suspicion, their elimination? No honour amongst thieves?

10. The portrayal of Connors and Gus? Their evil and their deaths? The ironic comment on American gangsters through them?

11. The contrast in the warm portrayal of Sandy? As a mother figure for Tolley, helping him yet disapproving? Her connection with the criminals and their power over her?

12. The sympathetic presentation of Cuddles? A victim, rescued by Tolley? loved, used for police purposes? His giving his life for her?

13. The presentation of Driscoll and the police? Their relentlessness, yet their humanity? Driscoll's deals with Tolley?

14. Comment on the documentary style or the film and its effectiveness? an air of realism and moral concern?

15. The themes of doom and the elements of tragedy? The film is now considered a minor classic. Why? Does it deserve this reputation?

UNDERWATER!

US, 1955, 99 minutes, Colour.
Jane Russell, Richard Egan, Gilbert Roland, Lori Nelson.
Directed by John Sturges.

Underwater! (a title with an exclamation mark) was a celebrated entertainment of 1955, and was premiered underwater to a group of journalists and an audience wearing diving equipment!!

Jane Russell had made an impact in the late 1940s with Howard Hughes’ The Outlaw. She then made a series of entertainments, comedies and musicals with Frank Sinatra and Groucho Marx. However, her main achievement was with Marilyn Monroe in Howard Hawks’ Gentlemen Prefer Blondes. She also caused some uproar from more prudish objectors, including the Catholic Church of New York, for her costumes (and lack thereof at times) in The French Line. However, these films seem rather innocent in later decades.

This film traded on her reputation, teamed her with Gilbert Roland and Richard Egan in an underwater diving adventure. And, apart from Jane Russell, that’s about all it is – a popular matinee entertainment.

Direction is by John Sturges who was beginning to emerge as a quality director at this time with Bad Day at Black Rock. He was to go on to a very successful career with such big-budget adventures as The Magnificent Seven, The Great Escape and The Eagle Has Landed.

1. The quality of the film as a diving adventure story? How conventional? Its particular qualities?

2. Film-making in the fifties, colour and Cinemascope, the glamour associated with this work? The presence of Jane Russell? The popular music?

3. How conventional was the basic plot? Audience interest in it, involvement in it?

4. Themes of money, professionalism, risks, danger, love?

5. Grant and Dominic as hero types? American and Mexican? Their tricks, their work, their energy, their success? Their standards for right and wrong and success?

6. How convincing a character was Teresa? Jane Russell's style, as Grant's wife, her criticisms of his work, her participation in the work and in the dangers?

7. Gloria as a conventional character and the provider of the yacht?

8. Father Cannon and the religious background, the Jesuit, the explanation of the buried treasure? How did this interest audience and hope for the recovery of the wreckage?

9. The shark hunters as symbolic conventional villains? Their staying about, their challenge and threats, the way in which they were given money?

10. The value of the underwater scenes of exploration and audience interest in these?

11. The crises and the resolution as regards salvaging the wreck, the shark hunters, the building of the future?

12. The conventional appeal of this type of film, the traditional values it presents and stands by and presupposes in audiences?

UNDER CAPRICORN

US, 1949, 117 minutes, Colour.
Ingrid Bergman, Michael Wilding, Joseph Cotton, Margaret Leighton, Cecil Parker.
Directed by Alfred Hitchcock.

Under Capricorn does not usually rate high on the list of Hitchcock’s films. However, it is a period melodrama and of interest because of the action taking place in colonial Australia. It was also the second film that Hitchcock made in colour, immediately after Rope. Rope was made with a series of ten-minute takes and Hitchcock continues this kind of experimentation in this film. However, it is a melodrama, a costume melodrama with lavish sets, costumes and décor.

The film was also a melodrama – something in the vein of the tradition from, say, Wuthering Heights through Daphne du Maurier (and Hitchcock had filmed both Jamaica Inn and Rebecca).

The film is one of several that he made with Ingrid Bergman – the others including Spellbound and Notorious. He had also worked with Joseph Cotten in Shadow of Doubt and was to work with Michael Wilding in Stage Fright. There is a very good supporting British cast led by Margaret Leighton and Cecil Parker.

Ingrid Bergman has a complex role as Lady Henrietta Flusky, with her Irish background, in the colonies and verging on alcoholism and madness. Charles Adair is played by Michael Wilding, the upright English gentleman. Joseph Cotten has to be a mixture of charm and villainy. Margaret Leighton also does villainy quite well in the Judith Anderson/Rebecca tradition.

Because the film is not suspense and murder mystery in the vein of Hitchcock’s classics, it has tended to be either overlooked or misjudged. It has strong technical qualities with an original score by Richard Addinsell (Warsaw Concerto) and photography by director, Jack Cardiff.

1. Audience expectations of a Hitchcock film: suspense. themes of guilt and conscience? How well were audience expectations fulfilled? A different style from Hitchcock's normal thrillers?

2. The contribution of the colour, the Australian setting and the sets, the musical score? Hitch cook and Australia in the 19th century? Did they blend well for interest and entertainment?

3. The significance of the title and the focus on Australia, as a colony, the relationship with England and Ould Ireland, the reality of distance, the prison background of the colony, the strata of society, prison and the possibilities of new start, new wealth, the emancipists? Questions of justice and attitudes towards justice in this prison colony setting? The effect on people and the change of old patterns from the old world? Cruelty? The focus on the clash of new and old world in the men coming to the dinner and the women not?

4. How important was this environment for the study of character, the study of guilt and responsibility? The build-up of the opening, Sydney and the Governor arriving, the presentation of low life, snobbery, the attitude towards the Governor and his attitude towards Australia? The question of aristocracy , exclusivism and wealth, land deals and the law? the encounter with the man selling the skull and the tones of this set?

5. How did the screenplay make the audience enter this colony with Charles Adare and his character, his Irish background and poverty, relationship with the Governor and his status, the pressures on the Governor for his behaviour - or else, losing his status? lack of money, hoax, the encounter with Flusky end the fascination? His defying the Governor and loyalty to Flusky? The initial encounter with Henrietta, at the dinner? His response to her, the memories, his helping? The importance of their relationship, his love, her dependence on him for regaining her own pride? Lily in the background? The build-up to Adare helping Henrietta to the ball? The sense of achievement? The intrusion of Flusky? Adare's response to Henrietta, the story, her telling of the truth? The melodramatic significance of his going away, the death of the horse, the shooting?

6. How well did the film show Adare's influence on Henrietta, the way he was influenced by her? The importance of his injury, his being shielded by the Governor from the truth, the importance of his ultimate decision about guilt and innocence? The stance that he took and audience sympathy with this? His leaving the colony and return to what might have been a normal world?

7. The portrayal of Flusky: audience dislike of him and the belief that he was cruel and a murderer? The initial presentation, his land deals, sense of achievement, his hold over his household, Milly and the servant disturbances, welcoming the guests but not liking their snobbery? His reaction to Henrietta and her intrusion at the dinner?
Audience sympathy or lack of it? Antagonistic? His reaction to the man selling the skull? His response to Adare's helping Henrietta? The possibility of his being jealous and Milly's working on this? Why was he so susceptible? How important was it that the audience learnt the truth about his innocence from Henrietta, that he had suffered on her behalf? how did this alter audience opinion of him? Was it too late? The complications of' guilt and innocence? The stand that he took, the risk of letting Henrietta go back to Ireland, his willingness to let everything go for her? The fact that Henrietta and he were rewarded at the end? How interesting a character, a person who had a place in the old world, through innocence and guilt found new success and achievement in the new world?

8. How well did the film focus on Henrietta, the quality of Ingrid Bergman's performance? The shock of seeing her at first, barefoot at the dinner, her drinking, her seeming insanity? How well did she improve and why? The explanation of her background and what she had done in leaving for Australia to marry Flusky? Their happiness at the ball and the intrusion of Flusky? Comment on the dramatic presentation of her story telling the truth, the focus on her face? The emotion in the story and the revelation of guilt? Her willingness to accept the guilt and responsibility? Her love for Flusky and his interpretation of it in an unfavourable light?

9. The importance of the reconciliation and the possibility of building a new life? The presentation of the Anglo-Irish? attitudes to the colony, their advice, manners and way of life in the colony, not talking about people's past and so on? The sinister presentation of the Attorney General and his attitude towards Flusky? The various incidents at Government House, the ball? The explanations of law and justice in the colony?

10. The key importance of Milly? Her role in the household, her role over the servants, her own legal status? Her infatuation with Flusky, her manipulation of his emotion in her Iago-like speech? The sinister housekeeper and her persecution of Henrietta? The drink, the final melodrama with the skull? The poison? The suspense with Henrietta watching Milly going about her poisoning? The confrontation with Flusky and her downfall? Milly as an embodiment of evil?

11. The psychological aspects of the film: Mutual relationships, love and hate, misunderstandings, truth and appearances, guilt and innocence in conscience?

12. The suitability of a costume melodrama for an exploration of human psychology?

UNCONQUERED

US, 1947, 146 minutes, Colour.
Gary Cooper, Paulette Goddard, Howard Da Silva, Cecil Kellaway, Henry Wilcoxon, Ward Bond.
Directed by Cecil B. De Mille.

Unconquered is a big-budget Cecil B. de Mille historical extravaganza. He introduces the film, as he often did, with an explanation about American history.

The setting is the 1760s, the decade prior to the War of Independence. The setting is Virginia. However, the focus is on the relationship between the American settlers and the Indians, the good versus the bad. In the background are the British – but, as they are about to lose their colonies, they are presented as somewhat incompetent.

Gary Cooper, who had appeard for de Mille as Wild Bill Hickock in The Plainsman in the 1930s and in the World War Two story The Story of Dr Wassell, as Dr Wassell, is a captain who buys a felon, transported to America to be a slave. He intends to set her free. However, in a Cecil B. de Mille epic, things are not so easy and the heroine has to go through an extraordinary amount of difficulties, adventures and tortures before the happy ending. The villain of the piece is Howard de Silva.

Some de Mille regulars like Henry Wilcoxon appear and there are some good character actors including Boris Karloff, Cecil Kellaway, Ward Bond, C. Aubrey Smith and de Mille’s daughter Katherine.

The heroine is Paulette Goddard who had appeared for de Mille in the early 1940s in Reap the Wild Wind.

In the film, everything is larger than life, a kind of grandiose comic book presentation of American history, simplifying it into a struggle between good and evil. The film, however, nominated for an Oscar for its special effects.

1. The appeal of the Western: the atmosphere of the West and its convention, Indians, military, the Western expansion, clashes, the American heritage?

2. De Mille's reputation: colour, sets, size and length of film, rousing music, big scope?

3. The De Mille opening: his narrative about American history and its heritage, his explanation of the title? The morale boosting approach?

4. The importance of the British prologue and America? America as under England in the 18th century? The judicial background for America? Justice and the administration of justice, Abigail ad her being the victim of the law, the choice of hanging or transportation and her choice? Audience response to this kind of justice, sympathy for and interest in Abigail?

5. The detailed portrayal of ship life, Garth and his arrogance, his transporting, his making of trouble in the
colonies? His attitude towards Chris Holden? The wager? His imposing himself on Abigail? The sale and the various tones between Chris and Garth? The comic addition of Jeremy? Audience response to the re-sale of Abigail? Bone and his character, his work for Garth, liaison with the Indian, his cruelty? The use of Abigail in the slave sale, her compassion of husband and wife, her being whipped? Garth in his manipulation of Bone and Abigail? Her working and scrubbing, serving drinks? The humiliation? The attitude of Garth's Indian wife?

7. Chris Holden as the hero of the film? Gary Cooper and his style, his reputation in the west? His fiancee, his meeting of Frazier and the alert about the Indians? His breaking off with his fiancee? His hostility towards Garth? His acceptance of the mission on behalf of the military? The dangers and his willingness to undergo these? The ambiguity of his response to Abigail?

8. The presentation of America west of Kilalo mountains? The nature of expansion in the 18th century, forts, relationships with the Indians, intermarriages like that of Garth? The trading, of arms? Politics? military, administration from England? The introduction of Washington and other historical figures?


9. The rescue of Abigail and using her as bait at the ball? The transforming effect on Abigail, her disillusionment?

10. Garth and his deal with the Indians? The possessiveness of his wife? The Indian chief and his attitude towards Garth? The capturing of Addy, her torture, death?

11. Response to Holden's recapturing of Abby? His daring, his use of the compass? The river and the waterfall, their trek, the encounter with the dead family, the town and the dying man sending them on a mission, even though it meant slavery and court martial? The emphasis on American heroism?

12. The response to the court martial, the attitude of the deputy commander, Garth arguing his case, Holden admitting his guilt and hoping to save the fort?

13. The irony of Abby's arranging for Holden's escape? Garth's betrayal and the irony of shooting his wife? The importance of Holden's getting through, the plan for the siege, the atmosphere of surrender to the Indians during the siege, the relief even though it was the dead men?

14. The build-up to the confrontation between Garth and Holden? The use of Bone, Abigail and her being saved?

15. How appropriate the happy ending for this kind of film?

16. How important was character delineation, the presentation of American types, typical Western situations and issues? How well?

THE UNCANNY

UK/Canada, 1977, 89 minutes, Colour.
Ray Milland, Peter Cushing, Joan Greenwood, Susan Penhaligon, Alexandra Stewart, Rene Girard, Samantha Eggar, Donald Pleasance, Roland Culver, John Vernon.
Directed by Denis Heroux.

The Uncanny is a Canadian venture, with collaboration from the United Kingdom. Dennis Heroux had produced and directed quite a number of successful films during the 1970s. This time he attempts to creat something of the atmosphere of the British horror films, including those from Hammer Studios.

The focus is on cats – and the realisation that cats can be the embodiment of evil. This has been a popular topic for many films including such classics as The Cat People.

Peter Cushing is an author, who discovers the secret about cats, their supernatural activities and their power and control over human beings. Ray Milland plays a publisher who listens to the stories – in the hope that they will be published.

What follows are three separate stories, one in Victorian England, another set in Canada, a third set in the Hollywood of the 1930s. They are of moderate entertainment. Nothing particularly startling or new.

The film has a cast that combines English talent with Canadian, the English being represented by such stalwarts as Joan Greenwood, Roland Culver, Susan Penhaligon, Donald Pleasance, Samantha Eggar. The Canadians include Alexandra Stewart and John Vernon.

A film of the 70s – which still provides light horror entertainment.

1. The title, audience's expectations? The enjoyment of horror films? The horror, violence? The eerie fable aspects of moralising horror stories?

2. The effect of the omnibus style? The selection of short stories? The impact of each, the overall effect? The framework of the story about cats and the blending of the stories within this framework? Credible, plausible?

3. The technical side of the film: Canadian British co-production? Canadian locations? The international stars and their styles and impact?

4. Audience response to cats, as pets, as animals to be feared? Feline, clawing, eyes? The significance of the initial two poems and the themes? The final poem? Cats as traditional symbols of evil and power, the fascination of evil?

5. The importance of the visuals in presenting the cats? In terms of menace horror? How imaginatively? The emotions and control of the cats? Close-ups, angles etc?

6. How interesting was the theft? Wilbur and his publishing the book? His presence with the publisher? The atmosphere? Peter Cushing and Ray Milland as credible horror practitioners? The irony of the cat controlling the publisher at the end after Wilbur's violent death? What was the audience left with as regards the cats?

7. The Edwardian atmosphere of the first story? The attention to detail for plausibility and credibility? Miss Macklin and the tyrant spinster? The satire on her money? The greed of the nephew? The presence of the maid, her going off in a huff, her watching, the relationship with the nephew? Her memories? The irony of her being trapped, the murder of Miss Macklin? The growing horror as she survived in the room? Her going out and discovering the death of Miss Macklin? The violence of her own death?

8. The nephew and the police enquiry, the nephew's death? The moral of the cats protecting their mistress? The repayment for greed? The transition to the second story and the modern setting, the family? The wealthy arrogance of the parents? The treatment of their daughter? Her arrogance and her asking to be killed?

9. Lucy as pathetic, the orphan? Her love for her cat? The gradual intervention of the magic? The ironic situation? who was to blame?

10. The special effects, Angela, the huge cat, the gruesome irony? The moral fable?

ll. The humour of the Hollywood spoof? Hollywood in the 30's and the filming of horror films? The star and his arrogance, the death of his wife, the brainless starlet? The humour of Hollywood directors and producers? Sets? The ineffectual starlet and her acting and the irony of her death?

12. What is the value of this kind of horror film? The presenting of the ugly, the humorous, the bizarre? entertainment value, message?