JOHNNY BELINDA

US, 1948, 102 minutes, Black and white.
Jane Wyman, Lew Ayres, Charles Bickford, Agnes Moorhead, Stephen Mc Nally, Jan Sterling, Dan Seymour.
Directed by Jean Negulesco.

Johnny Belinda is a classic of 1948. Jane Wyman portrays the deaf mute, Belinda, who gives birth to an illegitimate child called Johnny. The film is powerful in its presentation of human nature, the oppression for the mute woman, the harshness of her family and neighbours. Jane Wyman won the Academy Award for this performance.

The film has a strong character supporting cast including Lew Ayres as the doctor and Charles Bickford and Agnes Moorhead as the Mc Donalds. Stephen Mc Nally and Jan Sterling are the Mc Cormicks.

The film was directed by Jean Negulesco who was directing rather more hard-hitting action films at this time including The Mask of Dimitrios but he was to move with the coming of Cinemascope to rather flashy and lightly entertaining films like Three Coins in the Fountain.

The film was remade in the 1980s with Rosanna Arquette as Belinda and Richard Thomas as the doctor, directed by English director of stage and telemovies, Anthony Paige.

1. The highlighting of the child’s name and the reference to Belinda? Pathos and the themes of the film? Indication of its appeal to audiences?

2. The film as a classic of 1948? Its qualities in production, photography, performances and themes? Jane Wyman’s Oscar?

3. The emphasis on subtlety of communication? Black and white photography and landscapes? The archetypal story?

4. The importance of the visualising of Nova Scotia, the atmosphere for this kind of story? The island and isolation? The portrayal of the sea, portrayal of earth and the working of the earth? The town, fishermen and boats, houses and farm? The trade and people? People who are pleasant gossips and curiosity seekers? An enclosed world? The outsider doctor entering into this enclosed world? The need for broadening of horizons? How important was this evocation of the atmosphere?

5. The values held by such a community? Sense of right and wrong and integrity? Yet the narrowness of the enclosed community and its outlook? The judgmental aspects? The effect on its victim? As highlighted by the court case and presuppositions?

6. The Mc Donalds within this setting? People of the earth? The father and his hard life? Soft, eventually because of Belinda? Aggie and the hardness of her life? Her dour personality? Her capacity for fighting and surviving by fighting? Her being softened by the doctor? Belinda within this atmosphere? Her affliction? Her deprivation? Her drudging work? The enclosed world? The possibilities of her life being transformed by friendship communication, learning? Her life transformed by the wonder of birth and motherhood?

7. The pregnancy: the fear and anger on the part of her father and Aggie? The help of the doctor? Her acceptance of the pregnancy? The memory of the birth of the animals on the farm? Her forgetting the rape? The pathos of her pregnancy and the birth?

8. The importance of Belinda’s character? The quality of Jane Wyman’s performance? Her ears blocked so that she performed as really deaf? The nature of the deafness and the muteness? Her happiness and not knowing another world? Her capacity for learning and the wonder of communication? The rape and its effect? Her sadness yet ability to forget? The wonder of birth? her reliance on the doctor and the growth in love for him? Her protection of her child instinctively even to kill?

9. The counterpoint of the character of the doctor? The background of his academic career, his disappointment In love? Exiling himself to the island? People being suspicious, for example, the opening accident? His earnestness? His lack of religion? Going fishing? The butt of religious gossip? The motives for helping Belinda? The effect on him and her? Her taking him to the chapel? The visit to the doctor in the city? His protection of her at the birth, from the gossip, in the court case? The complications of his letters in the court? How admirable a character?

10. The importance of Stella for the plot? Her admiration for the doctor, her marrying? Her bitterness, her feelings? The melodrama of the adoption of the child? The death of her husband? Her breaking down in the court? How realistic and important for the plot?

11. The character of Mc Cormack? The ordinary fisherman, the drink, the rape and lust? The importance of being in Church, the banns and the marriage? His fatherhood and wanting to see his son? His fight with Belinda’s father? The irony of the murder? Belinda killing him? How evil a character? How accidentally evil?

12. The court case and the hardship for Belinda, for the doctor? The curiosity of the people especially the gossipping women?

13. The humane scenes of learning, the chapel? The contrast with the court scene?

14. The film as a document of human dignity, motherhood and love? Of communication and friendship, of achievement?

JAMAICA INN

UK, 1939, 108 minutes, Black and white.
Charles Laughton, Maureen O’ Hara, Leslie Banks, Emlyn Williams, Robert Newton, Mervyn Johns.
Directed by Alfred Hitchcock.

Jamaica Inn was the last film that Alfred Hitchcock made in the United Kingdom. For more than fifteen years he had made a series of excellent films, generally crime dramas, in the silent era as well as sound films during the 1930s. These include such classics as The Man Who Knew Too Much, The Secret Agent, Saboteur, The Thirty Nine Steps. He was then to go to the United States and remain making films there for over thirty years until he returned in the early 70s to make Frenzy.

The film is an adaptation of Daphne du Maurier’s novel, Jamaica Inn, adapted by film writer and director Sidney Gilliat. Hitchcock’s first film in the United States, winner of the Oscar for best film of 1940, was an adaptation of Daphne du Maurier’s Rebecca. Du Maurier was also the author of the novel on which Hitchcock’s The Birds (1963) was based.

This is not typical Hitchcock material. Rather, it is about pirates and smugglers off the Cornish coast around 1800. Charles Laughton portrays the local landowner who, in fact, is the leader of a gang of thieves. His agent is the owner of Jamaica Inn, played by Leslie Banks. The niece of his wife, played by a still teenage Maureen O’ Hara, is sent from Ireland to the care of her aunt and uncle. She discovers what was going on, especially in her discovery of a man about to be hanged who turns out to be an officer: an unlikely Robert Newton.

Charles Laughton is very strong in the central role of the villain. He and Maureen O’ Hara were to go to the United States the same year to make the classic The Hunchback of Notre Dame.

The film is a rousing adventure, remade in the 1980s with Jane Seymour and Patrick Mc Goohan. The plot was also very similar to that of Fritz Lang’s Moonfleet, 1955, with Stewart Granger and George Sanders.

1. How enjoyable a costume melodrama? The world of Daphne du Maurier? A Hitchcock film – thriller, suspense?

2. This was the final film in Hitchcock's English period. Does it in any way sum up his English achievement? Indicate directions in America? What particular elements of his style and attitude did he bring to this costume melodrama?

3. The title the focus on the sign, the build-up of the sinister atmosphere, the fear for the audience? The use of black and white photography, locations and studio sets, music? The coastal atmosphere?

4. The device of the audience entering this area of England and its remoteness with Mary her charm, the coach trip, coming from Ireland, expectations, looking for her sister, the talk about the inn and the sinister behaviour of coachmen and horses? Her being left in the middle of nowhere? the irony of her seeking out the house and finding Sir Humphrey? The irony of her talk and revelation to him? Was the audience suspicious? How effective a setting of the scene? The beauty of the house and the wealth compared with the inn?

5. What expectations of the Inn and its inmates did the audience have? The build-up of talk about the inn and the evil doings? Joss and his leadership and strength? The contrast with Patience, irony of her name? The various pirates there and their evil character? The atmosphere of evil? The irony of the disguised policeman? The importance of showing the scenes of dashing the ships to pieces, the plunder, the actual murdering of the crew? Any audience sympathy with these pirates?

6. The film's strong focus on Sir Humphrey and Charles Laughton's almost grotesque performance? The irony of Sir Humphrey and his wealth, status in the area, Magistrate. two-faced attitude towards justice? His skill in keeping face, his deviousness in communicating with Joss, the devices of communicating the information? His suave deviousness with Mary? How well delineated was the character of Sir Humphrey? How grotesque?

7. Was the character of Jose developed, his forcefulness, brutality, survival? Patience and her presence there and love for her husband despite everything?

8. The irony of the policeman being discovered, his being about to be killed and rescued by Mary, his hiding with her? The scenes on the coast? The irony of his being tied up with Sir Humphrey and then becoming the victim? His narrow escapes in being killed?

9. How did the film build up to a climax with the various revelations. the eager anticipation of the ship after the information had been given? Mary and the policeman escaping, being chased? The storm, the coast? The various deaths in the house including Patience and Joss?

10. The build-up to the revelation against Sir Humphrey, his madness revealed, the irony of his climbing the mast and the violence of his fall to death?

11. An appropriate happy ending for this kind of costume melodrama? Was the film anything more than an ordinary costume short story? Any exploration of human values?

JUST FOR YOU

US, 1952, 104 minutes, Colour.
Bing Crosby, Jane Wyman, Ethel Barrymore, Robert Arthur, Natalie Wood.
Directed by Elliot Nugent.

Just For You is a comedy with the light touch. Bing Crosby plays a producer who is so busy that he hasn’t time to be with his children (interesting that Bing Crosby himself was accused of this in real life!). It is noted that Crosby’s wife, Dixie Lee, was dying during the production of this film and died just after its completion.

Bing Crosby always brings the light touch to his films and has charm with his singing. Jane Wyman, possibly better known for her more dramatic roles such as her Oscar-winning Johnny Belinda, also sang in a number of musicals at Warner Bros during the 1940s. Here she enjoys herself as the musical star who urges Bing to care for his children, going on a holiday with them. At this time Jane Wyman made a number of light films including Let’s Do It Again, with Ray Milland. Rounding out the cast are veteran actress Ethel Barrymore and the children played by Robert Arthur and a young Natalie Wood.

The film is based on a story by Stephen Vincent Benet who wrote classical stories that were made into films including The Devil and Daniel Webster and The Sobbin’ Women which became Seven Brides for Seven Brothers. The direction is by actor-director Elliot Nugent who made a number of agreeably light films, The Male Animal, The Cat and the Canary, Up in Arms and My Favourite Brunette. He also did a more serious film with The Great Gatsby in 1949.

1. The success of the film as light entertainment? Light entertainment of the early fifties, musical comedy, family film?

2. The film as a Bing Crosby vehicle? How successful in his personality, comedy style, music and singing? The use of colour, songs, the Broadway atmosphere, the Broadway numbers?

3. The film as a piece of Americana? Presenting traditional American values, criticism of them? The emphasis on careers, the fact that families can be neglected the way that children can grow up, school and the armed forces? A look at tradition and criticise of tradition? The final endorsement of inherited values?

4. Bing Crosby's style in the character of Gordon Blake? A music man, Broadway success, a widower? The particular characteristics of this personality? His relationship with son and daughter? Alienation? His love for Carolina? The choices that he made for his family? Trying to rectify his mistakes? His capacity for being misunderstood? His lack of timing and judgment, not understanding his children? Their harshness towards him?

5. The character of the son, as a neglected son, finding it difficult to see his father, trying to write songs, his love and hate for his father? The importance of his crush on Carolina and the misunderstandings? The resentments? His awareness of his foolishness, his running away to the Air Force? How convincing was his change, especially at the end?

6. The daughter and her relationship with her father? Her romantic attitudes? The governesses she had, her desire to be in a proper school? Her being humiliated by her father’s song, her final happiness?

7. How attractive was Carolina as a leading lady and heroine? Pleasant and nice, her love for Jordan, her willingness to help the children, the impact of the son’s misunderstanding, the happy ending?

8. The incidental portrayal of the school and the comment on exclusive schools? The character of the headmistress and her practicality? The contribution of Ethel Barrymore? Her afternoon tea and her trying to break down snobbery?

9. The portrayal of the Air Force and morale boosting by concerts etc?

10. How enjoyable is this kind of light film? A light examination of American values and way of life?
Its impact in the 50s? Now?

JUST A GIGOLO

UK/Germany, 1979, 147 minutes, Colour.
David Bowie, Sydne Rome, Kim Novak, David Hemmings, Maria Schell, Curd Jurgens, Marlene Dietrich.
Directed by David Hemmings.

Just a Gigolo is an unusual film, written by Ennio de Concini. The Italian-born writer had been involved in screenwriting since 1947 with one hundred and fifty-seven credits in his CV. These include such a wide variety of films as Hitler: The Last Ten Days (which he directed), the erotic film of World War Two, Salon Kitty, and the remake of the charming children’s film Marcellino.

The film was directed by actor David Hemmings who directed a number of films during the 1970s and in the 1980s made The Survivor in Australia and The Race for the Yankee Zephyr in New Zealand. His subsequent career as director during the 80s and 90s was in television.

This film focuses on Germany before and after World War One. It offers a different version of the Weimar Republic. Audiences are more familiar with films about social disturbance than the rise of Hitler or films showing the decadence like Cabaret.

David Bowie is a soldier who is released from service after World War One and finds the only way he can survive is as a gigolo. The women in the film include Sidne Rome, Kim Novak as well as Maria Schell as his mother. The film also has the last appearance of Marlene Dietrich who sings the title song.

In some ways the film is serious, in other ways it has the touch of parody of the period and films about the period, also utilising the film techniques that were popular in Germany during the silent era.

The film is a blend of both hope and despair. It is interesting to see David Bowie in such a serious acting role, although he had appeared in The Man Who Fell To Earth and was about to appear in The Hunger.

1. The meaning of the title? Its tone and emphases? The song and its lyrics and indication of themes? The ironic title and the indication of the type of film and treatment?

2. The film's view of itself ? the re-creation of Berlin in the 1920s, the stars and their roles? The ironic touches and humour of the screenplay, parody? The tradition of films about Germany in the early 20th. century, the origins of Nazism? The opulence of the film and its appearance? The ironic tone?

3. What did the film have to say about Germany, Nazism? Germany and its people in the 1920s? Their attitude towards life, towards war, towards survival, toward the origins of World War ll? For whom was the film made? The purpose of making this film?

4. Production notes indicate that there were disputes about the editing oft the film. Is this evident in the finished product? The overall effect especially in the latter part of the film? The cumulative effect of satire parody, social comment?

5. The effect of the re-creation of Berlin in the 20s? The attention to period detail? The German location filming? Costumes, décor, buildings, street scenes? The set pieces illustrating the times. the cabaret, promenades throughout the city, riots, parties, cinema of the time? The importance of the songs and the atmosphere of the score? The art tone of the film and the importance of its visual appearance?

6. A film about films? The use of the techniques of the contemporary filmmaking eg. the use of silent film techniques for 1918 and the war, the use of the speed of silent films for jerky and awkward atmosphere, the visual impression of German films of the time? The tradition of Cabaret and its imitators? The use of the styles of musicals - especially the Hollywood musicals of the 20s? The effect of this cinema comment on the period and its issues?

7. The structure of the film: the prologue and the mock-heroic atmosphere of the trenches, the devices of the passing of the years and the captions, the two ladies and their walking around Berlin and their ironic comments on society and on Paul's behaviour? The final comments of the ladies? A distancing technique yet involving the audience?

8. How important was the audience's knowledge of the history of the times: the Germans and their attitudes towards World War One, the motivation for the war, the Kaiser and loyalty? The atmosphere of elegance and its superficiality? Germans surviving after World War One and poverty in Berlin? Decadence? The work of the socialists and street revolution? The movement of so many Germans towards America especially towards Hollywood? The importance of likening the Germans of the time to gigolos, with the options to excel in war if there were a war or in death? The breeding-ground for Hitler and the Nazis? Audience knowledge of the history to appreciate the ironies in the telling of the story?

9. The introduction of Paul, as played by David Bowie, his appearance, manner? His presence at the opening, his academic training, war and honour, presence in the trenches, the captain, the facing of death? The possibility of death and his ironic survival? The farce of his receiving French honours and the discovery of the truth? The point being made about World War One? French and Germans (the irony of David Bowie's and David Hemming's very English presence and accent?)

10. The impact of his return, post-war Berlin, hunger, socialists in the streets, Cille and her songs and acting, Paul and his carrying the pig, people's observation? His return home, the encounter with Aunt Hilde and the residents? The discovery of his mother and her having to work, her presence in the baths and the atmosphere and look? His going to work there? His own room and his return home? His inability to adapt to this kind of work after the war?

11. The character of Cille and her friendship and love for Paul? Her presence in the streets, the riots, her love for Paul, seeing him at home, her song and dance routines in the burlesque cafes? Her presence at the banquets and the mockery? Her liaison with the Prince, her going to Hollywood? The presentation of her as a Hollywood star, her marrying the Prince and the lavish wedding? The irony of her spending her wedding night with Paul? Her presence at the end dressed in the bridal gown with his lying in state? The point about Cille and the transition of socialist to bourgeois? The woman in post-war Germany?

12. The portrait of the Captain, his old and traditional values, his charging, and refusing to acknowledge the armistice? His reappearance after the war, the boxing, his homosexual friend, the homosexual attitudes of the Captain? The friend fighting with Paul? The Captain and his platitudes, his causes, his power, the demagogue and the people responding to his slogans without thinking, his talk about a new Reich, his attitude towards women and insulting them, his presence at the meal and the insults? The irony of his headquarters underground, in the tunnel with the trains going by? His emerging literally from the underground? His presence at the party and his putsch, their violence? The death imagery that he held up? His being the symbol of Hitler? How effective?

13. Paul and his career during the 1920s, as a symbol of the Germans In the time? Drifting, his dreams, his potential, his relationship with his aunt, the changes in Cille, his love for his mother? The significance of his father and his catatonic state? His dependence on the Captain and his appearance and disappearance? his loyalty to him and yet his wandering away? The image that he presented? In his appearance almost as an icon of the times? The ironies of his becoming a gigolo, the interview with the Baroness and her employing him, the significance of her questions? His skill in being a gigolo, his being hired out? The encounter with the Prince and the ironies of the palace? The encounter with the widow and his presence at the funeral with the guns and the battle at the funeral? His liaison with the widow, clothes? His return? His being employed to father the widow's child? His presence at Cille's wedding after watching her in the film, spending the night with her? Hts emergence from this experience to death? The images of him walking in the shadows and lights of the street? The ironies of his death? Image, character, the Germany that he represented? Its futility? and what would have happened had he survived?

14. The portrayal of his mother, her having to go to work, her fussing and love for him, her pride in him? Her work in the baths, her presence at home, the banquet for the Captain and its failure? Her lack of comprehension, her lack of understanding of the Nazis? Her inability to understand at the end? The father, the speeches about him, his expectations of death by a bullet? Why did he turn and look at his son at the end? The significance of this look?

15. The personality of the Baroness, her interrogation, her speeches? Her comments on the morals of Germany and exploiting these? The lyrics of the song and its reprisal during the final credits? Marlene Dietrich and her presence in the German films of the 1920s, The Blue Angel? A symbol of Mother Germany? An proprietress of the Hotel Eden, the men that she had working for her, their manners, the elderly ladies that they served?

16. The character of the widow, Kim Novak’s presence in the film, the mocking of the character of the widow? her behaviour with Paul, the funeral, the farce and the battle? Paul comforting her? The clothes? The liaison and his living with her? Her fashionable marriage and the fathering of her child with the husband looking on?

17. Comment on the portrait of changing Germany during the 1920s, the commentaries of the two ladies, the superficiality?

18. The background of cabarets and their style, burlesque, the transvestite tones, the garish and decadent tones, the Hotel Eden and the dancing? The films and the Hollywood style-parties?

19. The contrast with the gangs, the neo-Nazis, their intrusion into the party? The mindlessness of the followers of the Captain, the riots? The streets of Berlin and the end and the killing of Paul? The neo-Nazis and the death of old Germany?

20. The film as a spoof, parody? Insight by spoof? A matter of taste for appreciation?

JUSTINE

US, 1969, 116 minutes, Colour.
Anouk Aimee, Dirk Bogarde, Robert Forster, Anna Karina, Philippe Noiret, Michael York, John Berman, Jack Albertson, Cliff Gorman, George Baker, Michael Constantine, Marcel Dalio, Barry Morse.
Directed by George Cukor.

Justine is based on one of Lawrence Durrell’s quartet, The Alexandria Quartet. One of the difficulties of the film is that the complexity of the novel and its myriad characters have to be compressed into two hours’ running time. Critics were severe on the film, complaining of its being over-complicated with characters coming and going, not well explained.

However, the setting is Egypt in 1938, the atmosphere prior to World War Two. The focus is on Justine, a mysterious character who begins affairs and intrigues a young British official, Darley, played by Michael York. There is another British official who observes what is going on and negotiates the complexities of intrigue, Pursewarden, played by Dirk Bogarde.

The film has a very good cast, recreates the atmosphere of Egypt between the wars, the atmosphere of intrigue. It is interesting that Justine is found out, especially in her plots for arming Jewish dissidents. She finally goes to prison. Perhaps, the screenwriters hoped that the further novels in the Alexandria Quartet would be filmed.

Joseph Strick, better known for more offbeat films of difficult novels such as Ulysses, began to direct but was fired. The veteran George Cukor was brought in and brings his skill and craft to the film. Cukor had won the Oscar five years earlier for his direction of My Fair Lady.

1. What was the purpose of this film? How entertaining was it? How interesting in its characters and picture of another world? Was it a successful film? Critics said not.

2. How well were we immersed in an alien world by the character of Darley? His commentary and the flashback techniques? Were these effective? Were we meant to see through Darley’s eye? Did we?

3. Comment on the presentation of Alexandria as a city in the thirties, the visual beauty and visual ugliness of the city? The location photography and settings? The city was referred to as obscene and having to come to terms with its obscenity? How evident was this? was the obscenity of Alexandria convincingly presented or did it seen too contrived? Was there enough normality to balance the life of Alexandria?

4. How interestingly did the film integrate the political situation in Egypt, the role of the British in Egypt? the Muslim ascendency there, the revolution of the Coptic Christians?

5. How was Justine a central character within this atmosphere? How much good and how much evil were in her? How did she represent this world to the outsider? How clear was her character? Was it opaque?

6. Considering Justine and the people in their relationships with her, how pessimistic was the film? Any hope or optimism?

7. The character of Darley, how weak was he? Was he a good poet? How was he used? Is he typical of the naive young man who is about to involved in situations out of his depth and becomes a victim? (Does the film imply that this is how most of the audience would be in similar situations?)

8. Why did Darley become involved with Melissa? How interesting was the character of Melissa? Could you understand her - in her background as a dancer? Her illness? her weakness? her dependence on Darley and her being hurt by his infidelity? What hope did she have in her life? Her reliance on drinks and drugs? Her prostitution? How typical of a victim in Alexandria and the world was she?

9. The emotional commentary in the sequences of Mrs Cohen and infatuation with Melissa? The barber's sequences and the irony of this microcosm? The emotional dependence of Mr Cohen? emotional overtones of his death? How convincing were these? Justine's presence there and Darley’s involvement?

10. Why did Darley allow himself to be involved with Justine? How did she seduce him? How important were the sequences on the beach with the horse? the swimming, the growing infatuation? Why did her husband permit this? What was your immediate reaction to this? Was it changed when the truth was revealed?

11. Reaction to Justine and her husband's life? Their social standing and outward behaviour? His allowing her to act as a whore? The truth of their dependence on each other? His using her for political purposes? Her Jewish background and the fact that they were helping the Jews in Palestine? The inter-relation of emotion and politics in the two of them? How ugly was this? How idealistic?

12. The dramatic importance of the brother for the film? His savage intensity? His involvement in politics? As a man from the country and a bachelor? His religiosity? The irony of the murder at the party? The irony of his death when he was too much of a risk? What commentary on the Egyptian character and the intensity of politics did this character give?

13. How important for the drama was the character of Pursewarden? As portrayed by Dirk Bogarde? The fact that he was so British? His relationship and infatuation with Justine? His involvement with his work in Egypt? His expertise? His decaying, especially with drink? The dramatic intensity of his relationship with his sister? How well and discreetly was this done in the film? His relationship with Mountolive?

14. How important was his growing disillusionment with Justine? Her trying to use him with the prostitute? Her refusal? His disappointment with his sister and Mountolive? His discovery of the truth about Justine? his disgust with this and his death? The political overtones and nationalism of his death? How important was Pursewarden's view for our appreciation of the whole film?

15. How was disillusionment a key for understanding the film and its characters? The sequences of the disillusionment of Darley? Of Justine's continuing to p1ay with his affections? The disillusionment of the husband when the truth was told? The disillusionment with Justine as the world changed?

16. What ironic and dramatic comment did the end of the film give? Of Justine's ability to survive in an evil world, how ugly was this?

17. How well did the style of the film portray the world of the characters their interior and amoral or moral world? How much value does a film like this have in terms of revealing good and at evil to its audience? Was the film successful in this way?

JOSEPH ANDREWS

UK, 1977, 104 minutes, Colour.
Ann Margret, Peter Firth, Michael Hordern, Beryl Reid, Jim Dale, Peter Bull, Kenneth Cranham, Karen Dotrice, James Villiers, Norman Rossington, Patsy Rowlands, Murray Melvin, Ronald Pickup, Penelope Wilton.
Directed by Tony Richardson.

Joseph Andrews is a screen version of the classic Henry Fielding novel. Fielding came onto the screen with great success in 1963 in Tony Richardson’s film version of Fielding’s Tom Jones. It set the mark for stylish 18th century costume romps. It showed the life of English aristocracy as well as the lower classes during that period – especially the more bawdy aspects. (Another British romp, with Nicky Henson, was made during the 1970s called The Bawdy Adventures of Tom Jones.)

Joseph Andrews is another attempt to cash in on the success of Tom Jones. Tony Richardson, who won an Oscar for his direction of Tom Jones, again directs here. However, Joseph Andrews is not the quality novel that Tom Jones was – and this shows in this film. While there is the parody and satire, there is not the incisive look at British society. This one might have been called The Bawdy Adventures of Joseph Andrews.

However, the set design and costumes are quite striking and there is a very strong cast especially with British character actors. Once again, as with writers of the 18th century, many of the names of the characters describe who they are: Ann-Margret? as Lady Booby, Beryl Reid as Mrs Slipslop, Murray Melvin as Beau Didapper.

The film is certainly entertaining in a more crude kind of way. It is, of course, a feast for the eyes. When one thinks of it, it probably is a not inaccurate picture of aspects of life in the 18th century.

1. The appeal of 18th century films? The re-creation of the period, its atmosphere, way of life end values? The light side, the serious side? English history, the English heritage?

2. The reputation of Henry Fielding? Joseph Andrews as a satire on Samuel Richardson? The prologue to Tom Jones? The picaresque stories of the 18th century hero? The satiric asides on human nature? Affection for human nature, the barbs at human behaviour? The contrast with the sentimentalising moralism of Samuel Richardson? Are these elements seen in the film? How?

3. The reputation of director Tony Richardson for Tom Jones? The success of the adaptation of Tom Jones to the screen in the sixties? The hero and heroine, the English way of life, the broad sweep of 18th century society in city and country, rich and poor, religious and non-religious? The visual presentation of Fielding's comment on human behaviour? How well did Tony Richardson imprint this style on Joseph Andrews? His use of the British ensemble cast and their working together, even in guest roles?

4. The structure of the film and its reliance on Fielding's picaresque structure? The adventures of the hero? Of the heroine? Dangers, dangers resolved? Introduction of a succession of supporting characters? Coincidence, mystery of identity?

5. The themes of innocents abroad with Joseph and Fanny? Their true innocence and naivety within the society in which they lived, people's designs on them and wanting to use them, their keeping their innocence despite all dangers and adventures? The dedication and innocence of true love?

6. The earthy style of the 18th century? The broad way of behaviour, love and lust, exploiting people? The earthy tone of the film and its presentation of sensuality, sexuality? Virtue and vice? Food, eating and drinking? Ordinary human behaviour? Human functions?

7. The portraits of individuals and of society? Destiny and people's aims and goals within this society? The happy ending for the good, the thwarting of the evil?

8. The focus on Joseph himself? The initial presentation at the Spring festivities, his love for Fanny, his service for Lady Booby? Lady Booby and her exploiting and manipulating him? Trying to seduce him? His work in service in the country? Coming to Bath, at Bath? His innocence and the instruction of Parson Adams? His being dismissed and Mrs Slipslop's attitude towards him? The beginning of his series of adventures and the way that this affected him? His being robbed, his clothes taken, his being befriended? His meeting with Parson Adams? With Betty and with Mr and Mrs Tow-wouse? The various arrests, Squire Weston? The chases? His hearing of the gypsy stories and their being visualised? The encounters with Fanny and the dangers? Black Bess and his rescuing her? His saving her from rape? His succumbing to her and Parson Adams reaction? The prospect of their being brother and sister? The happy ending and the future? The irony of his being Lady Booby’s son? How well delineated a character? The picture of a young boy moving through this 18th century world?

9. The contrast with Lady Booby? Her aristocratic status, her attitude towards her boorish husband? Her observing the maypole and the Spring festivities? Her lust and designs after Joseph? The situations in which she put herself, for example at Bath in the bath? Her vengeance and his dismissal? Her attack against Fanny? Her manipulating him into her presence at the end? Her devious work with her nephew? Her shock at the discovery of his relationship with Pamela and her nephew? The irony of Mr Wilson's arrival? The filling-in of the audience in information about Lady Booby and her acting career, her low rank, her pregnancy, her marriage? Her changing her designs at the end - that she would survive? A satiric portrait of a climbing woman of the 18th century?

10. The presentation of Parson Adams and his rural background, his family? His educational and religious values? His absent-mindedness? His genial attitude towards Joseph? Sharing his adventures and rescuing him? Their being about to be whipped at Squire Weston’s? Lady Booby’s nephew rescuing them? His reaction to the pedlar's tale? His love for Joseph and Fanny, his reaction to their making love, his wanting to marry them? His being made a figure of fun in wandering the manor house in his night shirt? How affectionate a portrait of an 18th century Anglican parson in the country?

11. Fanny as heroine? The parallel innocence with Tom, the devotion to him at the Spring festival? Her being dismissed, meeting him on the road, sharing rescues and dangers? The long presentation of the corrupt nobleman and Black Bess? The attempted rape and her rescue, her identity and the happy ending?

12. The humour in the presentation of Mrs Slipslop? Her amorous advances, her designs against Joseph, against Fanny? A satire on this kind of woman?

13. The character of the pedlar and his stories and involvement in them? The nature of the flashbacks? The gypsy and the stealing of the children as part of the atmosphere, of the time? The complications with identities? The portrait of the Wilsons and their marriage and loss of their child? The presentation of Mrs Andrews and her receiving the child and her explanation about the wars for her husband?

14. The presentation of life in Bath and the way of life at the baths, the aristocracy, the gay tops? The townspeople with Lady Tittle and Lady Tattle?

15. The way of life on the roads and the dangers with highwaymen and robbers?

16. The presentation of Mr Tow-wouse and his blacksmith work, Betty and her attempted rape? Mrs Tow-wouse and her crankinesss, greed? A savage picture of these individuals and their way?

17. Squire Weston and the background of Tom Jones? the humour and satire especially in his shooting the three men at once? The satire on the arrogant fool of the century?

18. Comment on the film's attention to detail of the presentation of characters, decor, costumes, location and the feel of the 18th century? The contrast in style with the 20th century? Similarities? A humorous and earthy treatment of values?

JOHNNY TROUBLE

US, 1957, 80 minutes, Black and white.
Ethel Barrymore, Stuart Whitman, Cecil Kellaway, Carolyn Jones, Jesse White.
Directed by John H. Auer.

Johnny Trouble is a short, low budget, sentimental drama. The focus is on Ethel Barrymore in her last film as an elderly widow looking for her lost son. Stuart Whitman is introduced in this film although he had appeared in supporting roles prior to this. He is her wish fulfilment. There in a strong performance by Carolyn Jones as Johnny’s girlfriend. The film serves as a reminder of the styles and interests and sentiment of the mid-fifties.

1. The focus of the title and audience expectations?

2. A sentimental drama, for what audiences, for what kind of response? Pleasant, insight?

3. Black and white photography, small budget? Ethel Barrymore and the focus of the drama? The appeal with the presentation of the church and Mom Chandler's story? The presentation of her hopes? The focus on her as a character, her age, relationship with him and the help that he gave? The transition from church to fashionable hotel? The crisis of her being evicted and her ploys with the university? Her friendly relationship with the students, her visits, embarrassment, calling her 'Ma'? Her focusing on Johnny? The encounter with Julie and the verbal confrontation, Ma's helping her? The helping of Johnny, especially with the board? Her joy at their marriage? Her explaining her belief to Johnny? The contentedness of her death? The irony in Tom's explanation to the congregation? How interesting a portrait of a disappointed lady growing old and getting satisfaction from life? Her old wisdom?

3. The portrait of Tom Mc Kay, his loyalty and help, his enjoying the encounters with the university, students, the importance of his revelation of the truth? The social comment and humour at the hotel situations, the man encountering Mrs Chandler and trying to argue her out of the hotel, the change of attitude on his part, on the part of the university authorities?

7. The portrait of American university students in the late 1940s? Ordinary types, humorous, roughneck,, sentiment? Their various personalities, rough talk to one another? The influence of Nana?

8. The portrait of Julie? Tough, getting late, the hotel at night, the conversation, the clash with Johnny, their being together, the coping with the pregnancy, the married couple staying with Mrs Chandler?

9. The focus on Johnny, the chip on his shoulder, tough attitudes, the background of the Marines, his reaction to being called ‘killer’? Study. relationship with Mrs Chandler, the marriage and the long discussion about the right thing to do - and Mrs Chandler’s ploy of appearing callous? The happy ending?

10. A piece of sentimental Americana, a portrait of ordinary people, their needs, happiness?

JOHNNY O' CLOCK

US, 1947, 96 minutes, Black and white.
Dick Powell, Evelyn Keyes, Lee J. Cobb, Ellen Drew, Nina Foch, Thomas Gomez.
Directed by Robert Rossen.

Johnny O’ Clock is a film noir from the strong period of these black and white dramas. Dick Powell had already appeared as Philip Marlowe in Murder My Sweet and was to appear in other noir films including Cornered and To the Ends of the Earth. While he had begun his career as a song-and-dance man, he moved very easily into the role of tough cop and detective. His later career was in directing. He has a good supporting cast including three character actresses, Evelyn Keyes, Ellen Drew and Nina Foch. Thomas Gomez is a sinister villain. Lee J. Cobb is the police.

The film is the first directed by Robert Rossen. During the 1930s and the first half of the 1940s he wrote a great number of films including Dust Be My Destiny, The Roaring Twenties, The Sea Wolf and A Walk in the Sun. However, from 1947 for the next thirty years he directed only ten films. Most of them are quite significant in their way: Body and Soul, All the King’s Men for which he won the Oscar for best film and best director, The Brave Bulls, Mambo, Alexander the Great, Island in the Sun, They Came to Cordura, The Hustler and Lilith.

While the film doesn’t have quite the spark of other film noir of the period, it is well done and is interesting to see its place in the work of Robert Rossen.

1. An interesting and enjoyable gangster film? The atmosphere of the gangster films of the 40s, characters, situations, social background, crisp and brisk plot and characterisation? Enjoyment then, now?

2. Dick Powell's reputation and style in this kind of film? Tough American hero, attitude towards the law, independent, tough, sentimental? An admirable hero? An image hero?

3. The contribution of black and white photography, the constant use of light and shadow?

4. The presence of the police and the contrast with the gangsters? The atmosphere of the hotel, Mar Clim apartment? The urban setting, sleazy atmosphere, crime? The contribution of the musical score? The indications of the title the personal and the symbolic? The opening with the clock, the clock gifts? Symbols and use?

5. Johnny O’ Clock as a type - his war experience yet twenty years of tough hard dealings his relationship with Marchettis, his running a gambling joint, his time table? His feelings? as manifested to Koch with surly independence?

6. Affection for Charlie as his bodyguard - and his misjudging him and the betrayal? His being a father confessor for Harriet and encouraging her? A friend and helper to Marchettis yet his threat to him? Nelle and her infatuation and using him and betraying him for wealth? Blaydon and his corrupt attitudes? Koch and hie pursuing the criminals and his alliance with Johnny? Audience's attitude to do him as hero?

7. What changed Johnny throughout the film? His experience of Blaydon going to Marchettis, the money, Harriet’s death? Well and her infatuation and wanting to betray him? Marchettis and his violence? Koch and the prods to conscience, Nancy and human feelings and love? How did his way of acting differ? A man of violence yet a man of conscience? The pressures at the end, his wanting to escape, his being persuaded to face up to realities and justify himself? The semi-tough American image? Blaydon and Marchettis as evil?

8. The corrupt policeman, the shooting of the policeman and the killer? His greed and Marquettis, violence and vengeance? Marchattis and his greed, money, his possession of Nelle, jealousy of jolinry? His cruelty towards Harriet?

9. His lies and bluff, the final evil and his inevitable death? Pigeon of evil? The irony of Charlie and his seeming devotion, his being hurt by Johnnie, attitudes, his willingness to betray him? violent end? The picture of the women he used to loved? Nancy as heroine, Harriet as innocent destroyed? Nelle as vamp and to be destroyed? The initial focus on Harriet, her talking to Johnnie and the personal relationship as well as revealing the plot? The suddenness of her death? and its meaning and the pursuit of justice?

10. The contrast with Nelle as the gold digger, bored with her existence and her wealth, wanting both worlds, her vengeance. her use of the clock and this as a means of Marchettis being jealous of Johnnie? Her changing sides and trying to save herself at the end? A typical selfish vamp?

11. Nancy as heroine? her grief, attractive, hard life, the breaks, her decision to stay, her puzzle over the ambiguous attitudes of Johnnie, their meal together, the airport, experiencing the violence against him, staying with him, persuading him to give up at the end?

12. The gangster touches especially in the final confrontations and shootouts, the background of the gambling casinos and the atmosphere? The police involved in this kind of work?

13. Themes of violence and death in the American city? A portrait of urban values and lack of values? valid in the 40s, now?

THE JOLSON STORY

US, 1946, 128 minutes, Colour.
Larry Parks, Evelyn Keyes, William Demarest.
Directed by Alfred E. Green.

The storyline for The Jolson Story and Jolson Sings Again is continuous. The sequel begins exactly where the original ended. (A reminder that there was a passion for sequels to successful films as far back as the 1940s.)

Larry Parks achieves a lifetime high in his impersonation of Al Jolson, even though he looks nothing like him. Jolson was alive at the time – and the screenwriters were shrewd in the comments made after the original that it was a fictionalised, even idealised, portrait of the singer in having a scene where Parks impersonates Jolson having a conversation with Larry Parks after seeing one of Parks’s performances of his songs.

Larry Parks brought a genial presence to the character of Jolson (which many said was not exactly the same as the more acerbic reality). Parks is also skilful in his lip-synching of Jolson’s famous songs including ‘Swanee’, ‘April Showers’, ‘California, Here I Come’. This emphasis on the songs continued from the original into the sequel.

The film was well acclaimed, winning Oscar nominations for Larry Parks and William Demarest for their performances as well as musical score and colour photography.

While these films revived Al Jolson’s career though he was to die fairly soon after they were released, the films did not save the career of Larry Parks who was accused of being a communist and was blacklisted. He appeared in very few films afterwards but made an appearance in John Huston’s Freud. The ban also affected his loyal wife, the singer-comedienne Betty Garrett who was so much to the fore in some MGM musicals including Neptune’s Daughter and On the Town.

The films compress Jolson’s life, but highlight his relationship with his Jewish background, especially his father. It shows the choices he made of taking up the stage rather than following in his father’s footsteps and committed to his religion. The films also show him having only two wives – whereas he had four. Ruby Keeler, singer-dancer of many of the Warner Bros films of the 1930s, including some with Jolson like Wunderbar, is compressed into the character of Julie Benson, played by Evelyn Keyes. In the sequel, the wife who takes care of him and persuades him to calm down is played by Barbara Hale. William Demarest plays his manager Steve Martin in both of the films.

There was a popularity of doing biographies of living singers and composers during the 1940s and 1950s including Rhapsody in Blue about George Gershwin, Night and Day about Cole Porter, Till the Clouds Roll By about Jerome Kern, Words and Music about Lorenz Hart, The Danny Thomas story about Danny Thomas. The Jolson Story and Jolson Sings Again stand out as some of the best of these biopics.

1. The status of this film an a classic biography? As a classic film?

2. The impact of Al Jolson? Popularity? As an American entertainer, prominent figure in American theatre? Songs and style of singing? His appearance in 'The Jazz Singer'? His reputation in the early part of the century? Now?

3. The film an presenting show business in America? The world of entertainment? Wide audience interest in American entertainment and its style?

4. The contribution of colour, songs, dancing? Jolson's songs and his musical style? The world of burlesque, the world of Broadway musicals?

5. The presentation of the Jolson favourites for example 'Mammy', 'California Here I Come', 'April Showers', 'Rock-a-bye', 'The Anniversary Waltz'? Their insertion into the film, dramatic emphases?

6. The quality of Larry Parks' performance and his imitating Jolson's style, the dubbing of the songs? Evelyn Keyes as Ruby Keeler? Comment on the presentation of Jolson in real life and yet the changing of Ruby Keeler's name to Julie Benson while retaining the original titles of her films?

7. The chronological structure of the film? The lack of emphasis on detail in Jolson's life? The emphasis on the varying audiences and audience response to Jolson from the time that he was a boy to his big stardom? Comment on the cinematic devices for the passing of time, journeys, letters and postcards to his family?

8. The introduction to the world of burlesque and Steve Martin's style of act? The introduction of the Jewish boy enthusiastic about singing and his impact on Martin and the audience? The introduction of the Jewish background and his father as a cantor? Martin, Jolson's running away from home, jumping the train, the arrest, the irony of ending in a Catholic institution and singing Ave Maria? The introduction to the family: the mother and the interest in her son's career, the cantor and his strictness? The highlighting of Jolson's talent, his ambitions? Indications of his character? Determination? The emphasis on the audience response?

9. The importance of the character of Stove Martin: the old-style burlesque entertainer, his interest in the boy and helping him, their work together and the varying songs, Jolson's voice breaking and the whistling? The importance of Stove furthering his career and yet retaining the old style? His willingness to sacrifice himself and his career for Jolson's promotion especially to The Minstrels? The importance of Jolson hiring him an his manager and the bond between them? His managing of Jolson's life, advice?

10. The portrayal of the early days of burlesque, Al's ambitions, his quick thinking in whistling? His stepping in when the Minstrel was drunk, his ability to evaluate a situation?

11. The decision that he had to make and his devotion to Stove, his work with The Minstrels, his furthering his career, the impact of New Orleans and the jazz? The various jobs, his leaving The Minstrels, his arrival home and the sudden opening for Broadway and his pushing his way to the top? The opening night and his holding of his audience and making a success? The indication of his meteoric rise, the years passing with the various shows and their long runs?

12. The importance of the varying scenes with the family, acting an a chorus to his career, his putting off marriage and being too late?

13. The impact of success on him, the passing of the years, the Yid, amount of travel, bringing his shown to a Yid audience? Sunday night shown for show business people like Ziegfeld? The prospect of the opening up of film and talkies, the wide audience?

14. The encounter with Julie Benson and the Sunday show, the singing of April Showers, the party, his continued talk, his courting her, his phoning from California, presence at her opening, the joy of their marriage and her acceptance by the family?

15. The call of Hollywood? The success of 'The Jazz Singer'? The continued contracts? Julie going to Hollywood and her acceptance of the contracts for Al? The years passing, their individual successes, filming together? The dream of retirement and the symbol of the house?

16. The crisis and Al's decision to retire? Their trip together? The happiness and yet it not being satisfying? The importance of the anniversary sequence and the arrival of his parents? The singing of The Anniversary Waltz? The arrival of his manager friend and the going to the night club?

17. The revelation of his happiness in singing? Julie and his father realizing this? The significance of her leaving?

18. How much insight into a person's life? An entertainer and his obsession with entertaining and his audience? The dominance of career and success over the human level? American entertainers? How well did the film give insight in terms of a musical biography?

JOLSON SINGS AGAIN

US, 1949, 96 minutes, Colour.
Larry Parks, Barbara Hale, William Demarest.
Directed by Henry Levin.

The storyline for The Jolson Story and Jolson Sings Again is continuous. The sequel begins exactly where the original ended. (A reminder that there was a passion for sequels to successful films as far back as the 1940s.)

Larry Parks achieves a lifetime high in his impersonation of Al Jolson, even though he looks nothing like him. Jolson was alive at the time – and the screenwriters were shrewd in the comments made after the original that it was a fictionalised, even idealised, portrait of the singer in having a scene where Parks impersonates Jolson having a conversation with Larry Parks after seeing one of Parks’s performances of his songs.

Larry Parks brought a genial presence to the character of Jolson (which many said was not exactly the same as the more acerbic reality). Parks is also skilful in his lip-synching of Jolson’s famous songs including ‘Swanee’, ‘April Showers’, ‘California, Here I Come’. This emphasis on the songs continued from the original into the sequel.

The film was well acclaimed, winning Oscar nominations for Larry Parks and William Demarest for their performances as well as musical score and colour photography.

While these films revived Al Jolson’s career though he was to die fairly soon after they were released, the films did not save the career of Larry Parks who was accused of being a communist and was blacklisted. He appeared in very few films afterwards but made an appearance in John Huston’s Freud. The ban also affected his loyal wife, the singer-comedienne Betty Garrett who was so much to the fore in some MGM musicals including Neptune’s Daughter and On the Town.

The films compress Jolson’s life, but highlight his relationship with his Jewish background, especially his father. It shows the choices he made of taking up the stage rather than following in his father’s footsteps and committed to his religion. The films also show him having only two wives – whereas he had four. Ruby Keeler, singer-dancer of many of the Warner Bros films of the 1930s, including some with Jolson like Wunderbar, is compressed into the character of Julie Benson, played by Evelyn Keyes. In the sequel, the wife who takes care of him and persuades him to calm down is played by Barbara Hale. William Demarest plays his manager Steve Martin in both of the films.

There was a popularity of doing biographies of living singers and composers during the 1940s and 1950s including Rhapsody in Blue about George Gershwin, Night and Day about Cole Porter, Till the Clouds Roll By about Jerome Kern, Words and Music about Lorenz Hart, The Danny Thomas story about Danny Thomas. The Jolson Story and Jolson Sings Again stand out as some of the best of these biopics.

1. The value of the sequel with the success of the original? The commercial value of the sequel? Interest in Jolson in the forties? The revival of interest in the person, his music and singing styles? An indicated at the end of the film?

2. The continued production values of the original? Music, songs, Larry Parks' skill in miming Jolson's songs?

3. Further insight into the person of Jolson? His age, retirement and wasting time, reaction to his mother's death, caring for his father, Stove and his career during the war, illness, marriage and settled retirement, failure and confronting this, the film biography and the rejuvenation of his career and interest in singing? The consistency of the character portrayal with the original?

4. The obsession with singing and his whole lift centred upon his singing, his having to learn the more humane aspects of life and enjoying it? How well did he do this?

5. The immediate linking of the sequel to the original (even though three years difference in production?), the initial production, the sequence continued from the earlier film, the later summary during the preview? The sequences of Parks as Jolson meeting Parks as Parks?

6. The continued portrayal of the family and their love for him, worry about his age and failure, the divorce, his mother's death? His father's presence in his later years? Stove's continued friendship and devotion, management?

7. The importance of Ellen and the contrast with Julie? The nurse and her caring for Jolson and her interest in his singing career? Their courtship, her shrewdness, marriage, her support, buying the house to exorcise his memories, her continued encouragement for his career, singing at the Benefit the film? Peaceful happiness with him?

8. The portrayal of Bryant during the war and the singing in Alaska, his memories of Jolson, role as a film producer, his hearing Jolson at the benefit and his idea about the film, the support that he gave to Jolson?

9. The brief picture of his reaction to the divorce, the closing down of his career, retirement, wasting time and money? The revival of interest in helping the troops during the war?

10. Stove and his role of hiring artists to work for the war effort, Jolson's collaboration, the devices for shoving his tours and schedule, his collapses and illness?

11. The impact of retiring on him, the benefit when he was amongst many others and the irony of his final success?

12. His reaction to the filmmaking, his exhilaration after hearing himself recorded, of seeing Larry Parks mime his songs, his emotional involvement in the filmmaking, the film preview?

13. The film ended with a sense of achievement, of his popularity with the new generation? A satisfying life on the level of profession, as a human being?