THE JOKERS

UK, 1967, 94 minutes, Colour.
Michael Crawford, Oliver Reed, Harry Andrews, James Donald, Daniel Massey, Michael Hordern, Frank Finlay, Warren Mitchell, Rachel Kempson, Edward Fox.
Directed by Michael Winner.

The Jokers is an early film by eccentric director Michael Winner. After beginning with small-budget films in the early 1960s including The Cool Mikado, Winner got into his stride with You Must Be Joking in 1965. The Jokers was his next film. He then went more upmarket with I’ll Never Forget Whatsisname and The Games. Winner then spent the 70s in the United States making interesting westerns like Lawman and Chato’s Land, spy thrillers like Scorpio as well as the variation on The Turn of the Screw, The Nightcomers with Marlon Brando. He made five films with Charles Bronson including three of the Death Wish films. However, he did not make so many films during the 1990s – but still remained a character in England with appearances on television, commercials, restaurant critiques.

This film is something of a shot at the British upper classes. Oliver Reed and Michael Crawford are two brothers who are drifters, Michael Crawford having been drummed out of the army. While they don’t trust each other, they decide to perform the ultimate robbery – and steal the Crown Jewels. Needless to say, not everything goes their way.

Michael Crawford and Oliver Reed seem an unlikely pair of brothers. The film boasts a very good cast of strong British character actors who also seem to be enjoying themselves.

1. A good example of the crime genre? Differences, appeal, success?

2. The importance of the British tone of the film: English and London settings, a reliance on British traditions, style? The satire on the various levels of British life, society? By way of joke a tribute to Britain?

3. The contribution of London, in colour, the swinging side of London, high society, the ordinary side of London in the police, workers, the military, the tourists, especially at the Tower? The musical background?

4. The imaginative value of the robbery, its motivation, the involvement of the characters? The wit and satire in the dialogue?

5. The significance of the title, its irony, its application to the two brothers, especially to Michael?

6. The presentation of English society, the Tremayne family? The importance of expectations? Aristocratic behaviour? The university, the army? The pressures on the various brothers? Michael and his losing his positions? David and his inability to be an architect because of society? The rebellious attitudes in defiance of society?

7. Was it possible for the audience to sympathize with the two brothers in defiance? Their wanting to work within the letter of the law? The ingenuity of their plan, their wanting to be heroes and well publicised? Their yearning for success?

8. How interesting was the character of David? The introduction to him, the type, his work, relationship with women, dominance of Michael? The man who is basically honourable? The details of his plan, his involvement in the execution? The fact that he was double-crossed? The impact of his arrest? His trying to bring down Michael? The happy reconciliation at the end? What had he achieved?

9. The contrast with Michael, younger, brasher type, his being sent out from university and army? His relationship with David and always being second? His skill in helping David with the plan? His ability to cover his tracks? The point that he made in double-crossing David? His being the ultimate joker and hero? What had he achieved by the end of the film?

10. The importance of the portrait of the family, the remarks of mother and father, dinners, cricket matches etc.? The picture of the girl friends, the parties, the photographer? Newspaper reports of their goings-on?

11. The contrast with the police? Sympathy for the man in charge of the investigation, his hard-headedness, shrewdness? In some ways a tribute to the police? The character of Catchpole? His helping, his following the brothers etc.? The head of Scotland Yard and his wanting to do the right thing?

12. The portrait of the army? The young types involved in army life? The Colonel and his dithering and showing off to the photographers, his fear of danger, his not knowing what was going on? How well did the film poke fun at his incompetence? The importance of this satire on the army?

13. The details of the various bomb scares and the humour consequent on these? The indication of the risk of danger with the bomb in the toilet?

14. How well prepared was the audience for the robbery, its detail, cleverness? The week's aftermath with the two brothers on edge?

15. Did the audience expect Michael to trick his brother? The various devices used to trick Michael into the truth? The printing of the paper, the changing of the time on tho clock, the using of the poor man to meet the police in Trafalgar Square?

16. How satisfactory was the happy ending? How enjoyable an a satire, a caper and the points made about society and human nature?

JUBAL

US, 1955, 100 minutes, Colour.
Glenn Ford, Ernest Borgnine, Rod Steiger, Valerie French, Felicia Farr, Basil Ruysdael, Noah Beery Jr, Charles Bronson, Jack Elam.
Directed by Delmer Daves.

Jubal is a classic western from Delmer Daves who made such fine films as Broken Arrow and 3.10 To Yuma, also with Glenn Ford. Glenn Ford was at home during the 1950s in many a western including The Sheepman as well as 3.10 To Yuma. Ernest Borgnine is the older man, the ranch owner, Rod Steiger being the suspicious and vengeful farmhand. Valerie French is Borgnine’s wife, Jubal becomes involved with a travelling woman played by Felicia Farr.

What makes the film particularly interesting is that it is based on Othello with Ernest Borgnine’s character as the Othello and Rod Steiger, suitably enough, as the Iago (echoes of his Judd in Oklahoma).

1. A quality western? A psychological drama with sexual implications set in the West? How well were these ingredients combined? The importance of the Othello overtones in the character of Shep, the overtones of Iago in the character of Pinky? The Shakespearian themes as illustrated by western situations?

2. How well did the film use conventional western styles? The importance of the Cinemascope and colour, the presentation visually of the range, the cattle on the range, the religious groups migrating in the west, the various jobs that had to be done in maintaining a ranch? The importance of the musical score?

3. How interesting was the structure of the film, the stranger entering, his changing the way of life for most of the characters involved? The change in his way of life, the build-up to a climax and the final vindication? How well did this involve the audience?

4. The credibility of the plot and the characters? The presentation of their characters, the psychology of their interactions? How important for involvement and understanding of themes?

5. The centrality of the character of Jubal Troop? The impact of his arrival, the hostility of Pinky and the sneers at his being a sheepman with his smell, the contrast with the friendliness of Shep? The sign of contradiction that Jubal was going to be? A man of suffering who survived? Mae and her reactions to the arrival of Jubal, her continually thrusting herself at him, his wariness and his prudence, and the irony that this did not help him? The importance of Jubal's work on the ranch, Shep's approval of him and his response to this? The effect of friendliness on Jubal? The importance of his encounter with the migrating group, his intervening to help the group against Pinky's violence? The friendly relationship with Reb and its effect on Jubal? His fascination with Momi, the fact that he could love her, the importance of his telling his whole life story to her, the audience sharing her sympathy, her understanding of his bitterness, especially in the story of his mother's not wanting him, his father's death? How did that throw light on the character of Jubal and his reactions to the various people at the ranch?

6. How was Shep an Othello figure, a jovial and burly man, running his ranch, not trusting Pinky, bringing the best out of Jubal? The tensions and the ways these were presented in the marriage? Mae and her wandering eye, her own story about her marriage and her subsequent dissatisfaction? Shep's not suspecting Pinky of anything? The man who is finally goaded into jealousy by insinuation? The pathos of the fact that he was shot down by Jubal? The effect of this on Jubal?

7. The contrast with Pinky as a Iago figure? His sneers and self-hatred? His ambitions for the ranch, for Mae? His continued hostility towards Jubal and the contrast in their characters? The other ranchmen and their reaction to Pinky? Shep's reliance on him but not making him the foreman? The importance of the sequences between Pinky and Mae? The goading on of Shep, his manipulating the psychological reactions, his jealousy of Mae and of Jubal? The final confrontation with Jubal while loading the poses? His beating Mae? His over-reaching himself and his plans going awry? The inevitability of his death? Was he a credible evil villain?

8. The contrast of the two women? Mae and her background, the forced marriage, her inability to love Shep, Shep's cooking Jubal's advice on how to make her happy? Her affair with Pinky and its temporary nature? Her infatuation with Jubal, her following him, goading him, trying to seduce him? The importance of the sequence where she arrived at the camp for Jubal to accompany her home, the build-up to Shep's arrival and hearing her speaking in her sleep? Her lies about Jubal? The beating by Pinky and her death? Naomi by contrast as the pure girl? Her support of Jubal and helping the group to hide him? Her love for him? The contract with her jealous fiance? The inevitable happy ending and its appropriateness?

9. The contribution of the minor characters in theme and psychological strength of the film, Rob and his support of Jubal, especially at the gunfight? The migrating group and their gratitude towards Jubal, their hiding him, the devices that they took in order to avoid Pinky detecting Jubal?

10. The highlights of the film in the western styles the work, the men and their relationships in work and in recreation, the shootout at the end?

11. How well portrayed were themes of human nature, love, power and jealousy?

12. Violence and hatred? How useful Is a western setting for understanding human nature?

JOE KIDD

US, 1972, 88 minutes, Colour.
Clint Eastwood, Robert Duvall, John Saxon, Don Stroud, Stella Garcia, James Wainwright, Paul Koslo, Dick Van Patten.
Directed by John Sturges.

Joe Kidd is a small western in comparison with so many that Clint Eastwood made. It comes after his Sergio Leone trilogy, five years after The Good, The Bad and the Ugly. In the meantime, the former television star of Rawhide had returned to Hollywood, making a number of films including westerns like Hang ‘em High and the action adventure Where Eagles Dare. He had also sung in Paint Your Wagon. A year or two before, Eastwood had begun directing with Play Misty For Me and this film came out the same year as his first western that he directed, High Plains Drifter. In 1971 he had also appeared as Dirty Harry. For the next three and a half decades, Eastwood was at the top of his craft both in acting as well as directing, winning two Best Director Oscars for Unforgiven and Million Dollar Baby.

This is a more modest film with Joe Kidd as a cowboy siding with a Mexican against a group of bounty hunters. John Saxon is the Mexican, Robert Duvall the leader of the bounty hunters.

The film is conventional but very well made since the director was John Sturges who after a number of smaller films in the 1940s and early 1950s made Bad Day at Black Rock. He also made The Old Man and the Sea with Spencer Tracy. However, with Never So Few he began to make bigger-budget films which led to such blockbusters as The Magnificent Seven and The Great Escape. Towards the end of his career he made The Eagle Has Landed.

Not a well-known Clint Eastwood film but one which fits very well into his CV.

1. A good western, enjoyable? The focus on the name of the hero via the title?

2. The importance of colour and locations, musical background? The film as a Clint Eastwood vehicle? The particular style and qualities of an Eastwood western?

3. Audience interest and involvement in the western structure, the resolution? The standard structure for a western?

4. The importance of the early introduction to Joe; the trouble that he caused in the town, his background as a rancher, justice being administered on him, his ironic attitude towards being in jail, what was revealed about him in his court case? The ordinary man of the west, his belief in being able to do what he liked? Much indication of tho- hero to be? Did he have heroic qualities which needed drawing out?

5. The picture of the town? Mitchell's role as sheriff, the judge and his way of administration of the law, his being rescued by Joe Kidd, the posse and the people who belonged to it, life at the bar? The standard values of the
west, law and order, right and wrong, land and deals?

6. The contrast with Chama? As one of the oppressed and their leader, a man of vengeance, his philosophy of an eye for an eye as explained to Joe Kidd and after his helping Helen? The justice of the land situation? His violence, the fact that he then became a victim, being pursued by Frank Harlan and what he stood for? Chama’s relationship with Helen? His violence in attacking Eddie’s ranch? The decision about whether to let the hostages die or not? A man of violence who allowed himself to be persuaded to go to law? His motivation for this? His participation in the shoot-out? The moral of his submitting himself to administration and justice?

7. The contrast with Harlan and the evil that he represented? His values of right and wrong, greed, ownership of land and his ruthlessness? The posse and his henchmen and the types reflecting aspects of his violence, for example, Lamarr and his brutality, Roy and his cynical posing? Harlan and his poses of arrogance, hiring Kidd, eager to ferret out Chama, the hatred, Shooting, innocent people, and torturing them, the hostages and his willingness to kill them, his getting rid of Joe Kidd when he did not need him any more? The reasons for his accepting the challenge in the town? The movements throughout the court house before his death? The fact that he was executed by Joe Kidd? Did Joe Kidd have the right to kill Frank Harlan in this way?

8. Understanding Joe in the light of Chama and Harlan? The initial image of the west, his offhand attitude to Harlan’s girl, his experience of Harlan and his motivation? As asking for more money? His reaction to the cold-blooded murder? His wanting to help the tortured man? His admission of an error of judgement? His administration of justice on Harlan? his shrewdness in manipulating the individual numbers away? A saviour figure for the imprisoned hostages?

9. The importance of the shoot-out as part of the western convention, the added value of the train through the bar? A climax and a build-up appropriate to the shoot-out and these aspects of western law and order?

10. What are the values of the American west, as expressed in the conventions, as visualized in the seventies, for a response from world-wide audiences of the seventies?

JEANNE EAGELS

US, 1957, 108 minutes, Black and white.
Kim Novak, Jeff Chandler, Charles Drake, Agnes Moorehead, Larry Gates, Virginia Grey, Jean Lockhart, Murray Hamilton.
Directed by George Sidney.

Jeanne Eagels is based on the life of the famous, in her time, actress of stage and screen, Jeanne Eagels. Here she is portrayed by Kim Novak, at the beginning of her career and having made a success of such films as Picnic and Five Against the House. She was to appear the next year in Hitchcock’s Vertigo.

The film has fictionalised much of Jeanne Eagels’ actual life and career. She was born in 1890 and died in 1929 of a drug overdose. She was very temperamental but made a success of her career on stage in the theatrical version of W. Somerset Maugham’s Rain (filmed in 1929 with Gloria Swanson, then with Joan Crawford and, later, Rita Hayworth). She also received very strong reviews for her performances in the film version of Somerset Maugham’s The Letter (later filmed with Bette Davis and in a telemovie with Lee Remick).

The film stars Jeff Chandler as a carnival entrepreneur, an amalgam of several of the men in Jeanne Eagels’ real life.

The film is a Hollywood biopic about the collapse of a star, a female variation of A Star Is Born. But, in her machinations against an older actress, played by Virginia Grey, she is very much in the vein of All About Eve.

The film shows life in the theatre in the early part of the 20th century as well as early film-making. A solid cast of veteran character actors is in support.

The film was directed by George Sidney who had some fame from the mid-40s to the mid-50s as one of the key directors of musicals at MGM including The Harvey Girls, Showboat, Jupiter’s Darling. He was later to make the musicals Bye Bye Birdie and Half a Sixpence.

1. The quality of this film as biography? Audience interest in the subject, without knowledge of her? The impact of her personality and career of Jeanne Eagels? Kim Novak's adequacy in the role?

2. The use of black and white photography, the world of the sideshow, New York, the theatre and its atmosphere, Hollywood and the early -films? An authentic world in which to understand the personality and career of Jeanne Eagles? What kind of world did she live in, real, fantasy?

3. How interesting a study of a career, opportunities, ambitions, cruelty and betrayals, failure and success, decay? Trace the events in Jeanne’s life, the point where she could have changed the direction of her life and career?

4. The film as a study of success and failure? What were the elements of success in Jeanne’s personality, career and opportunities? What were the main elements of failure? 'Where did they manifest themselves most?

5. Comment on the personality and star quality of Jeanne Eagels: seeing her at the beginning of her career, her starting show business, her work in the sideshow, her push and ambition, her confronting of Madam Neilson,
her capacity for lying, for contriving situations with theatrical people, of stepping, over people, even being responsible for their death, the success and achievement in the performances of Rain, her film career?

6. The personality of Jeanne, her self-reliance, her capacity for love, her relationship with John Donahue? why couldn't she remain intimate with people? Why did she go off by herself, for years? The support of Nellie Neilson? The guilt conscience, drugs and drink?

7. How well delineated was the character of Sal Satoril? His early work on the sideshow, the fact that he remained always a sideshow man? His love for Jeanne and his support of her? His reaction to being used? His love, his being hurt? His observing of her ups and downs? The years passing and her not acknowledging him? a credible character?

8. The contrast with Madam Neilson? Her belief in herself, the arrogance of her training, her tutoring of Jeanne, her support and managing of her?

9. The contrast with John Donahue and his world? Jeanne trying to belong to this world and failing?

10. The atmosphere of the theatre, the playwrights, the producers, the people that worked in the theatre itself? Their effect on her, her reactions to them? Their sense of achievement?

11. The importance of the sequence with Elsie Desmond? The image of what Jeanne could have been like? hysteria, ambition, failure, contriving death? A foreshadowing of what Jeanne Eagels would be like?

12. The transition to the haunted, guilt-ridden person, failing in love and relationships, consumed by ambition, leading only to death?

13. How melodramatic was the treatment, appropriately? How much insight in this cinema biography?

JACQUELINE SUSANN’S ONCE IS NOT ENOUGH

US, 1975, 121 minutes, Colour.
Kirk Douglas, Alexis Smith, David Jansson, George Hamilton, Melina Mercouri, Gary Conway, Brenda Vaccaro, Deborah Raffin.
Directed by Guy Green.

Jaqueline Sussan’s Once is Not Enough is based on a huge bestseller, the airport trash kind of bestseller which is very popular and was made into a big soap opera movie. The archetypal Jacqueline Sussan film was the 1967 Valley of the Dolls. There was a biography about Jacqueline Sussan, very favourable towards her and her personality – and she was played by Bette Midler with Dennis Farina as her husband, Isn’t She Great.

The film has a very strong star cast for this kind of spectacle. However, Deborah Raffin is the main young actor, all the rest being veterans of many years. It is obviously a film for the older generation who enjoys this type of intrigue and soap opera.

The plot summary on the Internet Movie Database is probably enough to indicate themes and treatment: “An over the hill movie producer (Kirk Douglas) marries a wealthy, spiteful woman and closeted lesbian (Alexis Smith) just to please his spoilt daughter (Deborah Raffin) who then, in an attempt to spite him, seduces both a wealthy playboy (George Hamilton) and a local screenwriter (David Jansson).”

Surprisingly, the screenplay was written by veteran Julius Epstein, famous for writing Casablanca and many films in the 30s and 40s with some prestige including Yankee Doodle Dandy, Mr Skeffington and adapting Arsenic and Old Lace. He continued writing films for another thirty or more years after his heyday at Warner Bros in the 40s. The film was directed by Guy Green, formerly a director of photography in Britain, who made such films as The Angry Silence and moved to the United States making such films as A Patch of Blue.

1. Audience expectations from the title? The focus on the novel's author and her kind of world?

2. What do audiences expect from this kind of best-selling blockbuster novel? The big soap-opera film? full of stars, sensational, contrived crises? Do audiences expect deep themes and vivid characterizations? What is the value of the blockbuster film? For entertainment? It borders near trash?

3. What values and feelings were presented in this film? How genuinely? The emphasis on thrills of the blockbuster or humane themes?

4. The title an indication of theme? January's reply and speaking of the title?

5. The use of Panavision, colour? California and New York locations, European background? What kind of world was being presented? A real world, the glamour world of the Jet Set? The wide audience's response to this jet-set world?

6. The value of the particular locations, mansions, clubs, restaurants, glossy homes, beaches? Audience response to these dream locations?

7. The film’s focus on January: how attractive a girl, how real and unreal in the characterization, her possibilities in life, the meaning of her name? The amount of love she had received? How spoilt was she? The visualising of the accident and her recovery? Their significance? What effect on her life? The glamour of her returning home, especially the balloon in the sky?

8. How much development was there in her character through the film? The nature of her relationship to her father, her dependence and possessiveness, comparing other men to him? Her disappointment in Deirdre and dislike of her? Her friend with Linda and reliance on her? Her putting into practice Linda’s advice? The emphasis on Linda’s advice on sexuality? The casual relationship with David in view of seduction or marriage? The continual going back to her father? The discovery of Tom and falling in love with him? How genuine was this? Tom as an image of her father? Trace the ups and downs of her character and development in values? How much did her real self emerge, by the final walking the streets of New York?

9. How credible a character was Tom? As a novel writer and prize-winner? As down and out? The quality of his relationship with January? The details of its development? Its breakdown? The intervention of Mike Wayne?

10. What kind of man was Mike Wayne? The Kirk Douglas hero? The world in which he lived, successful films, Oscars, the image of the Hollywood world? His devotion to January and doing all things for her, even courting and marrying Deirdre? The nature of his marriage to Deirdre? the work and the clashes? His hostility towards Colt? The irony of his death? How credible and interesting a character?

11. How credible a woman was Deirdre? Her being presented as one of the wealthiest women in the world, the significance of money and her way of life? Her need for love? Her need for possessing, and arranging people’s lives? The possibility of a happy marriage with Mike? The relationship with Carla? The significance of her death? Her funeral?

12. Was Tom just a stereotype for this kind of film? Was he meant to be a hero? A worthwhile character?

13. How interesting a character was Linda? Her verve and vitality compared with other characters? The go-getting type of New York? Friendship with January, her language and aspects of sexuality? What future did she have? What kind of life would she lead?

14. The introduction of Carla? Her relationship to David, the liaison with Deirdre? How real did this character and her intrusion into other people's lives seem? The melodrama of her presence at the funeral?

15. David as a callow New York character, society, security, his penthouse etc.?

16. What kind of a fictional fantasy world was this? Why do audiences like going into it? How valuable and healthy is it to enter into this kind of world?

JULIE

US, 1956, 99 minutes, Black and white.
Doris Day, Louis Jourdan, Barry Sullivan, Frank Lovejoy.
Andrew L. Stone.

Julie is a Doris Day vehicle. After many years at Warner Brothers in many musicals the highlight of which was Calamity Jane, she moved to other studios with Love Me or Leave Me, a high point in her career.

She was then in Hitchcock’s The Man Who Knew Too Much, singing Que Sera Sera. She then made this hysterical thriller for Andrew Stone. (Stone made such films as The Last Voyage and then The Song of Norway and The Great Waltz.)

The plot was borrowed in the 70s for Airport 1975 especially where the distraught heroine has to pilot the plane. This may seem far fetched but the film makes it as plausible as possible.

Doris Day is good at this kind of hysterical dramatic role (as in Midnight Lace). Louis Jordan is a suave villain. The film seems somewhat dated now but it is quite an enjoyable suspense thriller especially geared towards a women’s audience.

1. The title, opening song, Doris Day, the film as a Doris Day vehicle? Successful?

2. The film as a product of the fifties, psychology and madness, the menace of a mad husband on a wife, the disaster atmosphere? Comparisons with such examples of the seventies?

3. Black and white photography, San Francisco and California locations, the focus on the plane?

4. How credible was the plot? How plausible did the screenplay make the plot? Especially Julie's bringing the plane in at the end?

5. The importance of pace, the Concerto, the strident music? Atmosphere of fear, hysterics, danger, women identifying with Julie?

6. The opening with Julie's brush, the speeding car and its implications for Julie, her dead husband, his suicide or murder? Lyle and his jealousy? The creation of atmosphere for the tension of the film?

7. How was this compounded by Julie's relying on Cliff? Discussions with him, the morning at the club, drinks and Lyle's suspicions? Cliff suggesting the murder theory?

8. Julie's voiceover commentary, her plan and the carrying out of it, learning the truth? Her deceiving of Lyle, the consequences in the morning, her trying to escape and Lyle's pursuit?

9. The build-up of tension with his continual following of her, tormenting her, for example with the tape recorder at the phone, outside the apartment? His tracking down Cliff, pursuit and shooting him? (The old man and his sensible coping with the situation?)

10. The transition to Julie as air hostess, her friend and the apartment, the importance of being called up for the flight? The police missing her?

11. The contrast with Lyle and his shrewdness, being on the plane?

12. The contribution of the police, their inability to help without any evidence, Pringle and his interest, his coming to the aid of Julie and his decisions an regards action in the plane?

13. The plane situation, the pilot and co-pilot discussing, Pringle's advice? Julie's handling of the situation? The sudden crisis and the shooting, the brutality? Lyle and his motives and malice, death?

14. The scenes of panic and the panicking lady? The doctor and his control?

15. The credibility of Julie bringing the plane in, a hostess, being advised by the co-pilot, radar? Dramatics, melodramatics, final success?

16. How enjoyable a thriller? The soap opera melodrama overtones and audiences identifying with this?

THE JUGGLER

US, 1953, 84 minutes, Black and white.
Kirk Douglas, Milly Vitale, Paul Stewart, Joseph Walsh, Alf Kjellin.
Directed by Edward Dmytryk.

The Juggler was a small film of 1953, made within the decade after World War Two and the liberation of survivors of the Holocaust. 1953 was also only five years after the establishment of the state of Israel. This film, therefore, is of historical interest as being made in the immediate aftermath of these significant events for Jewish people around the world. It is interesting to look back after more than half a century their the way that these stories were presented on screen, especially for an American audience.

Kirk Douglas had emerged as one of Hollywood’s leading stars in such films as Champion, The Bad and the Beautiful. He was to be a lifelong strong figure in Hollywood for more than sixty years. Here he portrays a man deeply disturbed by his experiences in Europe during the war. When he moves to Israel in 1949, he continues to have a tormented existence, assaulting a policeman, going on the run in the company of a young boy. The boy is portrayed by Joseph Walsh.

The leading lady is Milly Vitale, an Italian actress who had a twenty-five year career in Italy but appeared in very few American films. She appeared with Bob Hope in The Seven Little Foys and had a role in War and Peace and A Breath of Scandal.

The film was directed by Edward Dmytryk, one of the Hollywood Ten, who was blacklisted. He had to move to Europe during the late 40s and early 50s after having a successful career in Hollywood with such films as Murder My Sweet and Tender Comrade. On his return he made films like The Juggler and then moved into The Caine Mutiny and made a number of action adventures in Cinemascope into the 1960s. He made quite a number of big soap opera films of the 1960s including The Carpetbaggers.

The themes of The Juggler are universal, show insight into human nature, but are specifically of interest for the Jewish perspective.

1. The impact of the film on its first release in the fifties, now? Response to Israel then and now?

2. The quality of the film made on a small budget, Kirk Douglas, in this kind of role?

3. Black and white photography, Israeli locations and authenticity, Jewish atmosphere, the medley of Jewish folk music worked into the score?

4. The theme of the juggler and its visualizing in the credits, the importance of this as Hans' job, his sense of identity as a juggler, giving, him a past, being a celebrity with his clippings and memories? The act as it was presented later in the film, his abilities? The joy of juggling? His teaching Josh and the culmination in the concert? The juggler as a theme?

5. The presentation of Israel in 1949, the background of World War Two, the concentration camps and the persecution of the Jews, the sense of freedom, the refugees after the Israeli war? The ships, being herded on arrival, going Into camps? The question of control and fear of control?

6. The Israeli hopes, the vision of a rebuilt Israel, atmosphere of solidarity, friendship, life at a kibbutz? The contrast with the Syrian border, skirmishes and patrols, fear?

7. The quality of Kirk Douglas' portrayal of Hans, genial, friendly on arrival, Susie, giving her the photo? The dramatic change and his abruptness with his friends? His Imagining the woman and the children at the window as his wife? The unbalance and neurosis? His fear of the camp? The significance of his Interview on arrival and his explanation of himself, his past, his ability to juggle but no other jobs? The confrontation with the doctor and his dislike of being
patronized?

8. The background of prison, the continual need to break out, his recounting to Jael where he was imprisoned and the news of his family's death? His breaking out of the camp, the confrontation with the soldier and seeing him as a Nazi and bashing him? Oppression leading to violence?

9. The importance of the journey structures audience involvement, flight from the police, the importance of the witness, the children, Josh and happiness with him, the news vendor, the people at the kibbutz after the incident in the minefield, the relationship with Jael? The gallery of characters in themselves, their impact on Hans? The possibilities of hope through the contacts with people like this?

10. The portrayal of the police as doing their job but sympathetic? The encounter with the witness, tracing the evidence of the photo, the demand on Susie to give up the photo and betray Hans? The interview with the injured policeman, the children, the news vendor?

11. The humour and the significance of Hans pretending to be American? The dreams of the American way of life? The humour of people expecting Americans to be wealthy? The Importance of the tension, being discovered, the newspapers and the photo, the presence of the police? The drama of the minefield and the injury of Josh? People rescuing him? His lies to Jael to save himself, the confrontation finally of the truth with her?

12. His decisions not to run and their importance, to participate in the concert? The humorous atmosphere contrasting with the arrival of the police, his flight? Jael’s point that he was making a prison for himself and that he should come out to be free?

13. The hopes for the future, the optimism of the film? Its regard for human nature and its resilience? Hans as a symbol of the persecuted Jew coming into a new world, purging himself of fear, taking courage and emerging into a hopeful future?

JUDITH

Israel/UK/US, 1966, 109 minutes, Colour.
Sophia Loren, Peter Finch, Jack Hawkins, Andre Morell.
Directed by Daniel Mann.

Judith is set in Israel in 1947. It highlights the melodrama of so many of the people escaping from Europe to try to make a new life in Palestine. It shows the dangers and the politics of the preparation for the declaration of the state of Israel. It highlights aspects of antagonism towards the Jews as well as having action sequences in Damascus.

The film comes from a story by novelist Lawrence Durrell, author of The Alexandrian Quartet – and the film Justine was made by George Cukor in 1969. The screenplay is by John Michael Hayes, writer of a number of Hitchcock films including Rear Window, To Catch a Thief and The Trouble With Harry.

The film is a star vehicle for Sophia Loren. After her debut in Italian films in the mid-1950s, she made a huge impact worldwide with such films as The Pride and the Passion, Houseboat and The Key. She moved into spectacles like El Cid. However, she won the Oscar for best actress in Vittorio de Sica’s Two Women in 1961, a sombre film in black and white with a war theme. Sophia Loren then continued to appear in many films during the 1960s and has continued acting spasmodically, in quite a number of television movies as well. Her leading man is Peter Finch who was a reputable actor and had appeared with many significant leading ladies including Vivien Leigh, Elizabeth Taylor (Elephant Walk) and Audrey Hepburn in The Nun’s Story. He was to receive a posthumous Oscar in 1976 for his performance in Network. Jack Hawkins, always reliable in the background, appears as the British major.

The film was directed by Daniel Mann, director of a number of entertaining films. He also directed three actresses to Oscar-winning roles: Shirley Booth in 1952 in Come Back Little Sheba, Anna Magnani in 1955 with The Rose Tattoo and Elizabeth Taylor in 1960 with Butterfield 8.

The film was of interest to compare with other films about the establishing of the state of Israel: The Juggler, made in 1953, Exodus made in 1960.

1. The focus of the title? The Jewish woman, the biblical heroine? The focus of Sophia Loren and her interpretation of the role?

2. The overall impact of such films on the Jewish settlement in Israel? For Jewish audiences, for worldwide audiences? The portrayal of a historical period in the recent past? A question of justice for the Jews and their land? The clash with the Palestinians and the Arabs? The emotional impact of such films?

3. The value of the colour, Panavision photography, authentic locations, the details of kibbutz life etc.?

4. How convincing was the presentation of the 1947 atmosphere? The post-war atmosphere, the memory of the concentration camps, suffering and vengeance, the emergence of the state of Israel, the hold of the British, the hostility of the Arabs, Syria as an enemy? The impact of this aspect of history then, the impact now?

5. How melodramatic was the film and its situations? How seriously were they meant to be taken? A serious drama about Israel and its people? An action melodrama to involve audiences?

6. The character of Judith’s her first presentation in the crate, the nature of her escape, the background of her life and marriage, Schiller as the archenemy the question of her child? Her personal bitterness and arrogance? Her lack of care about Israel? The motivations of revenge? Her being Invited to spy for the Jews? The variation on the biblical theme? With the British commander, in Damascus?

7. Her role in the incidents in Damascus? Her willingness to help, yet her killing of Schiller? What future did she have?

8. Schiller as the typical anti-Jewish villain? Nazi, his role in the concentration camps, betrayal of wife and child, his fleeing to Syria, training the Arabs against Israel? Did he have any sympathetic qualities at all?

9. The contrast with the Jewish organizations? The detail of their plans and attitudes? The preparation for defending against the Arabs? The commando manoeuvres, to protect themselves? How much sympathy for these active Jewish movements?

10. The contrast with life in the kibbutz? The people and their way of life, the international flavour the setting up of Israel, hopes for the future?

11. Aaron and his role in the active organizations? On the kibbutz? His role amongst his people? His skill in the incident in Damascus? His love for Judith? His setting up of the British officer?

12. The film as a portrayal of human nature In terms of adventure and challenge? In human relationships? Love and revenge?

13. Is this kind of film valuable as background for modern politics? For a more personal appraisal of International situations?

JAWS 2

US, 1978, 116 minutes, Colour.
Roy Scheider, Lorraine Gary, Murray Hamilton, Colin Wilcox Paxton, Anne Dusenberry.
Directed by Jeannot Szwarc.

Jaws 2 is something of an unnecessary sequel. Steven Spielberg’s classic made an enormous impact in the mid-70s. This is merely a repeat, something of a smaller remake of the original. It stars Roy Scheider reprising his role as Chief Martin Brody with Lorraine Gary as his wife and Murray Hamilton reappearing as the obtuse mayor. Sharks also make their reappearance in the town of Amity.

The film is rather long – but has its exciting moments. The film is directed by Geannot Szwarc who made a number of telemovies as well as a range of films for the big screen including Santa Claus, Supergirl and Bug. Thirty years later he was directing many episodes of television popular series including Jag, Boston Legal, Smallville and Without a Trace.

The success of Jaws 2 led to two more sequels, the third in three-dimensional process, Jaws 3D, and finally, with the touch of the ludicrous, Jaws 4.

1. An enjoyable and interesting film in itself, as a sequel? Audience expectations from the original and its theme, characters, treatment? Audience knowledge of the background, characters and issues? Comparisons? Better, equal, less good?

2. The importance of the technical qualities of the film, Panavision, colour, the presentation of Amity, the beaches and the sea? Underwater photography? Subjective photography as in the original? Shock sequences, gory sequences? The presentation of the shark? scenes of destruction?

3. Audience interest in and response to sharks? Knowledge and ignorance of them, fear? Sharks as evil, destructive? Sharks in stories and myths? The background of the original film and the presentation of the shark, a shark with personality? The presentation of sharks in this film merely as destroyers? Audience seeing the shark, not seeing it? The contribution of the original musical score and its reprisal here?

4. The importance of the atmosphere of fears the presentation of the holidays and their relaxation and joy, sunshine, the water, sailing and the pleasure of the sea? Presumptions of safety? The menace to safety? The background of commercialisation, decisions, big business?

5. The link with the original via the credits, the Orca photos musical score? The destruction and shock during the credits to create atmosphere?

6. The picture of Amity township - beach resort, island? the importance of the sea? Brodie and his authority on the island, his assistant? Seeing them in action in the ordinary management of the island? Mrs Brodie, their sons? Larry as mayor and the background of the initial disaster, his continued interest in commercial development? The holidays? The dedication of the swimming pool with the American ballyhoo - as setting atmosphere and indication of tone especially for commercial interests and their ruthlessness? business, investors? The later visit of the investors to the beach when Brodie is afraid and fires the gun? Politics in administration and Brodie’s getting the sack? The social comment in the presentation of the authorities in Amity? Why would they not believe until disaster struck?

7. The characters of the Brodie family - Martin and his relationship with his family, his calm, fear? Ellen and her love for her husband, sons, her work for the authorities and for the investors? The repercussions of Brodie getting the sack - his principles, dedication? The drinking scene and the reaction to his assistant?

8. Brodie as hero - a man formerly afraid of the sea to aggressive hero? The experience of the initial disaster, his nerves, anxiety? His appeal to the authority and the desperate measures, his scanning of the beach the importance of his ringing the bell and shooting? The photos and his poring over these? Brooding, trying to make decisions? his inability to persuade the elders of the city, his going out on the boat, contact with the helicopter, apprehension about his children? his heroism and quick thinking at the end and the destruction of the shark?

9. The menace of the shark - the Orca and the destruction of the explorers, the photos, the atmosphere of the water-skier and her being killed, the killing of the kids, the menace with all the youngsters out on their boats, the circling, the deaths, the destruction of the helicopter? Audience attitude towards this destruction, identifying? It has been suggested that the film exploited audience fear. Did it?

10. The importance of the presentation of the youngsters of Amity - at parties, holidays, work toying with sexuality? The varying personalities - the shy, the workers, the men trying to make an impression, the girls? Michael and his place, work, home? Disobeying his parents?

11. The visiting cousin? The detail of their life, the enjoyment? The attack and the death of the first boy and the fear of the girl? The menace to Sean? The drifting, the fear, the banding together, Sean and his fear and moving from the boat to the others? The hopes with the helicopter, its destruction? The terror at the end and the final rescue? How important was the match between Brodie and the shark? The sharks’ ever-presence and cruelty, Brodie and his intelligence, fear? watching and waiting? The background to his confrontation, the dead whale and its measurements. the corpse in the sea and the shock? the tests, the photos? His scanning the sea? A credible hero?

12. As getting the sack and his reaction? Being spurred on, the rescue? The help of the assistant? Ellen?

13. The amount of time given to the rescue, the uncertainties, Michael and his injury? Vaughan and his fear? The wondering, the dangers? How convincing was the final achievement in the destruction of the whale and the children's relief?

14. Entertaining, credible melodrama, credible horror? A fable about people and the menace of such beasts as sharks, human fear and courage and achievement?

JENNIFER

US, 1978, 90 minutes, Colour.
Lisa Pelikan, Burt Convy, Nina Foch, Amy Johnston, John Gavin, Jeff Corey, Ray Underwood.
Directed by Bryce Mack.

Jennifer is an occult thriller. Small-budget, strong on chills, low on probability. However, it is an entertaining, tongue-in-cheek story of a rich student who is rejected by fellow students and gets revenge on them by her psychic power over snakes.

Lisa Pelikan is Jennifer in the central role. The film is very much a derivative of Carrie which was very popular in the mid-70s, a tormented girl wreaking revenge on her enemies.

1. The popularity of occult thrillers in the seventies? The particular interests and background of attitudes in. the seventies?

2. The quality of the film an a small budget thriller, lack of star cast, locations, score? The overall impact and success of the thriller?

3. The plausibility of the plot? American background, American themes, religion, small towns, superstition, snobbery, violence and vengeance? The presentation of Jennifer's character, her father, her religious background, at school? How authentic was the school, the issues of friendship, hostility, jealousy? The overtones of snobbery and politics? Religion? Could the events have happened? The plausibility of the religious background and suggestion and power?

4. The importance of the presentation of the school, wealth, the headmistress and her snobbery, her hold over the teachers? Her favouring of particular students, her dislike of Jennifer as a poor and scholarship student, her attitude towards the Senator and his donations? The film's judgment on this kind of school, on these attitudes? The destruction of Sandra, her friends, the vengeance on the headmistress?

5. The picture of youth in the United States in the seventies, the attitudes towards one another, permissiveness, wealth, kicks, drugs, sexuality? The film's use of this, exploitive, as background? The judgment of the screenplay?

6. How authentic and interesting the background of religion and cults? Jennifer's father and his ravings, his memories, his exploitation? The memory of the power? The memory of Jennifer's mother? His attitude towards her and her memory? Jennifer's attitude? What explained Jennifer's power in the past? Mans hysteria, revivalist religions, atmosphere, healing, money? Jennifer and her power? Audience response to snakes and their place in religious cults? Their appearances in reality, imagination? Jennifer and her imagination, her subconscious, snakes and their symbolic place in her psyche? Destructive? Jennifer as immune? The symbolic and vicious presentation of her innate violence?

7. Themes of jealousy? Sandra and her jealousy, her hold over her friends? Jennifer's reaction? Jealousy creating its own victims and vengeance?

8. How convincing a character was Jennifer? How-attractive? in herself, her relationship with her father and looking after him, her scholarship at the school and her presence there, her earnestness and desire to learn and improve? The clash with Sandra? The clash with Jane and Jane's being victimised as the fat girl? Mrs Calley and her hostility towards Jennifer? Geoff Reed and his classes, his attitude towards Jennifer and helping her? Her study? The atmosphere of the school and the way it suddenly turned into menace when the girls acted jealously and vindictively for example the swimming and the terrorising of Jennifer, the shower, the burning, the cat?

9. Sandra as embodying the precocious and spoilt young girl? her background, the reason for her being spoilt, her hold over her father? The various schools, her lies, her leadership of the other girls? The ugly and dark sides of her character in terms of power. wealth, drugs, sexuality and her fantasy? The fantasies about Geoff Reed? her performance in front of Mrs. Calley after accusations? Her performance for her father? Her attraction towards Dayton and her hold over him and using him? The scenes of her talk and manipulating of people especially Jans? Her growing vengefulness especially towards Jennifer? Her vindictiveness towards Jane and engineering her rape? The ugliness of the murder of the cat and her play-acting to Mrs Calley? The growing evil and taunting?

10. How well did the film show and illustrate the tension and interplay between Jennifer and Sandra? Sandra as villainess, Jennifer as innocent victim? When did the tide turn? When did Sandra become victim? Could the audience understand and sympathize with Jennifer's vindictiveness?

11. The portrait of the various boys and girls in the group – their personalities, anonymity within the group? Jane as a stand-out and the way that she was used for her money, power? Her being stood up? Sandra’s hold and keeping her in the group? The vindictiveness of the rape and the vengeance in Jane? Her siding with Jennifer? Helping her with the final vengeance? How typical a character the changeable Jane?

12. The portrait of Jennifer's father, his work at home, attitude towards the cat, his meals, his memory of the snakes? His madness, sanity? His response to the group coming round for Jennifer and letting her go? How much was he to blame for Jennifer?

13. How interestingly was the past visualized? In her father's memory, in Jennifer's memory, her reaction? Her knowledge of the power, her wanting to put it in the past? Her gradual acceptance of the power and absorbing it into her attitude? The visualizing of the sequences with the snakes? The snakes in the final killings?

14. The portrait of Mrs Calley as the arrogant and snobbish headmistress? The contrast with the sympathetic maid? With Geoff and his teaching, Sandra’s crush, his helping of Jennifer, work in the laboratory, his helping her with the difficulties of the photo in the swimming room etc.? The confrontation with Mrs Calley and her dismissal of him?

15. The attention to detail of the ordinary running of the school and Jennifer's ordinary way of life? How authentic did this make the proceedings?

16. The contrast with the details of the wealthy way of life, the recreations of the group, night clubs, dancing, the sequences with the car especially in the parking lot? The ugly side with Dayton's rape of Jane?

17. The locations used for vengeance? The ugly build-up to the kidnapping of Jennifer? Audience sympathy and sharing her vengeance? Her being in the boot of the car? Her confrontation of the group?

18. The visuals of the exercise of her power, the snakes, the death of the various people in the group, especially Dayton, Sandra? The plausibility of this? Jane an observer and the audience looking with her? The effect on Jennifer? The seeming natural ‘explanation’?

19. The atmosphere of vengeance at the end? Mrs Calley and her trying to cope and then the snake in her desk? What was the audience left with?

20. Themes of natural, preternatural? The basic human emotions and the way these can be used constructively or destructively?