BREATHING LESSONS

US, 1994, 95 minutes, Colour.
James Garner, Joanne Woodward, Joyce van Patten, Kathryn Erbe, Eileen Heckart, John Considine, Henry Jones.
Directed by John Erman.

Breathing Lessons is based on a novel by Anne Tyler, the author of The Accidental Tourist.

The action takes place in one day, starting in the bedroom of Ira and Maggie Moran. The film shows the relationship between the two, their relationship with their children, the ever-optimism of the mother as well as her being a busybody, the clashes with her husband, their easy reconciliations, his easygoing nature. They go to a funeral, eccentric to say the least, they encounter a woman at a diner where Maggie has long conversations about her family, they encounter an elderly African American on the road, clash with him and then help him, eventually going to their ex-daughter-in-law to see their grandchild and try to persuade them to come back home with them with a possible reconciliation with their son. After all this emotion and travelling, they go back to their room and end the day.

One commentator said that the performances were all that one could desire. James Garner is at his best, genial, understated, a strong presence in the background. Joanne Woodward is excellent as the interfering grandmother.

The film was directed by John Erman, a long-time director of many quality telemovies like this one.

1. A pleasing and insightful film? Ageing, parents, grandparents? Family relationships and tensions? Marriage commitment despite ups and downs? Insight into American families?

2. The locations, the town, Maryland, the travelling to Pennsylvania? The American highways, the dines, the small towns, the less-than-affluent homes? Authentic atmosphere? The musical score?

3. The title, its significance – for each of the characters, especially Maggie?

4. The structure, beginning and ending in the bedroom, the journey and road genre? For an elderly couple?

5. The focus on Maggie and Ira, getting up in the morning, their taken for granted mannerisms, getting dressed, polishing the shoes, anticipation of the funeral? Daisy and her getting her mother the toast, her mother’s fussing, not being organised? Going to get the car, listening to the radio, thinking it was Fiona, the crash and her leaving? Trying to tell Ira what had happened? The discussions about the route? The clashes, the make-up? Twenty-nine years of marriage? The decision to go to the funeral, the friendship with Serena? Their having sung at her wedding? Ira and his talking with his father, his father’s crankiness about the shop shutting for the day? Ira and the pictures, the frames? The diner, his exasperation at Maggie telling Mabel all about the family? The continued drive, no-one in the church, no coffin, his playing solitaire? Serena and her gushiness? The funeral, the singing of ‘Love is a Many Splendored Thing’ and his refusal? His going to the wake, the salads, his going to the room to avoid the films of the wedding? the waterbed, Maggie following, his remembering everything about their meeting? Their falling on the bed, Serena ousting them? On the road, Maggie’s impatience with the car, saying that he had a broken wheel, her being upset when it was an elderly African American, her going back and explaining? Ira helping with the tyre, its being all right? The old man believing them? The lift, his telling his story about his falling out with his wife of fifty years? The pretzels, the discussions? His son coming, complaining, taking him away? Their going to Fiona’s house, the meeting with Leroy, her not knowing them, her throwing balls with her grandfather? Maggie and the discussions with Fiona, Leroy present, the long explanation about the electrolysis training, the daughter’s pride in the mother, Maggie and her being affirming? The possibility of coming back, her making the secret phone call upstairs, Fiona’s mother and her clashing with Maggie? Their going back, Ira and his being ironic, Fiona wanting to go back in the bus, Leroy wanting to go to meet her father? Arriving home, Jesse being late, his talking to Leroy on the steps, coming in, the truth about the soapbox, Maggie’s lies, Ira's defence of her in making up the story? Jesse leaving? Fiona leaving – but Leroy keeping the baseball glove on the car wheel? Their going to bed – and the hope of seeing their granddaughter again? Insights into character, mannerisms, strengths and weaknesses?

6. Maggie, the detail of her life, ever active, absent-minded, practical and impractical, always trying to do good, an optimistic hope, interpreting everybody well?

7. Ira, laidback, his continued love for Maggie, his not wanting her to interfere, his usually giving way? His being firm with Fiona and Jesse at the end?

8. Jesse, irresponsible, the music, the garage, selling bikes? Not wanting to help? Coming to the dinner, seeing his daughter, their talking, his inability to relate to Fiona, his father’s telling the truth about him, his leaving?

9. Fiona, her love for Jesse, sending him the telegram, pregnant, the marriage? The break-up but yet her love for him? Going away, bringing up Leroy? The electrolysis course and her proud explanation, the sign? The dominance of her mother, cynical attitudes, smoking…? Her wanting to turn back, hoping against hope, believing Maggie’s romantic story? Leaving? Leroy and her being a strong character, playing ball with her grandfather, the trip back, talking with her father, wanting to come again?

10. Daisy, going to college, criticisms of her parents, Maggie upset that she had made a decision that her life was ordinary? Her apologies to her mother?

11. Mabel, the sympathetic server at the diner, comparing notes and hearing the whole story?

12. Serena, the hippie days, eccentric, her story of her marriage to Max, love? Wanting to cremate him? The joyful ceremony? No coffin? The many people at the church, the deacon and his speech, the songs? The visitor and his singing, Ira refusing, Maggie singing ‘Love is a Many Splendored Thing’ and his joining in? The wake, Serena and her moodiness, Maggie being her best friend but ousting them because of their being on her bed?

13. Mr Otis, the slow driving, age, African American, Maggie’s insult, her alarm, not wanting to be racist, returning? Mr Otis’s character, his relationship with his wife, his children and their divorces, his believing well of people?

14. Sam, his relationship with his son, the shop, his criticisms of Maggie, calling her a princess? The cranky old man?

15. An entertaining and satisfying glimpse of ordinary people – and in some depth, with the insights of novelist Anne Tyler?

BESIEGED

Italy, 1998, 94 minutes, Colour.
Thandie Newton, David Thewlis, Claudio Santamaria.
Directed by Bernardo Bertolucci.

Besieged is a small-scale feature film, almost a chamber piece for cinema. It was written and directed by Claire Peploe and Bernardo Bertolucci who collaborated on many of Bertolucci’s previous films. Bertolucci had had a strong reputation in Italy since the 1960s with Before the Revolution and The Spider Stratagem, moving few such films as The Conformist, Last Tango in Paris to his Oscar-winning The Last Emperor.

Besieged focuses on two characters, a political refugee from Kenya (Thandie Newton) and a musician living by himself in Rome (David Thewlis). She cleans his apartment. He is attracted by her and uses music to ingratiate himself with her. However, all she wants is his help in freeing her husband from prison in Kenya.

The film shows the development of each character, their growing dependence on each other, emotionally and for the sake of politics and freeing the husband. The pianist becomes absolutely self-sacrificing for the young woman, she becomes more and more indebted to him and feels that she must submit to him – which happens at the very time that her liberated husband arrives at the apartment in Rome.

The film focuses on music, has frequently a sense of claustrophobia when it is confined to the musician’s apartment. It is well acted, and is an interesting focus on characters and the political and emotional dimensions of people facing such dilemmas.

1. The small scale of the film? Confined, a chamber piece? The interaction of the two characters?

2. The role of music, the piano, the range of music, styles? The African singer and the setting of a mood? The cityscapes of Rome? Small, streets, side streets, apartments, markets?

3. The focus on Jason Kinsky, his life in his apartment, his being crippled, confined to the piano? His not wanting to play in public? Shandurai and her place in the apartment block, working for Kinsky, cleaning the house?

4. The African sequences, Shandurai and her desperate cycling, the police, the arrest of her husband, her crying soundlessly? Explanations of her grief, her crusade for her husband? The repercussions on her as a character, emotionally?

5. Her husband, his role in Kenya, his leadership, the reasons for his arrest?

6. The dreams of water, of torture? Shandurai in Rome? The scenes of Rome, the shaft, the effect of the music?

7. Shandurai and her approach to Kinsky, watching Kinsky and his playing?

8. Shandurai’s medical studies, her cleaning the house, studying, watching Kinsky play and the effect of the music, especially as he changed to more African themes?

9. The interplay of the two in the house, under the bed, the shaft, Kinsky and his teaching the pupils?

10. Each exploring the other, the attributes of the other, the possessions? The iron’s steam, the flower in the shaft, the water?

11. Shandurai’s friend Agostino, depending on him, his sexual identity, behaviour? The different reactions to things?

12. Kinsky and Shandurai’s request for help for her husband? His gifts, the ring? His selling the statues, selling the piano? His love for Shandurai? Completely self-sacrificing? His performance to raise money for her? Reducing himself almost to nothing?

13. Her response, her gratitude towards him, the news about her husband? Her emotional dilemma, to submit herself to Kinsky? Her lying on his bed as her husband knocked on the door?

14. Kinsky, the portrait of an eccentric man, loving, self-sacrifice? Of Shandurai, her love, and her willingness to sacrifice herself for her husband? The husband, his freedom – and what future was he entering as he knocked on the door?

THE BOURNE SUPREMACY

US, 2004, 105 minutes, Colour.
Matt Damon, Joan Allen, Brian Cox, Franka Potente, Julia Styles, Karl Urban.
Directed by Paul Greengrass.

Robert Ludlum was, perhaps, the key popular American novelist of the Cold War, with Russian-US conspiracies as well as those of Neo-Nazis? and the kinds of power-hungry megalomaniacs that are the villains of the James Bond stories. While Ludlum died in 2001, novels under his name are still appearing and the movie franchise from his Jason Bourne trilogy has proven very successful in this era of terrorism.

Jason Bourne was effectively introduced in 2002 in The Bourne Identity. He was an amnesiac with the instincts of a trained spy and killer. Which he was. However, we followed the exciting steps he took to discover who he was and how the world’s intelligence agencies had used him. Now he is back because the agencies are using him as a fall guy to cover some secret Russian American collaboration in money deals in the early 1990s – and he wants to know who he is setting him. In fact, we first guess who it is and then know before he does. This means that while we are one step ahead of him as he travels from Goa to Naples to Berlin to Moscow, we are caught up in his use of his wits to get out of deadly situations as well as to expose and wreak vengeance on the villains.

And quite an exciting trip it is. In the hands of director Paul Greengrass (documentaries on the killing of British Stephen Lawrence as well as the award-winning Bloody Sunday), it is non-stop pulsating. The credits name two editors – and they must have had their work cut out since the film is so fast-paced, so many of the edits lasting only a few seconds. There is so much hand-held camera work that the audience feels that it is right in there, trying to keep pace with Bourne. There is also a pulsating and pounding score and, in a big cinema, with the sound turned up, especially during one of the most hectic car chases you’ll see, through the Moscow streets and tunnels, you can forgive yourself for feeling somewhat exhausted even though you have been simply sitting in your seat.

Matt Damon now successfully embodies Jason Bourne. Some of the original cast are back: Brian Cox, Chris Cooper (glimpsed in flashback), Franka Potente and Julia Styles. The best addition is Joan Allen as a CIA field commander who is determined to get Bourne and has to discover that he is not the enemy. A stylish and absorbing action thriller that will please conspiracy theorists. And Ludlum has provided the title for the next instalment, The Bourne Ultimatum.

1. The popularity of the initial film? Espionage, in the 21st century, the role of the CIA and other agencies, post-Cold War conspiracies?

2. The world of Robert Ludlum, his imagination, espionage and conspiracies, situations, the life of spies, consciences, dangers, chases? The breathless chases of the novel transferred to breathless chases on-screen? The hazards for the spy?

3. The film and its focus on Bourne’s situation, dangers, mystery, chases? Pace? The continually moving camera, the busy editing? The sense of Bourne on the run? The musical score and its pounding effect?

4. The locations for Bourne’s journey, from peace in India to atonement in Moscow, to a return to his real life? The use of holiday locations in Goa, the realities of espionage and its traditions in Berlin, life in Moscow and the chase, Naples, Langley and the CIA offices, the culmination in New York City? An authentic atmosphere, for characters, the use of locations as characters – rather than for tourism?

5. Bourne’s nightmares, the collage at the beginning of his past, his amnesia? His relationship with Marie from the first film, together in Goa, his waking, jogging, her shopping, spotting the assassin, the chase, the crash from the bridge? Marie’s death? Bourne and his burning the documents, the photos – and keeping one and it being a recurring theme, Marie as a motivation for not killing Ward Abbott?

6. Berlin, the issue of the files, the criminals and the setting up of the explosion, the stealing of the files? Pamela Landy and her being in charge, the surveillance unit, her competence, her phoning Langley, the explosion and things going wrong? Her wanting more information? Going to Langley, the discussions with the boss, the discovery of the Dreadstone Program and its being abolished? The discussions with Abbott, her pursuit of the truth?

7. The assassin, his returning from India, the meeting with the criminals at the Berlin airport? His saying that Bourne was dead? The financial deals, the stealing of the CIA money, the files with the connection to Abbott? The return to Moscow?

8. Bourne and his arrival in Naples, the interrogation, the man from the consulate, Bourne’s attack, taking his car, listening device, driving north through Italy, the Alps and Germany? The arrival in Berlin, watching Pamela through the binoculars, the phone call, his puzzle as to what was going on, the accusations because of the fingerprint in the explosion? His asking for Nicky to meet him, the protesters in Alexander Platz, getting on the tram, evading the pursuers, his interrogation of her, its being taped, his leaving her and escaping?

9. Berlin, his memories of the case, going to the internet, finding out about his first assassination, the memory of his mentor speaking to him, the training? Going to the hotel, to the room, remembering the situation and the assassination? The police in pursuit, his fleeing over the roofs, the chases, the train, the barge, the bridge? His being injured? His escaping, the surveillance showing that he went on the train to Moscow?

10. Abbott, his place in the CIA, thirty years, with his assistant and the corruption, the CIA money? His unwilling cooperation with Pamela? His going to Berlin? With Nicky? His killing his associate? The truth, Bourke confronting him, taping him, his shooting himself? The importance of the tape for Pamela and the resolution of her case?

11. Nicky, the student, her role in the first film, her going to Berlin, his seeing her through the binoculars, wanting her to be the contact, the puzzle, the interrogation?

12. Pamela, her efficiency, her need for further information, the work, listening, her attitude towards Bourne, with Abbott, going to the CIA headquarters? Her change of attitude, learning more of the truth, going to the hotel? Seeing that he went to Moscow? The arrest of the criminals in Moscow?

13. Bourne in Moscow, the taxi, getting information about the daughter of the assassinated politician, the assassin pursuing under the guise of the police, shooting and his being wounded, the elaborate car chase through the streets of Moscow, the crash in the tunnel, the death of the assassin?

14. Bourne and his going to the daughter of the politician, telling the truth, the need for a confession and some kind of atonement?

15. New York City, Pamela, his watching her, her giving him the truth about his identity?

16. Espionage and conspiracies, the values of this kind of world, secrecy, espionage? Greed, error, authoritarianism, ruthlessness – and the continued need for conscience?

ZARAK

UK, 1956, 99 minutes, Colour.
Victor Mature, Michael Wilding, Anita Ekberg, Bernard Miles, Finlay Currie.
Directed by Terence Young.

Zarak to a British adventure set in India with Victor Mature. The ingredients don't sound promising for a major film but this particular film is quite enjoyable in its way. Victor Mature was made for this kind of adventure role. While the dialogue is not outstanding, the episodes are what we might expect, nevertheless the film does have quite some verve and is entertaining for younger audiences. In retrospect, it does raise questions about the British, India and empire.

1. Enjoyment value of this film, Impact, matinee material? Use of colour, Cinemascope, music, action sequences?

2. How interesting and real a portrait of India in the Nineteenth Century? The terrain, the mountains, the cities, the tribes, the atmosphere of war, resentment of the British?

3. Where were audience sympathies? The response to the Indians, pro-British? Pro-Indian?

4. The legendary character of Zarak? The significance of the opening and his relationship with his father's concubine, his being whipped, exiled? The bitterness of his rebellion? The daring of his raids against the British, notifying them and challenging them? What made him change? His relationship with his brothers, his other allies? His importance of giving himself up? Of being whipped to save his enemies?

5. How well did the film delineate his character? Or did it portray him as a type?

6. The contrast with the English major? A British type, a personality in his own right? The encounters with Zarak, his leadership, relationship with his wife? The final confrontation, being saved by Zarak?

7. The portrayal of the British and the varying types in India?

8. The portryal of the Indians and the varying types?

9. How well presented were the battle sequences? Interesting, exciting, violent?

10. The varying melodramatics, intrigue, romance? Appropriate
for this kind of film?

11. How satisfying is this kind of matinee material for entertainment, for reflection on the themes presented?

ZORRO

Italy, 1975, 124 minutes, Colour.
Alain Delon, Ottavia Piccolo, Mustache, Giacomo Rossi-Stuart?, Adriana Asti, Stanley Baker.
Directed by Duccio Tessari.

Zorro is yet another incarnation of the famous masked figure. Already in silent days there had been a film of Zorro with Douglas Fairbanks. Tyrone Power brought him to life in Rouben Mamoulian’s 1941 The Mask of Zorro. Guy Madison was a popular more Disney-like Zorro in the 1950s and there were several television series. This French- Italian version was directed by Duccio Tessari, writer and director of many films from the 1960s to the 1990s, a number of them spaghetti westerns, as well as the writer of the original Italian film, Kiss Kiss, Bang Bang.

Alain Delon was a dashing figure in French films of the 60s and 70s and perfectly embodies the matinee idol presence of Zorro. The film is rounded out with an Italian cast as well as some English actors including Stanley Baker.

The legend was poked fun at with George Hamilton in Zorro the Gay Blade. However, Zorro returned to his Hispanic origins and his flair with The Mark of Zorro in 1997 starring Antonio Banderos with Anthony Hopkins as an ageing Zorro. Antonio Banderos, with Catherine Zeta- Jones, reappeared in 2005 in The Legend of Zorro. The legend lives on.

1. How enjoyable an adventure?

2. The popularity of Zorro in literature and film tradition? The film's reliance on Zorro being well known for his story and as a hero?

3. What adventure conventions were pre-supposed and used in this film? How well were they used, the hero, the oppressed village, the secret hero, the villain, soldiers and fighting, romance, the final sword fight and conclusion?

4. The value of the colour and the sets, the costume atmosphere? The photography, the choreography of the fights, the song and the musical accompaniment?

5. Comment on the meaning of the legend of Zorro as explained by the boy. Zorro as the Saviour figure? Don Miguel pretending to be weak? In reality a Zorro figure? The portrayal of legend in a greater way than reality?

6. Comment on the situation In Nuevo Aragons the need for some kind of intervention, poverty and oppression, the aristocracy , the atmosphere of resolution, the cruelty of the soldiers, the role of the monks, the exile of Hortensia's family? Audience response to this kind of social atmosphere?

7. How enjoyable was the pretence of Don Miguel? His tactics against Huerta? The split-second timing of his double identity? Hortensia falling in love with Zorro? The servant helping Zorro? Comment on particular examples where this was most effective.

8. The interventions of Zorro and his saving of the people? The soldiers and Huerta's cruelty? Which particular adventures were most impressive, why?

9. How evil a villain was Huerta? His dominance of the colony? His personal arrogance? His despising of the Governor? His wanting to marry Hortensia? His suspicions about Zorro? His relentless pursuit of Zorro? His skill in battles? The importance of the final duel? His discovery of the truth? Audiences applauding the defeat of the villain?

10. How attractive a heroine was Hortensia? Her social background? Her love for Zorro? The happy ending?

11. The minor characters such as the Friar and his contribution to the film's themes and plot? The young boy? The people who supported Zorro? The servant?

12. The portrayal of the soldiers, especially the fat soldier?

13. Why did swashbuckling costume dramas like this so popular? To whom do they appeal? Why?

14. The spirit of this kind of adventure as embodying fairytale elements for audiences? The Prince Charming, the Princess, the saving of the poor etc.?

ZOMBIE FLESH EATERS

Italy, 1972, 91 minutes, Colour.
Tisa Farrow, Ian Mc Culloch, Richard Johnson.
Directed by Lucio Fulci.

A gruesomely entertaining horror science fiction film. It marks the emergence in the late seventies of "Italian spaghetti horror". The Italians in the sixties and seventies took over so many of the American genres and made them their own - with baroque exaggeration, an emphasis on violence. They did this with the western and with the police and crime genre. With such films as Contamination, Slave Of The Cannibal God, Island Of The Fish Men, they take recognisable horror stories from the past and treat them with rather operatic and melodramatic tone. This film echoes very clearly the basic zombie films and mad scientist films. It is just that it does them with more gory verve and with more explicit detail (much of which is generally snipped by censors). One of the other aspects of "spaghetti" style films is the use of international audiences and this film has the presence of Richard Johnson as the mad doctor and Tisa Farrow as the heroine. For those who don't like such films, no appeal. For those interested in the development and changes in the presentation of horror material, very interesting indeed.

1. The impact of this kind of horror film? Its cinematic qualities? Material which tends to be censored or banned by
various countries?

2. The success of the film as horror? The appeal of horror: nightmares, monsters, death, suffering? The perennial appeal of nightmare material? The English and American bases with zombie films of the thirties and forties? The particularly Italian variations?

3. Wide screen colour photography, special effects? Low budget? The international cast? The particular characteristics of "spaghetti" horror? Melodramatic, operatic, seemingly no holds barred, explicit gore and violence?

4. The impact of horror and gore, violence? Was this film excessive or not?

5. The structure of the film: the opening in New York and the introduction of the horror, the change of atmosphere to the mysterious Caribbean with zombies and voodoo - the return to New York and monsters taking over the world? The theme of zombies and the living dead, the taking over of the world by monsters? Science fiction and horror as fables?

6. The appeal in films and stories of the zombie as monster: the Caribbean background, the odd blend of catholic and voodoo, false science, superstition? the factual background of voodoo - and the mythology of zombies? The horror of zombies and the living dead, flesh eaters? The visual presentation of the zombies - and their flesh eating?

7. The New York opening and the plausibility of realism? The tone? The hero and heroine, reporters, scientific
investigation? The experience of hero and heroine? Returning to a corrupt New York on the verge of take-over and
destruction?

8. Ann and Peter as conventional hero and heroine: the introduction, the connections, the search of the ship, being
exposed to the zombies and the ugliness? The encounter with Brian and Susan and going with them to the Caribbean? Their harrowing experiences, being chased through the jungle, the horrible deaths of Brian and Susan? Ann and Peter against the zombie world?

9. The portrait of Dr Maynard and the mad scientist on the island, the background of his experiments, his wife and her sensuality and destruction, the range of patients and their deaths, their becoming zombies? Dr Maynard and his work? The assistance of his nurse and the other helpers? Lucas? The deaths and transformations? The emphasis on the horror of the zombies?

10. How well did the film communicate the atmosphere of the island, its isolation, the sea, the jungle, ships, communications, travel for example the doctor's car? Dr Maynard and his sense and madness, his coping, drinking,
courtesy to the visitors? The flashbacks to explain what had happened?

11. The build-up of the crises horror atmosphere. the visuals? The boat. Mrs. Maynard and her being eaten? The final siege and the burning of the hospital, the collapse? Susan and Brian and their deaths?

12. The irony of the destruction of the zombies, themes of death and eternity, hell, unrest, the living dead? The zombies and the fable of evil in the world? And the final irony of their appearing in New York? The value of "spaghetti" horror?

ZOO IN BUDAPEST

US, 1933, 85 minutes, Black and white.
Loretta Young, Gene Raymond.
Directed by Rowland V. Lee.

Zoo in Budapest is an early romantic comedy from the sound era. It has a touch of the exotic with the setting in Hungary.

The film was also an early film for Loretta Young, at this time aged twenty. She is paired with Gene Raymond, a popular romantic lead of this period.

The film shows young people, in Hollywood’s version of Hungary and Budapest, exploring the nature of a zoo, the philosophy of freedom, care, the killing of animals, furs – issues which remain contemporary. There is also a dramatic climax with the animals in revolt, symbol of nature’s revolt against human manipulation.

The film was written by its director, Rowland Lee. Lee had been making films since 1920 and was to make some classics including the Robert Donat Count of Monte Cristo in the following year. He also made Son of Frankenstein, The Bridges of San Luis Rey and Captain Kidd.

1. Entertaining romantic comedy? Its quaint style? The background of the '30s? Romance and the build-up to the climax?

2. Thirties style in characterisation, romance? Hollywood's version of Hungary and Budapest? offbeat romantic comedy? In historical perspective?

3. Black and white photography, light and shadow? The zoo? Action sequences and effects? Scoring - over-scored?

4. The response to the zoo, the variety of animals, the philosophy of freedom, care, the question of killing animals and furs? The range of people visiting the zoo, watching the animals?

5. Management: the doctor and his pleasant regime, the administration, the guards? The medical interest? Zani and his mischievous presence in the zoo? Good with the animals? Heini - the potential villain? The zoo as the microcosm of the city?

6. Zani as the innocent hero? His stealing the furs. the comic touches, watching the children, seeing Eve and his fascination, taunting her, saving her? Falling in love? Paul? The rescue? The melodramatics of the animals loose? The happy ending? The innocent '30s hero?

7. The portrait of the orphans and their oppression, regimentation, cruelty? The girls and the organising of Eve's escape? Taunting her? The details of the escape? The zoo, the animals, the darkness? Fear? Her changing her clothes - and Zani to the rescue? Hiding in the cave? Falling in love? Concern for Paul? Heini’s attack?

8. Paul and the governess, the comedy, fear, lost in the zoo, the animals, the animals unleashed, the details of the rescue operation?

9. Heini and his sinister appearance, providing the melodramatic touches, the fight with Zani?

10. The tender style of the romance blended with the excitement of the animals loose and Zani's heroics in rescuing Paul?

11. The presentation of traditional values? A pleasing and 'nice' film?

ZIEGFELD, THE MAN AND HIS WOMEN

US, 1978, 150 minutes, Colour.
Paul Shenar, Samantha Eggar, Barbara Perkins, Valerie Perrine, Pamela Peadon, David Opatashu, Nehemiah Persoff.
Directed by Buzz Kulik.

Ziegfeld, the Man and His Women is a popular telemovie highlighting the life and career of the famous Broadway entrepreneur. Soon after his death in 1932, Ziegfeld was the subject of a big-budget MGM biography, The Great Ziegfeld (played by William Powell) which won the Oscar for Best Film of 1936. His wife Anna Held was portrayed by Luise Rainer (who won an Oscar for her performance) and Billie Burke was portrayed by Myrna Loy. There were lavish production numbers illustrating Ziegfeld, his shows, the glamour of his girls. Subsequent films from MGM included Ziegfeld Girl, about three girls who were hopeful of getting on the stage in the Follies, and in 1946 Ziegfeld Follies, a collection of musical and comedy acts paying tribute to Ziegfeld shows.

Paul Shenar, who portrayed Orson Welles in The Night That Panicked America, is Ziegfeld. Samantha Eggar is Billie Burke and Barbara Parkins has an opportunity to sing and dance. as Anna Held. Various show business personalities get a brief look-in - Will Rogers, Fanny Brice, Eddie Cantor and Marilyn Miller. The film is quite lavish, has a structure in which the various women including his mother and daughter comment on how they perceived Ziegfeld.

1. An entertaining telemovie? For the home audience? Portrait of a popular American entrepreneur? His life? His shows?

2. The popularity of Ziegfeld and his shows? The film tradition about him and his shows?

3. The structure of the film and the focus on the various women? The effect of the biography? The different angles for Ziegfeld? The truth about him?

4. His mother's comments; the early years in Chicago, the great fire and its effect on the family and on him (a great show and spectacle)? His place in the family? Growing up? His father as an entrepreneur? His suggestions about the strong man and the public admiring him, fighting the lion, the drugging of the lion - and the failure at the box office? His father disowning him? His mother's praise of him?

5. Early years and the visit to London, the theatre in London, seeing Anna, fascinated by her, her routines? The glamour and the songs and dances? Ziegfeld's interest, taking her to America, business deals? Her becoming his mistress? Her success on the New York stage? her feeling that she was kept, his proposal of marriage? Her pregnancy, his demand for an abortion? His infidelities and her disappointment in him?

6. Lilian: Lilian's cynical comments about him, an affair, the clash with Anna? Her wanting him to make her a star, the, rehearsals and her inability to sing and dance? His not allowing any criticism? His staging a show round her and the lavish costumes and choreography with the bubbles? The standing ovation? The relationship, his infatuation with her? fame, liaisons, headlines? Men killing themselves over her? The callousness of her rejection of him? Her humiliating him at the party? her final comments?

7. Billie Burke: the attractive English star, stage, attracted towards Ziegfeld at the Party, dancing together, the proposal of marriage, the warnings that people gave her? Her agent and his disagreement, Ziegfeld settling down? Billie Burke's career on stage and screen? her suspicions of infidelity? His telling her the truth about his love for her? The daughter? her staying with him and helping him in California?

8. Marilyn Miller as a ballet star, her training, suspicions on an affair, their being untrue? Her disdain of Ziegfeld? His building her place in the snow? Harsh treatment of her? Her marriage, the news of her husband's accident and his insisting that she go on stage? The power of the sequence when she has to perform even though grieving? Her callous reaction when Ziegfeld brought his daughter to visit her?

9. His daughter, her birth, his delight in her, growing up, going to see Marilyn Miller, deciding not to be a star? Growing up, companionship for her father, the fishing expedition? Her love for her father? (And the fact that she acted as adviser to the film?)

10. Ziegfeld as a character, his origins, drive for exploitation, drives, a genius entrepreneur, tough, insecure, attracted to women, in love, hurting others, savage towards then, his love for his daughter, the building up of the stars, the impact of the crash of '29, the building up of his career, backing Showboat and the success of it? The visit to Hollywood and his death?

11. A film about vaudeville, burlesque, the musical comedy of the New York stage with Showboat and the response to 'Old Man River'? His contribution? The Ziegfeld Girls? The Ziegfeld style?

12. The glimpses of some of his stars: Will Rogers and his lassoing, homespun humour, Bert Williams and Ziegfeld's demand of respect for the black star, W.C. Fields, Fanny Brice and her singing, Eddie Cantor and his songs, work with Marilyn Miller?

15. An entertaining drama? Character study? Piece of Americana?

ZORBA THE GREEK

US/Greece, 1964, 140 minutes, Black and white.
Anthony Quinn, Alan Bates, Irene Papas, Lila Kedrova, George Foundas.
Directed by Michael Cacoyannis.

Zorba the Greek is based on Kazanzakis' novel, and has proved one of the most popular films of the 1960's, being continually re-released to large audiences.

The film captures a character who believes 1n the zest for living (life force seems too abstract a principle) and 1s resilient despite all kinds of sufferings, disappointment and hardships.

Anthony Quinn has done similar roles, but this one always seems the best and most authentic. He seems to have put his very being at the service of the interpretation of Zorba. His laugh, his lines, his energy, and, especially, his dancing are symbolic of our yearning for a happy life. To-day we realise our need for full personal expression of our feelings. Zorba's dance is a solution.

Alan Bates, who had not been in a poor film, (Whistle Down the Wind, A Kind of Loving, Nothing But the Best, Georgy Girl, Far From the Madding Crowd, The Fixer, Women in Love, The Go- Between, etc.) gives an excellently restrained performance as Zorba's intellectual friend. Irene Papas has worked with Cacoyannis in Elektra and The Trojan Women. Lila Kedrova won an Oscar for her moving portrayal of Madame Hortense.

Cacoyannis captures the air, the sea, the moods, the faces of Crete and invests his film with a dignity and a savagery that adds to its stature. Mikis Theodorakis' music, of course, has become famous. He was imprisoned in Greece for being a Communist and his music for the anti-Greek government, Z, was smuggled out of Greece.

Zorba the Greek will entertain most people and definitely raise questions about the joys and sufferings of life.

1. An exhilarating film as well as a sad one? Why?

2. What kind of personality did Zorba have? Zest for living was his main characteristic, a resilience after the worst of situations. Was this trait appealing?

3. How did the atmosphere, landscape, people of Crete contribute to the reality of the film, its sense of dealing with real people and basic human feelings and beliefs?

4. What contribution did the music make to the film?

5. Why did Zorba strike up a friendship with a young, bookish intellects so proper, so English and so idealistic (did he seem out of place on the wharves and with the Greek and Cretan people)? Did he and Zorba complement each other? (Or was Zorba entirely self-sufficient?) the sequence where they become friends - the cigarettes, Zorba's name, his talents and work, his laugh?

6. How was the clash of cultures shown on Crete - e.g. Madame Hortense, the old mine?

7. What role did Madame Hortense play in the film? What did she represent in life: faded romanticism and popularity and joy? How did Zorba get her to her face and behind her look? What impression did she make on Zorba's partner?

8. Sympathy with the widow - the incident with the goats, the infatuation of the young man, the lustful envy of the men? Why did they persecute her?

9. Why was the work important to everyone - they go in procession to the mine?

10. Why did Zorba get so angry with the men?

11. Why was the dance so important to Zorba, both for his joy and for his grief? What did the donee mean? Why did it involve his whole being in a kind of ecstasy? Why did his friend stop him?

12. What did Zorba's tricking the monks reveal about his way of doing things? Was the Greek Orthodox religion being mocked? Saw? Why? What of the Christmas services?

13. What did Zorba's visit to the town reveal about him?

14. Why did Zorba's friend doubt him while he was away? What was the point of his comforting Madame Hortense so strongly? Did she believe him? Was she happy?

15. Why did the young man make love to the widow? What kind of a change did it make in him? Before he left he was bookish, wearing his glasses. He now acknowledges the sensual.

16. Why did the young Cretan man kill himself for love of the widow? Who was to blame? the widow? the townspeople?

17. Why did they murder her? Was it an execution? Was it a manifestation of man's capacity for hatred and jealousy?

18. The ritual marriage of Zorba and Madame Hortense? Was it right? Were they both happy?

19. What was the effect of Madame's dying scene? Did she have a happy death? What impression did the waiting Cretan crones make (like vultures)? What did this reveal to you about human nature? Was it exaggerated?

20. The dedication ceremony of the log-carrier? sadness when the project collapsed? Zorba's reaction?

21. What was symbolised by the young man asking Zorba to teach him to dance? What had he learnt by his experience

22. Zorba stood for laughter, daring, being mad, acting by the heart, God, love, the sea and the sky. Did he have anything to teach audiences about how one should live?

ZERO DE CONDUITE (ZERO FOR CONDUCT)

France, 1933, 60 minutes, Black and white.
Directed by Jean Vigo.

Zero for Conduite is a French classic of 1933. It is a short film and certainly shows in its style that the age of the silent film had not long passed. However, it is a vigorous film with its fantasy and revolutionary overtones. The impact that it made at the time must have been strong and it has some history of being banned. It is invaluable as an example of early sound cinema and French cinema.

What makes the film of great interest now is its influence on Lindsay Anderson's well known if... Anderson (and his screen writer, David Sherwin) have taken the school and society theme of Vigo's film, retaining something of its structure with their chapters, and even with some of the parallel sequences although the headmaster in Vigo's film is stranger than Andersen's since he is a dwarf), Anderson's most interesting film, O Lucky Man! is also indebted to Zero de Conduite. It is interesting to note that t the photography is by Boris Kaufman, responsible for so many later films shot in New York, especially those directed by Sidney Lumet.

1. What are the overtones of the title in schoolboy terms?

2. Why would this film have been of great interest in the thirties when it was made? Why would it have been banned?

3. Though made in the thirties does it seem dated in content? Does this detract from the film?

4. Comment on the use of chapters for illustrating the main points of the story and theme.

5. How realistic was the film? How much fantasy?

6. How ordinary were the boys? With whom could they be identified?

7. Comment on the emotional overtones of the return to school, the sequences in the dormitory, the discipline and control of the master.

8. What was the picture of the staff, from the boys and children's point of view?

9. Comment on the headmaster. Why was he a dwarf? What did this indicate?

10. Why were the three boys picked on all the time? Why did they plot against the staff?

11. Why was it so important for them to plot revolution?

12. Comment on the importance of the ex-students' day and its presentation of the status quo; the types of old boys that were welcomed back to the school; their distinguished careers and established status.

13. What was the significance of the revolt against the staff, the alumni and the revolution from the roofs?

14. What were the main themes of the film - education, discipline, boys and growing up, teachers, institutions and establishment?

15. Was the film too anarchical, or was it a fantasy that raised legitimate points?

16. Technical aspects of communicating themes: loneliness of the train ride and sharing things, boys playing up and punishment, getting up, 'The Creep' and his discipline, Ruguet liking the boys, his limitations, the headmaster as clown, frightening Tabart about homosexuality etc.?