Z.P.G. (ZERO POPULATION GROWTH)

US, 1971, 96 minutes, Colour.
Oliver Reed, Geraldine Chaplin, Diane Cilento, Don Gordon. Directed by Michael Campus.

Z.P.G. received fairly negative reviews when it was released. The name and topic were fairly controversial in 1970-72 and people's reactions were very emotional rather than well thought out.

Z.P.G. is not a well written film (the screenplay is attributed to Max Ehrlich) especially in its too cosy sail away to freedom ending. However, some of the sequences and ideas have the makings of effective science-fiction. The forbidding of women to conceive children for thirty years and the substitution of dolls in compensation brings home with emotional force the realities of motherhood.

1. Was this good science-fiction? Why?

2. How serious was the message content of the film? Was it well communicated or did it tend to get out of proportion? Why?

3. What was your impression of the world of the twenty-first century?

4. What are your impressions of a world where babies are banned and the law has such heavy penalties and the cry of righteousness is "Baby"? How frightening are these sequences?

5. What effect did these laws have on the Mc Neils - on their marriage, love for each other, on Carole as a woman who would find fulfilment in physical motherhood?

6. Why did they decide to conceive a child? Were they aware of the risks?

7. What effect did the birth have on them - on their happiness, on Carole's sense of fulfilment?

8. What kind of people were George and Edna - their love and marriage, their 'doll-child' and relationship to it?

9. Why did George and Edna want to possess the baby? Did they become possessive and jealous? Why were they prepared to denounce the McNeils?

10. How totalitarian was the society - suspicions of authorities, interrogation methods, punishments?

11. How would audiences react to the film, depending on their points of view, on over-population, birth control and zero population growth? Which side was the film on? Did it give answers and insight into problems?

12. Technical aspects of communicating themes: queues for doll-children, over-population, smog, masks, museums, enactment of 20th century domestic scenes.

ZIEGFELD FOLLIES

US, 1946, 110 minutes, Colour.
Fred Astaire, Lucille Ball, Lucille Bremer, Fanny Brice, Judy Garland, Kathryn Grayson, Gene Kelly, Lena Horne, Victor Moore, Red Skelton, Esther Williams, William Powell, Cyd Charisse, Hume Cronyn.
Directed by Lemuel Ayres, Roy del Ruth, Robert Lewis, Eugene Loring, Vincente Minnelli, George Sidney, Charles Walters, Norman Taurog.

The Ziegfeld Follies was a great success in its time. It was made over a period of two years and eventually released after World War Il.

The Ziegfeld Follies have made their mark in the history of Broadway lavish entertainment, burlesque made respectable and glamorous. Many stars, including Will Rogers and Fanny Brice, graced the Ziegfeld Follies with their humour and talent.

Ziegfeld has featured in quite a number of films especially his lavish biography of 1936, The Great Ziegfeld, with William Powell. Walter Pidgeon portrayed him in Funny Girl. There have been also television biographies of the
entrepreneur.

William Powell takes up his role from The Great Ziegfeld in introducing this film. The production was by
Arthur Freed, who was to make such original musicals as On The Town, Singin' In The Rain, An American In Paris, The Bandwagon.

Vincente Minnelli had started a successful career directing musicals and had reached a peak with Meet Me In St Louis. Later successes were to include The Pirate, An American In Paris, The Bandwagon and the Oscar-winning Gigi. Minelli was also to make quite a number of heightened melodramas, Undercurrent, The Bad And The Beautiful, Lust For Life, The Cobweb, Some Came Running, etc. This film is interesting in seeing him in his early career. The material is very mixed.

1. Some good dance sequences and some very, very dated comedy. It is probably the equivalent of a contemporary T.V. special.

1. The introduction of Ziegfeld in heaven - the puppets illustrating the variety of acts in his follies.

2. The introduction of Fred Astaire and his dancing, especially with Cyd Charisse leading the dancers?

3. Lucille Ball and a rather camp seeming routine with Lucille Ball on horseback with whips and leopard women?

4. Virginia O'Brien and her straight-faced singing of Bring On The Men?

5. Esther Williams and a water ballet?

6. Keenan Wynn in, what seems now a very unfunny sketch, Number Please, directed by Robert Lewis and with Grady Sutton?

7. An excerpt from La Traviata with singers James Merton and Marion Bell?

8. Another moderately funny sketch Pay The Two Dollars with Victor Moore and Edward Arnold?

9. This Heart Of Mine danced by Fred Astaire and Lucille Bremer one of the highlights of the film?

10. A sketch called A Sweepstakes Ticket with Fanny Brice, Hume Cronyn, William Frawley? It was directed by Roy Del Ruth. It offers the rare opportunity for audiences to see Fanny Brice and Barbra Streisand immortalized an Funny Girl.

11. Lena Horne singing Love, directed by Lemuel Ayers?

12. A dated sketch calls When Television Comes, directed by George Sidney with Red Skelton doing his usual routines?

13. Limehouse Blues danced by Fred Astaire and Lucille Bremer - given the full Minelli treatment and excellently presented?

14. A sketch with song and dance: A Great Lady Has An Interview? Judy Garland mimics the celebrities of the time (of the Tallulah Bankhead style), choreographed by Charles Waters, much of it done in single takes.

15. A highlight with Fred Astaire dancing with Gene Kelly in the Gershwin's The Babbit And The Bromide. (Astaire and Kelly were to comment on this in their introductions to That's Entertainment, part 2, 1975).

16. Kathryn Grayson singing Beauty Is Everywhere as a finale and the same Minnelli garish decor, sets and colours? An odd ending for a very mixed film highlighting M.G.M's musical style?

ZIG ZAG/FALSE WITNESS

US, 1970, 105 minutes, Colour.
George Kennedy, Anne Jackson, Eli Wallach, Steve Ihnat.
Directed by Richard A.Colla.

Is quite an effective thriller, handsomely mounted in widescreen and colour and featuring George Kennedy in a very strong role. The plot is perhaps implausible, although it is given as a veneer of authenticity with the character that Kennedy is playing made sympathetic, especially in his dying, his great lengths in providing for his family do seem urgent, at least while on the screen. The involvement in a corrupt situation and murder veers the film from personal drama into some kind of expose of corrupt American society. An effective thriller and directed by Richard Colla, a television director who made such films as Fuzz.

1. How effective a thriller? Plausible, real? Involving? Meaning and tone of the title? An alternative title was False
Witness - more appropriate or not? Title song and lyrics?

2. The title and its reference to the structure of the film and to Paul Cameron's mind and the working out of his plan? The importance of the opening sequences and the long process of Paul Cameron's arrest and being put in jail? The attention to detail? Audience reaction to a man with this experience? Setting a tone for audience response to him?

3. Audience puzzle as regards his crime? The flashbacks to the sequences of him framing himself especially of the kidney? How interesting was the explanation? For Cameron in himself, Joe's background and shady friends, decision to work in this experience, his ability at his work? The revelation about the tumour and the decision that he could make? Should he have decided to have the operation? the risk? His decision to make money for his family? The appropriateness of the motivation? ways for making the money? Was he justified in any way in what he did?

4. His studying of the kidney files, attention to detail, the details of his plans and his involving his wife? The contrast with his plans and their execution and the American home life? his wife, bound with his daughter? The reaction of the company, the presentation, characters and the motives for their decision, businessmen? How important was this in view off what was to happen as regards the ransom, the court case, the revelation of the murder?

5. The revelation about Raymond and his ugliness, the nature of the cover up? The character of Mario Gambretti? His bond with Paul Cameron? His not being trusted? His attempts for the case? The interrogation and lies to him? This behaviour in court and his attempts to persuade the jury? The contrast with Gates and his case? The effectiveness of the verbal interchanges, the intervention of the judge? The jury and listening to such evidence and their verdict?

10. The irony of Cameron's illness and the operation and its situation? Throwing his whole process into farce?

11. The build-up to his escape, his searching out the women to find out the truth about Raymond, his tracking the car etc? His skill in trying to justify himself?

12. The involvement of Gambretti and Gates's decisions not to intervene? In view of Cameron's death should they have intervened?

13. The filling in of the background, the memories of Raymond, death and the identification of the killer and the motive? The dramatic impact of the slow motion accusations of "It was you" as Cameron died? The irony of Cameron's dying after all? Poetic justice?

14. The film's reliance on colour, Panavision, music, thriller techniques and fast pacing? Flashbacks?

15. George Kennedy's performance and giving the character more character than it might have had? How much of the film's success depended on his sympathetic performance?

ZULU DAWN

UK, 1980, 98 minutes. Colour.
Burt Lancaster, Peter O'Toole, Simon Ward, Denholm Elliott, John Mills, Nigel Davenport, Michael Jayston, Peter Vaughan, James Faulkner.
Directed by Douglas Hickox.

During the fourteen years between Zulu and this companion film, there have been colonial wars and incursions in South East Asia and Africa and the super powers no longer seem as heroic and mighty. With the emergence of third world countries, comes a new awareness of racial equality and rights and respect for differences in laws and customs. This is the background to this battle spectacular (it delivers what it promises in terms of vigorous and violent warfare) and a British defeat and massacre. Peter O'Toole looks a haggard and pompous Lord Chelmsford. Burt Lancaster and a veteran British cast bring the battle (rather than characters) alive. Expertly filmed and staged in African settings. Direction is by Douglas Hickox, who made such films as Entertaining Mr. Sloan, Theatre of Blood, Brannigan, Skyriders.

1. The impact of the original film? The distance between the original and this film? The screenplay of the present film as showing the battle prior to that British stand in the original? Audience interest in African affairs? British Empire history? The perennial interest of battles, strategy? Action adventure?

2. The change in perspective on war since the mid-'60s? British Empire and colonies? The role of the super powers and their lack of credibility? Mistakes,, cover-ups? Exposes? The experience of the United States and Vietnam? Russia and Afghanistan? The lessons of history?

3. The place of Britain and Empire? The change in the role of Britain in the world, attitudes towards Britain, the emergence of the third world, the role of the Zulus in Africa? Africa and the third world and its attitudes towards Britain? Nineteenth century clashes of standards of civilisation, rights? South Africa and its racial problem in the 20th. century? Rhodesia and Zimbabwe?

4. The presentation of the African landscapes, nature and the terrain of Africa, its beauty? The Zulu living on the land, their farming, community life, ways, laws? The desert? Their place as African warriors? The attitude towards the British? Official British positions of peace with the Zulus? Sir Bartle Frere and Lord Chelmsford and their defying of British orders? The British in Natal, the precarious nature of the border? The contrast of the Zulu way of life as presented during the opening credits, the feast and celebration, the gladiatorial fight and the judgment of the King? The message from the British? The contrast with British military prowess, the drill on the field, the humour, the punishment of the Private running? The elegance of the garden party? The contrast of Zulu and African colours with the fabrics and dresses of the British? Elegant manners, party and food and drink? Gossip? The discussion of social issues?

5. The use of Panavision colour photography throughout the film, the importance of visual composition of scenes and sequences? The editing? The importance of the audience understanding Lord Chelmsford's strategies? The film's immersing the audience in the African setting, the Zulu world, the world of the British, the battles and massacre? The sounds - especially those of the Zulu chant? The traditional musical score by Elmer Bernstein?

6. The framework of the film as a defeat: the opening and Lord Chelmsford's disillusionment, his need for making decision? The prelude to the defeat, the massacre? The judgment on Lord Chelmsford? The irony that this was the prelude to the final fight as portrayed in the original film Zulu? Where did audience sympathies lie, questions of rights, racial questions?

7. The Zulu situation - Zulu ways and law, administration? The tyranny of the King or not? The right to judge about his management of the Zulu tribes? The King's remarks about Zulu ways and laws and his not dictating to Queen Victoria? The British and their attitude towards Zulu ways? Their looking down on the? The build-up to the battle, the unwarranted British invasion, the way the Zulu warriors rallied, their morale, their ability to hide in the hills, to move swiftly? Their numbers, the chant? The build-up to their victory?

8. The attitudes of the British: Empire, government? The importance of the character of the newspaper reporter Noggs - his observations, his critique, his irony? The responsibility of the authorities to Britain, to the British public? The role of the press, the questions? Natal and its British civilisation -Bishop Colenso and his observations on the situation? Sir Bartle Frere and Lord Chelmsford and their conspiracy with the declaration of war, the sending of the messenger? Sir Bartle Frere and his devious attitudes and gracious manner? Lord Chelmsford and Peter O'Toole's intensity, deviousness? His reputation, aggression? The principal of war for quick victories despite massacre and slaughter? The response of the group at the garden party to the declaration of war? The officers and their seeing it as an adventure? The 19th.century attitude towards war and empire and adventure?

9. The establishing of the military atmosphere - the credits and the Zulu way of life, the British and their drill, Lord Chelmsford and his expectations, the officers and the men, discipline, Durnford and his warriors, their ability to ride, shoot? Audience sympathy for the Zulus? The establishing of the characters to be involved in the battles? The African setting for the battle, the contrast of the two attitudes?

10. The Zulu strategy - response to the invasion, stalking of the British, the massed tribes, the strategy of the three young men to be captured, tortured, escape? Espionage. spies and lookouts, the role of the King?

11. The contrast with Lord Chelmsford and his invasion, the dividing of the troops, his anger with Durnford? His manner? His assistant and his being the 'yes-man' for Lord Chelmsford? Chelmsford's personal ambitions and his collusion with Sir Bartle Frere? His decisions, clashes of personality, his misjudgements about the placement of the Zulus? The final dinner and the attack? History's judgment on him?

12. The officers and gentlemen - their manner, Vereker and his arrival, his social background, the taunts of the officers, the drink, the paying of the debt? His role as scout, his showing his ability to shoot? His work as a lookout, collaboration with Durnford? The final sequence with the colours, his watching the massacre? His representing the British military achievement?

13. The presentation of the ordinary soldiers - Williams, his punishment at the beginning, drill? The Sergeant and his friendship with Williams , helping him? His death? The Quartermaster and his attitudes towards the soldiers, the handing out of the ammunition and the closed and locked boxes? His death? The various soldiers fighting to the death and the retreat from the Zulu? The soldier and the young boy with the markers and the boy's death?

14. The role of Durnford - as an Irish military type, working with the Zulus, working with Vereker? The domestic sequences with Fanny at the party? His attitudes towards the invasion? His clash with Chelmsford? His role in the battle, his death?

15. The build-up of the invasion, the obtuseness of the British? The Zulus and their chasing of the settler, the capture of the three young men and their torture? Vereker's discovery of the Zulu masses?

16. The strategy of the battle, the length of the presentation, the visual effects of man to man fighting, troops fighting with order and strategy, the mutual massacres?

17. The film's comment on war, the role of leadership and judgments, mixed motivation? The lessons of history?

ZULU

UK, 1964, 137 minutes, Colour.
Stanley Baker, Michael Caine, Jack Hawkins, James Booth, Ulla Jacobssen, Nigel Green, Patrick Magee, Gary Bond, Bernard Bresslaw.
Directed by Cy Endfield.

Zulu is an intelligent action spectacle which should prove popular to most audiences. Basically, the story is of a heroic withstanding of a siege by the Zulus in 1879 and the final acknowledgement by the Zulus themselves of the heroism and courage of the British. Besides the action the clash of personalities has its own interest. Michael Caine made his first major appearance in this film in a role which is different from later roles. Good adventure.

1. Was this film anything more than a spectacular 'Saturday Matinee' show?

2. A great deal of trouble was taken in filming in Natal and coaching Zulu warriors for battle scenes and celebrations. Was this all effective? Did it give authenticity to the film?

3. The film was very British in its presentation, structure (with narrative), and English and Welsh 'types'. Was it too British or was it an honest presentation of good points as well as bad?

4. Were the Zulus presented fairly and justly?

5. What was the point of introducing Pastor Witt and Margaretha - during the celebrations (and Margaretha’s fears), at the station, their desire to go, his warning that all would die, his blind reliance on faith and psalms, his drinking and his final shouting to the men? Why did the Zulus let them pass?

6. What kind of man was the Engineer - in building the bridge, in taking command over Bromhead? His decisions, how wise, thoughtful, heroic (too heroic?), afraid? How well did he and Bromhead work together? Why?

7. What kind of man was Bromhead, especially on first seeing him 'on safari'? His distinction between professionals and amateurs? His authority? Why did he cede command? Was he a weak character? How did he change during the battle? How heroic was he? How did the battle finally affect him?

8. Comment on the contribution of the minor characters to the film and to our appreciation of the situation - e.g., the Colour-Sergeant? and his sense of duty, Hook and his malingering, the Welsh singers, the young sentry, the doctor.

9. How well done was the preparation for battle and the battle itself? Why were the battle sequences successful filming? How strategically interesting was the film? Was this conveyed well cinematically?

10. How were the Zulus presented during the battle in comparison with the British? Why were the leaders so carefree as regards dying men?

11. Why was the battle fought? Was it necessary?

12. What was the impact of the final sequences, especially the tribute from the Zulus?

13. What comment on war and bloodshed did the film make?

14. What was the effect of the nation about Victoria Crosses? Was this a satisfactory war adventure in theme and content?

ZORRO SWINGS AGAIN

US, 1981, 89 minutes, Colour.
George Hamilton, Lauren Hutton, Brenda Vaccaro, Ron Liebman, Donovan Scott, James Booth.
Directed by Peter Medak.

Zorro Swings Again, originally Zorro the Gay Blade, is a satirical spoof on the serious hero of comic strips and films. Tyrone Power was Zorro in the 1941 Mark of Zorro, directed by Rouben Mamoulian, to whom this film is dedicated. There have been many minor variations on the theme. A particularly good version was made with Alain Delon and Stanley Baker in the mid-70s. George Hamilton had great success with his spoof on Dracula, Love At First Bite. This film is in that vein with Hamilton playing Diego, Zorro's son, and discovering that he has a twin brother - nicknamed Bunny - who has spent some time with the English navy and is a gay blade. The contrast that Hamilton makes in portraying the masculine hero Zorro with the effeminate Bunny is a very good comic interpretation - and he has the opportunity also to present himself in drag with Bunny dressed up as Cousin Margaret. Ron Liebman screeches his way through the part of Estaban and is quite grating. Lauren Hutton is an attractive heroine and an enlarging Brenda Vaccaro enjoys herself as Estaban's would-be glamorous wife.

Costumes, decor and action sequences are well done - even making an audience long for a more serious treatment of the theme. Direction is by Peter Medak who has had a mixed career including film such as Negatives and The Ruling Class and The Changeling.

1. The popularity of spoofs on formula films in the '70s and '80s? The respect for the original - manifested in the initial dedication and the adaptation of Max Steiner’s score for The Adventures of Don Juan for this film? The insight into the original for quality send-up? Audience response to memories of the original as well as the parody? The success of this spoof?

2. The film as a production by George Hamilton and starring himself? Acting skills, Errol Flynn-type hero? His enjoying himself as Latin lover with dashing appearance, jokes about the heavy accent, acting as Zorro? His contrast with Bunny and his camp style and the mock-English accent? The sequence as Cousin Margaret? Hamilton's skill with the variety of styles and humour?

3. The dedication to Rouben Mamoulian, the use of Max Steiner's music? The imitation of points of the original? Audience familiarity with the conventions, plot, styles and happy acceptance of these?

4. The Spanish influence in California? The lifestyle in California on Spanish models with Alcalde and the caballeros? The wealthy exploitive government? The criticisms of the other states of America? The presentation of the Boston do-gooder criticising the Spanish exploitation? Humorous images of contemporary situations with echoes of the Third World?

5. The introduction to Diego in the prologue with another man's wife, the swordfights - and the comic routines with the many swordfighters? His return to California? Encountering Estaban and Florinda? The assistance of Paco? His father's bequeathing the Zorro outfit to him? His becoming Zorro by accident? Helping the beleaguered peasants? Attacking the tax collector? His delight in his skills? His injury - and his absence from the ball and having to demonstrate his health for Estaban (in such a painful way)?

6. Bunny and the contrast with Diego? The satire on the British fop? His decision to help Diego? The point made in showing the two sides of Bunny's face - one as Bunny. the other as Diego? The range of his costumes, his whip? His impersonation of Margaret at the ball and stealing the necklace? His dashing return to rescue Diego?

7. Estaban and his corruption, shouting, his pressurising the caballeros to elect him, Florinda's despising him, his torturing the peasants and exploiting them, his fight with Zorro at the ball, his encounter with the tax collector, his plans to discover the true Zorro, Diego arranging for everyone to come to the dance as Zorro, his infatuation with Margaret, his arrest of Charlotte and the preparations for the execution, the confrontation by Diego as friar, his come-uppance with Bunny's help?

8. Charlotte Taylor- Wilson as the Boston do-gooder, her arrival, speeches and handouts, infatuation with Diego, flirting with Bunny and her dismay, the romantic interludes, her arrest, almost execution, rescue and the happy ending? Lauren Hutton's vigour as heroine?

9. Florinda and her wanting to be glamorous and wealthy, her throwing herself at Diego, hiding in the coffin and almost being killed? Her parties? Her dislike of Cousin Margaret? Her being robbed? Her final disdain of Estaban?

10. Paco and the Harpo Marx style comedy of the mute? Dressed as a bear. riding behind Zorro? His help in difficult situations?

11. The film's reliance on spectacle - decor, costumes, balls, executions? The fights?

12. The parody of romance? And the parody of the effeminate gay subculture?

13. The blend of the serious and the send-up?

ZOMBIE HOLOCAUST

Italy, 1979, 88 minutes, Colour.
Ian Mc Culloch, Alexandra Delli Colli, Sherry Buchanan.
Directed by Marino Girolami.

Zombie Holocaust is one of many Italian horror films made in the late '70s and early '80s capitalising on the popularity of occult and violent trends in the United States. This one borrows the basic plot of the mad doctor creating zombies - but transfers it to South East Asia. Opening in the United States, there are gruesome scenes of body-part snatching. There is then a transition to the Orient where the mad doctor is operating, the foolhardy heroes and heroines wander the jungle only to be confronted by violent death and transformation into zombies. The plot was used to much better effect by Sergio Martino in Zombie Flesh eaters with Richard Johnson.

There is an emphasis on the gruesome and the ghastly and there is a dash of sex with the leading lady a most unlikely doctor-anthropologist.

ZIEGFELD GIRL

US, 1941, 131 minutes, Black and white.
James Stewart, Judy Garland, Hedy Lamarr, Lana Turner, Tony Martin, Jackie Cooper, Ian Hunter, Charles Winninger, Al Shean, Edward Everett Horton, Philip Dorn, Paul Kelly, Eve Arden, Dan Dailey, Fay Holden, Felix Bressart.
Directed by Robert Z. Leonard.

Ziegfeld Girl is a mixture of soap opera and musical, choreographed by Busby Berkeley, directed by Robert Z. Leonard, who had directed the Oscar-winning biography, The Great Ziegfeld.

The film was also a star vehicle for the young stars, Lana Turner, Judy Garland and Hedy Lamarr. Lana Turner is the vamp, Judy Garland the aspiring actress, Hedy Lamarr wanting a career. With their interactions they come across Ziegfeld as well as with a young man, played by James Stewart in all earnestness.

The film recreates the atmosphere of Broadway in the early part of the 20th century, the role of the Follies, the goal of aspiring actresses, singers and dancers as well as all the intrigue behind the scenes and the heartbreak for the young actresses who want to reach success. The film was released at the beginning of World War II.

1. And entertaining musical melodrama? The background of Ziegfeld and his Follies? M.G.M. production of the '40s? The stars at the beginning of their careers? The old, old story, 1940s style? How well does it wear?

2. Production values, black and white photography, musical score, Busby Berkeley directing the choreography? New York in the '20s and '30s? Melodramatic American stories?

3. The presentation of the three heroines? The interweaving of their stories and the focus on the Follies? The American nostalgia for the days of Broadway, Ziegfeld? The American Dream and idealising of the American girl? The nightmares of show business for the American Dream? The material of soap opera - how well and credibly presented?

4. The film as musical: the presentation of the Follies, their popularity, Ziegfeld's style? The focus on the girls? Their auditions, training, glamour? The morale-boosting stories and the warnings? The rules for the girls? Rehearsals, performance, decor? The gowns? The baroque, even kitsch, style? Stars? A tribute to an era of American show business? Glamorised in M.G.M. musical productions?

5. The focus on Sheila and Lana Turner's performance? The elevator girl, the dream of being a Ziegfeld girl and wanting it? Her determination even over her love for Gil? Gil and his ordinariness, her family and their ordinary background - her changing her name? Hopes, auditions, training, success? Showing her glamour on the staircase at home? Her helping Susie in her song? The attentions of Jeffrey and his wealth? (And the advice of the Eve Arden character about wealth - and conscience?) Her house, her maid, her being kept? The reaction of her family, the concern of her brother? Gil and his clash with her? His working for the Mafia? The encounter in Florida and mutual dislike? Her visiting him in prison? Her anguish, drinking? Her failure in the performance, collapse and being dropped? Pawning her jewellery? Her wandering the dream of a farm? Her going to the opening? The Grand Walk down the staircase and her collapse? The pathos of her death? American soap opera at its best? Judy Garland as Susie - her vaudeville routines with her father, the old style, her dreams, her looking after Sheila and wanting Jeffrey to marry her? Her brother? Her singing "I'm Always Chasing Rainbows" and making it a ballad? Her success? Her father appearing in the Follies? Judy Garland's style in the various songs - "I'm Always Chasing Rainbows", "Minnie from Trinidad", the finale?

7. Sandra and Franz? European background? Classical music? Franz wanting a job in the Follies? The clash when Sandra got her job? Their separation? Frank Merton as the popular singer-star - his infatuation with Sandra? The song routines (and Tony Martin's style)? Frank's wife and the confrontation - Frank and his flirtations, his wife's love? Sandra's dignity at not wanting to take Frank away from his wife? Her buying the violin? Their friend and his 'dead uncle'? The reconciliation and happy marriage?

8. James Stewart as Gil - the truck driver, ambitions? Love for Sheila? Her rejection of him? His confrontation? His being caught up in Mafia driving? Imprisonment? His rejection of Sheila's help? Release? Promises to Sheila? His downfall parallelling hers?

9. Sheila's brother and his innocent love for Susie?

10. Jeffrey Collis and his wealth, patronising showgirls? Setting Sheila up in an apartment? Outings, gambling? The confrontation by Susie and his honourable intentions? His seeing her clash with G11 and his dropping her? The comment on wealthy playboys and their attentions to the Ziegfeld girls?

11. Mr. Gallagher and his nostalgia for the past? Protection of Susie? Her style and his being hurt by her ballad-singing? His going on tour with his friend? The success with "Mr. Gallagher & Mr. Shean"?

12. The Regan family - Irish New York, police? The Ziegfeld girl coming from this ordinary background?

13. The moralising tone of the story - Sheila's downfall, Susie's stardom, Sandra's happiness? The interweaving of the stories? Audience involvement? American dreams and warnings? The typical show business story? A good example of its kind?

ZANDALEE

US, 1990, 104 minutes, Colour.
Nicolas Cage, Judge Reinhold, Erika Anderson, Viveca Lindfors, Joe Pantoliano, Steve Buscemi.
Directed by Sam Pilsbury.

Zandalee is a New Orleans story, a story of marriage, collapse of marriage, the exploration of sexual freedom. The film-makers intended this to depth the psychology of the heroin. However, there is little psychological depth in the film, episodes are presented, dialogue runs the risk always of cliche and much of the dialogue is risible. Parallels might be made with the films of Zalman King: Two Moon Junction, Nine and a Half Weeks and, especially, Wild Orchid which this film resembles.

The cast is quite strong with Erica Anderson as Zandalee and with Nicholas Cage as the passionate painter and Judge Reinhold (executive producer of the movie) as the impotent husband. The supporting cast is led by Viveca Lindfors and includes Joe Pantoliano as a transvestite and Zac Galligan as an art dealer.

The atmosphere of New Orleans is caught on film. However, the awkward direction and the sometimes embarrassing sequences mean that the film does not make the impact that it intended. The direction is by Sam Pillsbury, an American who spent many years in New Zealand and directed such films as Scarecrow and Starlight Hotel.

1.Interesting and entertaining? The impact? Psychological exploration - or not? The quality of the exploration, its depth? The exploration of the erotic and of love in and outside marriage? Sexuality?

2.The photography of New Orleans and its atmosphere? The homes, business world, the Bayous? The sex clubs of New Orleans? How authentic the atmosphere?

3.The title and the focus on Zandalee, on the two men?

4.Zandalee and her relationship with Thierry? The opening, the sexual emphasis - and audience prurience and voyeurism? Her own reticence and Catholic upbringing? Her relationship with Thierry, marriage, love, sexuality? Her love for his poetry? His plans and the interest in business? Her reacting against this? The exotic aspects of her life in New Orleans? The ordinariness of her jogging and this recurring throughout the film? The introduction to Johnny, her being repelled, her offhand remarks, attracted? The portrait painting and her comments? The number of meetings? Gerri and the work at the shop, his cross-dressing, his friendship, taking her to the sex clubs? The effect on her, Thierry's impotence and her disappointment? Her needing to feel free, to be opened up, the reaction to Johnny, their passionate affair, the encounters? Her deceit? The meal and the experience? It becoming too much, wanting an escape? Her friendship with Thierry's grandmother, listening to her story, getting support? Her visit to Johnny's studio, the answering machine and the women, her jealousy, her throwing the paint around, the destruction? The end of the affair? The change in Thierry? Their going to the Bayou, talking, the sexual passion? Johnny's arriving, the clash on the wharf? On the boat, the accident, her trying to save her husband? His death and the effect on her? Her grief, the sequence in the cemetery (and meeting the prisoner who collected garbage)? The encounter with Johnny, her going in front of him and being shot?

5.Thierry, tightness, going to the bucks' night, meeting Johnny, bringing him home, memories of childhood, growing up? Johnny working for him? Giving up the poetry - and his quoting the poetry throughout the film? Business, trying to live up to his father? The painting of the portrait? The deals, the visits and interviews, the meals? His impotence? His disappointment, suspicions of Johnny? Wanting to opt out of the business? Going away, hoping to be reconciled with Zandalee? The happiness, Johnny's arrival, his instigating the formal dance on the wharf? Falling into the river, his attack on Johnny and biting him, wanting to die?

6.Johnny, rugged, the painter, passionate, drugs, his moral stances, sexuality? His betrayal of Thierry? The passion, the painting of the portrait? The encounters with Zandalee, seduction? Freeing her? Pursuing her, the encounters, the encounter in the church - and the confessional? The break? His following them to the Bayou, on the boat, the dance, the dive, Thierry's death? His disillusionment? Destroying his paintings? Being shot at - and carrying Zandalee?

7.Tata, the grandmother, her help for Thierry, place in the house? The breakfast talk with Thierry and her support of him? Her personal talking with Zandalee and explaining her own affair? Her life with Louis, Louis always in the background, coming to the dinner, playing cards, his discretion to let Zandalee talk?

8.Gerri, the dresses, the homosexual world, the bars, helping Zandalee, taking her out?

9.The business world, companies, executives, money deals? The world of relaxing, the bars?

10.The glimpse of the sex world of New Orleans?

11.The art world, paintings, exhibitions and dealers?

12.The serious intentions of the film? Its intention for psychological depth - how successful? How pretentious?

ZARDOZ

UK, 1973, 105 minutes, Colour.
Sean Connery, Charlotte Rampling, John Alderton, Sara Kestelman.
Directed by John Boorman.

Zardoz is a big budget science-fiction, yet it is really a specialist film and is not of great appeal to general audiences. Director John Boorman's reputation increased greatly in the early seventies. His previous thriller, Point Blank, is excellent. His, Hell in the Pacific, is an unusual war film, involving only two characters, an American and a Japanese. With Deliverance this director reached the popular audience with a very strong and vigorous adventure-allegory.

Now with Zardoz (which he also wrote) he goes in for serious allegory, but not too serious. Combining visual beauty and clever gimmickry, he explores the world of the present and of the future, the role of science in man's progress and the abuse of science. He explores the nature of man, his finite existence and man's attempt to destroy death. Deeper questions about the meaning of- the universe and of God are raised, with typical twentieth century scepticism and irony, and a facetious request that these questions should not be asked too seriously. Zardoz is a very interesting film and continues to make John Boorman's film career quite individual and distinctive.

1. What was the overall impression of this film, did it have insight?

2. Was it successful science-fiction and what presuppositions did it ask of the audience?

3. What vision of the future did the film give - optimistic, pessimistic? How did the world of 2293 contrast with the 1970's? Was part of the film's message a parody and satire on the present day?

4. How important was the farcical nature of the prologue?

5. The film relied on the themes and plot of the Wizard of Oz very much. What are the implications? Why the title Zardoz?

6. Comment on the picture of the 2293 world, the use of Irish location, the lush green of the Vortex, the homes with modernistic appearance.

7. Was Zed's character well developed?

8. what was your reaction in learning that Zed had been manipulated by Arthur Frayn?

9. Comment on the visual presentation of the Vortex, the quality of society of the immortals. Were they attractive, repugnant?

10. How strong were the characters of the women in the Vortex? What kind of society was this? What was your reaction to all this?

11. The treatment of Zed by the immortals? Their fascination and his control of them? What happened to Zed as he realised his position?

12. The picture of the Apathetics who could not face immortality? Would this be the fate of most people?

13. How ugly was the picture of the Renegades? How did Zed become the liberator?

14. What power enabled the Vortex to be broken?

15. Comment on the visual presentation of Zed and Consuela escaping, their love, family, growing old. What significance did this have for the ending?

16. Examine the major themes and the insight the film gave - the present, the future, death, immortality, science and its possibilities., snobbery, humanism, religion and God, the nature of truth, falsity, nature, cruelty, pride.

17. The impact of Zardoz's face? His words? His recapitulation of earth's history? The humanistic and theological implications of what he said? Zardoz as God? What are the implications of the use of the 'Wizard of Oz'? The title Zardoz? The god and Arthur Frayn like the 'Wizard of Oz'? The hollow reality of God and superstition? Man's need for a god and yet there not being one? The wizard as a magician tricking men? Optical illusions? And the meaninglessness of the world etc.?

18. The picture of the Outlands and the darkness, the fear of the brutals, the fact that they were pursued to be exterminated, a remnant reproducing and dying, the harshness of life for the Outlands? What was your reaction to the Exterminators? Their cruelty and slaughter? Their worship of Zardoz and their exterminating for him? The fact that they were the reproducers? The effect on mankind with this type of controlled reproduction? The superstitious nature of the Exterminators? The reality of the head of Zardoz flying through the air and commanding the Exterminators? Zed as an Exterminator, as a worshipper, his memories of slaughter? The fact that he was chosen to break the spell of the Outlands and the Vortex?

19. Zed's personality by means of his television memories, his awareness of himself, his sense of quest? The sequences of his killing, of Zardoz? His arrival in the Vortex? His survival in the Vortex? And clash with the intellectuals? His changing from a seeker to a redeemer figure? How did his experience in the Vortex change him as a person? Did it humanise him? Zed's life as an exterminator was governed by Frayn? To the finding of the books? To the reading of the 'Wizard of Oz'? To the extermination of Arthur? What did this say about the Intellectuals and their ability to control others and yet not save themselves? Or that they needed redemption via another whom they could control?

20. The Vortex: its looking very much like old England or Ireland? With the added domes and crystals? The elegant social life? Overtones of the Roman Empire? The barriers of the Vortex with the Outlands on the outside? The nature of the Immortals? Their youth? Their snobbery? Why did they want to be immortal? Did the flashbacks illustrate this well? The quality of society of the Immortals? how attractive? How repugnant?

21. Consuela as a person? How strong was she? How puritanical? Dedicated? How suspicious of the Brutals? Her suspicions of May? Her control in the democratic rule? May as contrasting with her? May and her science and sensuality? Her attractions to the Brutal? Her desire for experimentation? For self-understanding? Why was Friend so sceptical? Why was he bored with life? So cynical? Your reaction to his punishment? What kind of society was this? The backwards scenes etc.? The relationships between the Immortals? Their preoccupation with sexuality? Their experiments on erections, and yet their impotence?

22. Zed's liberation: the help from May, from Consuela, from the prophetess' and her leaf? The importance of Zed's penetration of the Crystal? His intellectual powers superior to the immortals? The temptation for him to become God; the visual presentation of Zed in the crystal? . His breaking through this and not succumbing to the temptation of immortality? The background, of the statues and their mould, the books etc.? The breakthrough into a new world? The reality of the Exterminators killing the Immortals? Your response to this visual presentation of longed-for death? How ugly? How much salvation?