VICTOR/VICTORIA

UK, 1982, 128 minutes, Colour.
Julie Andrews, James Garner, Robert Preston, Lesley Ann Warren, Alex Karras, John Rhys Davies, Graham Stark.
Directed by Blake Edwards.

Victor/Victoria is an exuberant Blake Edwards comedy - with point. Its success can be seen in the light of the popularity of the two La Cage Au Folles films with their presentation of homosexual relationships in the atmosphere of nightclub and cabaret. What seems bizarre to the average audience on the surface is then made very human. This jolts audience presuppositions and makes them reflect on sexuality and stereotypes.

This film was based on a German film of the same name of the '30s. Blake Edwards has kept the period but has injected the language and attitudes of the '80s. The film is made with his exuberant style - excellent re-creation of period, decor and costumes. There is a lot of very broad comedy - especially in the Pink Panther films style. There are also some very well staged songs and dances capitalising on Julie Andrews' talent and the ability of Robert Preston and Lesley Ann Warren. The stars give very good performances indeed. Julie Andrews is very much admired by Blake Edwards and is frequently centre screen with admiration. He continues his transforming of her image from 10 through S.O.B. to this film. Robert Preston is very engaging as the ageing drag queen. James Garner is upright American heterosexual hero. There is an excellent performance by Lesley Ann Warren as one of the best dumb blonde roles on screen and humorous support from Graham Stark as a waiter and a satirical Inspector Clouseau performance from 'Sherloque Tanney' as Bovin. The film keeps people laughing but certainly raises questions about stereotyping and tolerance.

1. An entertaining comedy musical? Re-creation of period? Satire? A film with a message about sexes, roles, relationships, stereotypes, homosexuality? Popular plea for understanding and tolerance? How successful?

2. Blake Edwards' bright and brash style? Comedy, broad characters, humorous situations, verbal and visual gags? Songs and exuberant staging? Broad satire? This film within his career - and satirising his sad experiences with producers and the cinema world - His regard for Julie Andrews and his presenting her on-screen - making star vehicles for his wife? Using her style, skills and talents? Changing her image?

3. Panavision and colour photography? The re-creation of Paris in the '30s - and the touch of Chicago? The lavish sets, interiors and exteriors? The poor section of Paris, the nightclubs, the hotels and apartments? Costumes? The staging of the musical numbers?

4. The contribution of the songs and their lyrics? Points of insertion, entertainment, the points being made especially with the lyrics and the staging? Camp style, parody? Julie Andrews, Robert Preston, Lesley Ann Warren and their musical contribution?

5. The origins of the film in a '30s German film? The background of Germany in the Cabaret era? The entertainment style, what audiences were seeking, the titivation with the provocative? The fusing of the sexes, ambiguities? The transferring of '30s ambiguity to the frankness of the '80s? Frankness and the Gay Liberation movements? The film's attitude towards public opinion about homosexuality? The points being made? The understanding via comedy?

6. The use of farce styles with mistaken identities and disguises in order to highlight male-female stereotypes, fusion of identity, variations of identity? The characters emerging from this farcical treatment of identity confusion?

7. Homosexuality as a fact, phobias, attitudes, society and public opinion, oppression, the feelings of a minority, social issues, moral issues? Public opinion and stereotypes? The reversal of male-female roles and stars to highlight stereotypes for fun and understanding? Toddy: the declared homosexual, his relationships, style of acting, speaking, his respect for Victoria, his relationship with Squash? The humour in his final drag dance and the comparison with Victoria's rendition of the same routines? Victoria: as a woman in herself, the background of her failed marriage, her decision to accept Toddy's suggestion, her enjoying the impersonation, the feelings of freedom with a woman being treated as a man, making a career of her impersonation, the complications of a romance, her homosexual admirers, King and his heterosexual love but the dilemma of his being seen with a man, her final dilemma and decision to become herself as woman? King: his clarity of opinion, voicing popular opinion, his response to Victoria as an impersonator, as a woman, his puzzle, his trying to find out the truth for himself, the dilemma of public opinion if it should seem that he was gay, his influence on Squash's coming out of the closet. his being spurned by the Chicago group and by Norma? Norma: her jealousy of King, her change when it appeared that Victoria was Victor, her flirting with Victoria as Victor, especially at the end? The extremes of her reaction? Squash and appearances, the macho-American image, his explanation of his homosexuality and concealing it in sport? His admiration for King? The relationship with Toddy? The American gangsters and their clear-cut attitudes towards sex roles? The irony of their intolerance of ambiguity in sexuality roles and yet their wholehearted exercise of violence?

8. Julie Andrews' performance at Victoria: the audition, her quality of singing, breaking the glass, her hunger, the landlord and his sexual advances, the meal and the humorous encounters with the waiter, Toddy and her scheme with the cockroach? Their success? Friendship with Toddy, sharing the flat? His proposing the impersonation situation and the agreement after seeing her in Richard's clothes? Selling her to Cassel and his agency? The humour of Toddy's pushing into the manager's office? Her success? King and his advances and falling in love with her? Her being spied on? The affair? Her understanding of her freedom as a man, her wanting a career? Her decision to go back to being Victoria? The warmth of the character? Humorous situations? Julie Andrews' skill in performing the songs, the dance routines?

9. The introduction to Toddy? His affair and the fights? The brawls in the clubs? His singing career in the cabaret? The encounter with Victoria in the restaurant, with his cold, their shared experiences, his transforming her, managing her, pushing her - literally - into the agent's office? The ambiguity of their relationship? In public, simplicity in private? The farce routines with Squash trapped in their room? The friendship with Squash? The final brawl and the final song and its satire on drag performances?

10. The background of American businessmen and gangsters? King as portrayed by James Garner in conventional style? His presence in Paris, enjoyment of the nightclubs, Squash as bodyguard, relationship with Norma and squash's protection? His success in Chicago? His falling in love with Victoria? The clashes and the strident interchanges with Norma? Sending her back to Chicago - and provoking her vengeance? The farcical sequence with his spying on Victoria in the bath, his being trapped in the room and Squash's being trapped? The affair? His hesitations about the affair - especially in terms of being seen allegedly with a man? His deciding to go along with the relationship? The happy ending? Squash - gentle character, bodyguard, being trapped in the room and in the snow, his declaration about h-is homosexuality, explanation of sport as a cover for his feelings, the relationship with Toddy?

11. Norma and the satire on the American dumb blonde? Comic style, jealousy, romance, being sent back to Chicago, the gaudiness of her song-and-dance routine in Chicago, her flirting with Victor, the comeuppance at the end?

12. The incidental comedy with Graham Stark as the waiter in the restaurant, his later presence in the nightclub? The detective and the echoes of Inspector Clouseau routines? The manager of the club and his spying on Victor/Victoria? The agent and his enjoyment of Victoria's success?

13. The atmosphere of song. comedy. brawls? The success of the film as entertainment? As provoking audience reaction about the roles and behaviour of the sexes?

THE UNTOUCHABLES

US, 1987, 119 minutes, Colour.
Kevin Costner, Robert de Niro, Sean Connery, Andy Garcia.
Directed by Brian de Palma.

The Untouchables is about Eliot Ness and Al Capone. Eliot Ness is famous from books and the papers of the '30s as well as the television series with Robert Stack. (In later years there has been a bit of demythologising, that J. Edgar Hoover and Ness were self-promoters - a telemovie, The Revenge of Al Capone, with Keith Carradine highlights this theme.) Al Capone has been the subject of many films, both fact and fiction: Paul Muni as Scarface, Rod Steiger as Al Capone, Ben Gazzara as Capone. Here Eliot Ness is portrayed effectively by Kevin Costner (No Way Out, Bull Durham, Field of Dreams, Dances With Wolves) and Robert de Niro has a cameo tour de force performance as Capone.

The strength of the film, besides the stars, is in Sean Connery in his Oscar-winning performance as Sergeant Malone. There is a good supporting cast, including Charles Martin Smith and Andy Garcia as the other two Untouchables.

The screenplay was written by David Mamet (The Verdict, and his plays Glengarry, Glenross as well as House of Games and Things Change). The musical score is by Ennio Morricone and direction is by Brian de Palma, an expert in Hitchcock style horror films as well as his gangster epic with Al Pacino, Scarface.

The Untouchables re-creates Chicago in the '30s, the gang wars, the power of Capone, the determination of Ness and his followers. There is a special tour de force sequence in a railway station with a baby and a pram on a staircase - a tribute to, as well as imitation of, Eisenstein's famous staircase scene in The Battleship Potemkin. This sequence has its own power. An absorbing gangster film.

1. The Chicago of Al Capone, the local police, politicians, federal police, the treasury and the FBI? The facts of the period, the role of the media, audience consciousness shaped by the gangster films?

2. The popularity of gangster films, their moralising style in the '30s, their warnings? Changes, the focus on the gangsters, on the police? The more explicit violence? The perspective of the '80s? The work of Brian de Palma?

3. Panavision photography, the re-creation of the '30s, the city of Chicago, the police and the precincts, hotels, the law courts, the stakeouts? The action sequences on the Canadian border? The picturing of violence, the special effects? The significance of the station and staircase sequence? Authentic and stylised?

4. The quality of the screenplay, David Mamet's theatre experience? Dialogue, action? The parallel with the television series?

5. The initial information about 1930, Prohibition and its consequences, gangsters, the Treasury and the federal police, Al Capone, his being a businessman, his philosophy of life, the brutality, protection? The irony of his arrest over tax returns? Eliot Ness and the achievement of the G-men?

6. The portrait of Al Capone and the perspective on him in the '30s, later? Robert de Niro's strength and presence, jovial and brutal style, relentless? His press conferences, loud? The shaving sequence and the blood, his stating he was a businessman? The banquet and his philosophy of baseball, his brutal bashing of his gangster? The question about taxes, his discussions with the press? His weeping at the opera and the intercutting with Malone's death? His behaviour in the court, his arrogance, buying people, the clash with Ness on the hotel steps? In the court? His going to prison? Prohibition breeding this type of brutal businessman and gangster?

7. The situation with Prohibition, bootlegging, the smuggling? Protection of the hotels and shops, payments? The refusal - and the little girl with the explosion, the reaction of the press, the work of the police?

8. Kevin Costner as Eliot Ness: in himself, presence, an ordinary Treasury official, his relationship with his family, the sequences with his wife and children? Having to move them from Chicago for protection? His press conferences, the questions, the uprightness of himself and his men? His contacts, the raid and the irony of finding the umbrellas? Capone laughing at him, the press laughing? His walking home, the bridge, the encounter with Malone, Malone as an efficient policeman? His visiting him, the proposal that he work for him? The plans, going to the recruits with their shooting, interviewing George Stone, the Italian background, hiring him? The refusal of the bribe by the official? Wallace and his information, the tax registers, his plan of action, giving the information to Ness? Their forming a squad of gangbusters? The meal together, the photo? their building up their plans?

9. The tip-off, going to the border, horseback chase, the captain of the police, the raid, the shootouts and the deaths? The capture of the bookkeeper? Malone's brutality in shooting the dead man and pretending that he was alive as a warning for the bookkeeper to confess? The local police and their disapproval of these methods?

10. Going to the courts, the hopes, Wallace and his being with the keeper, their being shot by Nitti? The collapse of the case? Ness's human reactions?

11. Sean Connery's portrait of Malone: the Irish background, strong character, on the beat, honest, his meeting with Ness, the visit, his participation in the raid, shooting the dead man to intimidate the bookkeeper? His philosophy of Capone's men with the knife, the law having a gun? His discussion with the police chief and getting the information from him? The brutality of his death, his crawling along the floor, giving the message about the bookkeeper?

12. The station sequence: Ness and Stone keeping vigil, the woman and the pram, the tribute to Eisenstein, the slow motion with the pram going down the stairs, the shooting? The threats to the bookkeeper, the hostage, Stone killing the assassin?

13. The court sequence, the prosecution, Capone and his arrogance, Ness and his threat to the judge, the witness of the bookkeeper, Capone losing the case?

14. Nitti in the court, Ness wanting him out, not being able to hold him, Malone's address on the matchbox, the chase through the building, the chase through the building, the roof, the violence, Ness resisting shooting him, Nitti and his taunting, Ness pushing him off the roof?

15. Ness's summary of himself, what he had done, upholding the law, his brutality? His having a drink after prohibition?

16. The period of prohibition in itself, American history, society, the law, police, the consequences of prohibition?

TIME AFTER TIME

US, 1979, 112 minutes, Colour.
Malcolm McDowell?, Mary Steenburgen, David Warner, Charles Cioffi.
Directed by Nicholas Meyer.

How pleasant to see Malcolm McDowell? as benign, bespectacled, shy H. G. Wells. How imaginative to have Jack the Ripper (and David Warner is persuasive) escape from London 1893 to San Francisco 1979 and murder again in Wells' time machine. How much better to see the 'prophetic' Wells trying to cope with our times, freedoms, technology (and see ourselves through Wells' Victorian eyes) as well as pursue the Ripper and save the heroine. The screenplay is full of delightful touches as well as offering us crime and romance. Written and directed by novelist Nicholas Meyer who arranged for Freud to treat Sherlock Holmes in The Seven Per Cent Solution.

1. The significance of the title, its ambiguities, indication of plot, theme, H.G. Wells and his interests?

2. Audience expectations from the basic imaginative plot? The appeal of the 19th. century, the shuffling of time, imagination and fantasy, a story of H.G.Wells, a story of Jack the Ripper, the time machine? Nicholas Meyer and his imaginative treatment of 19th. and 20th. centuries? The success of the shuffling of tine and the imaginative conceit?

3. Panavision photography, London in the 19th. century and the atmosphere of Jack the Ripper, H. G. Wells' house? The special effects for the travelling through time? San Francisco in 1979? The contrast of worlds? The contribution of the old-fashioned lush score?

4. The enjoyment of seeing 1979 and the contemporary world through the eyes of Victorian H. G. Wells? His awareness of so much change, the types of change in human behaviour, the appearance of cities? Technological change? The expected Utopia and yet the history of war and violence? The change in freedom? The differences in language and jargon? How well did the film comment on the Victorian world and its standards and the modern world?

5. Audience interest in the concept of time, the reality of time? The irrevocability of time? The right time for living and experiencing and people being out of time? The imaginative experience of comparisons of times, learning about the two eras, seeing the similarities, the differences? Wells' final comments on love sustaining people whatever the situations? The ironies of Jack the Ripper saying that he was at home in 1979, an eccentric in 1893 but as part of the world of the '70s?

6. The traditional presentation of Jack the Ripper and his murders, the prostitute, the subjective shots, the flirting and the sudden violence? The police chase? The identification of Jack the Ripper with Dr. Stevenson? Friend of Wells, elite society, intellectuals? The chess game and his always beating Wells? Suggesting that Wells had to understand his mind ? The shock to the group with the police search? His disappearance? His knowing about the time machine and using it? Jack the Ripper quickly adapting to 1979, learning to live quickly in San Francisco, resourceful with money, hotels, television, appreciating the changes? The repetition of his crims and San Francisco providing an updating of the London prostitutes and their world? The Ripper's menacing wells and Amy? The anticipation of his murders by Wells, the car chase through San Francisco, the Ripper's wanting to have the key to move freely through time to murder? The irony of his not murdering Amy but her girlfriend? The thwarting of predictable events? The final confrontation in the museum and his death? A successful character portrayal by David Warner of Jack the Ripper?

7. Malcolm McDowall? and his style and presence as H. G. Wells? A 19th. century intellectual, his friends' comments on his sermons, his attitudes towards religion ? and his later praying in the Grace Cathedral and his being evicted, his optimism about the future, theories of Utopia and the elimination of war, his scientific skill and imagination, his anticipated permissiveness and his articles on free love (and Amy's later laughing at this)? The making of the tine machine, displaying it to his friends, having the nerve to go? His integrity in pursuing the Ripper, his motives for doing this, the shattering experience of the voyage through time?

8. Wells arriving in San Francisco, the exhibition and his seeing his fame and his own future?

9. His response to America, 1979, to San Francisco ? and his discovering where he was? His fascination with the machines, his almost being knocked over by cars, his taxi ride, fascination with watching Amy drive ? and his later driving? The various machines, hiding under the seat at the cinema , his awareness of change of manners, the place of women, the Queen, his searching through the banks and his detective ability to search out the Ripper, the humour of the encounter with Amy, the speeding taxi through San Francisco streets, the visit to McDonald's,. his coping with the language? The friendship with Amy and his love for her? The contrast with the Ripper and the chase through the buildings and streets of San Francisco?

10. The character of Wells shyness. intellectual. resourcefulness, beaten at chess by the Ripper? His skill in detection, visiting the banks. the cathedral. his trying to cope with the police and the mistake of calling himself Sherlock Holmes? A man of integrity?

11. Amy as the liberated young woman of the 20th. century, of the 170s? Her work in the bank, her love for her work, her career? Her girlfriend and their discussions? Her invitation to Wells, the outing and enjoying it? The talk on the revolving restaurant? Her revealing her own story and getting Wells to reveal his own? especially about his marriage? Their outings. the return home, the meal. the lovemaking and the bond between the two? Her not believing his story,. despite her experience of the Ripper at the bank? Her fears?

12. Amy's decision to let Wells try to prove the truth, the visit to the Museum, the moving ahead to the Saturday,, the disbelief, the newspaper and her joy, the sudden news of her own death?

13. The police and their obtuseness, the reaction to the early morning call and death, arresting Wells,, the long interrogation, the final apologies after the death of Amy's friend?

14. Trying to thwart the Ripper ? Amy asleep, her door open, audiences thinking that she had been killed? The shock to find that it was her friend? Wells' not returning? The final confrontation with the Ripper?

15. The declaration of love in the museum, the Ripper's death. Wells' leaving and Amy's inability to go ? her final decision? The connotations of the information given that Wells married a woman called Amy?

16. Audience delight in such imaginative exercises, the stimulation of the imagination and understanding by this kind of 'what if .... ?' especially with non-celebrities? Seeing ourselves through their eyes, irony, disappointment,, comparisons?

X (THE MAN WITH X-RAY EYES)

US, 1963, 79 minutes, Colour.
Ray Milland, Diane van der Vlis, Harold Stone.
Directed by Roger Corman.

X or The Man with the X-Ray? Eyes is a horror thriller from Roger Corman. Corman began his career in the fifties as a producer and as a director of quickies for American International. With a series of horror thrillers based on Edgar Alan Poe's stories, and generally starring Vincent Price, he came to the attention of critics. During the sixties his output increased in quality although it still bore the marks of his quick techniques.

He collaborated several times with Ray Milland and this is one of those occasions, taking a science fiction plot, a man playing God with chemicals and producing a substance which on the eyes gave x-ray vision and then became a money making gimmick. Corman shows how power corrupts and torments. He caps it with a rather grim literal application of 'if your eye offends you, pluck it out'. It is rather sensational but cleverly made.

1. The significance of the title? 'X' - the unknown, the man with the X-ray eyes?

2. What were audience expectations of this film from its title? What expectations of horror, entertainment, morbid fascination? Why are films like this generally successful? Why
do they appeal to audiences?

3. Comment on the technical success of the film considering its low budget? The style of the film?

4. How well did the film use colour for its theme? For prisms, blinding colour and visions, the editing techniques, the use of colour for atmosphere?

5. How interesting was the plot itself? How well did it involve audiences? As plausible, as thrilling, as horrifying?

6. Why is science-fiction like this so popular? The aspects of science and probing the unknown? The indulgence of fantasy and imagination? The probing of fears and dangers? Did this film do this well?

7. How did the film serve as a moral fable? Man as knowing his place in the world, using his intellect, but not playing God? The vengeful persecution of nature, that nature mocks man, the inevitability of retribution? Was this convincing and moving?

8. The central role of Dr Xavier? How convincing was Ray Milland, the portrayal of his skills as a doctor the drama of the testing of the fluid, the good that he hoped to come from his inventions? His response to the potential evil, his growing ambitions, the obsessions? His high-handed behaviour towards the doctor and his inevitable dismissal? His response to the horror of the eyelids that he could see through? His fleeing society, yet his being exploited? Helping others, yet the greed for the money? What future would he have? Was his death in some way an accident? The melodrama of the plucking out of his eyes? How fitting was a punishment for this for him?

9. How did the film blend comedy, for instance, seeing through people's clothes at the party, contrast with the melodrama of the hospital? incidents and this contrast with Dr Xavier's being helpful to patients and his being exploited? Did this give a complexity to the character and a satisfying exploration of his character?

10. Audience response to Crane and his manipulation of Xavier and exploiting him?

11. The minor characters the assistants, Diane, the antagonism of the doctors, the Las Vegas sequence? What did they add to the film?

12, How well did the film create the atmosphere of the Revival Meeting, the religious experience, the frenzy, the atmosphere for the horror of the ending? The visual impact of the close-up of the eyes?

13. What is the value of such a science fiction film? How well does it illustrate Roger Corman's skill?

YOUNG WINSTON

UK, 1972, 157 Minutes, Colour.
Robert Shaw, Ann Bancroft, Simon Ward, Jack Hawkins, Ian Holm, Patrick Magee, Anthony Hopkins, Edward Woodward, Colin Blakely, John Mills.
Directed by Richard Attenborough.

Young Winston has an old world-new world fascination that keeps it audience interested despite a cumbersome framework of flashbacks. What involves us are the excellent performances of Simon Ward, Robert Shaw and Anne Bancroft, the feeling for detail of the production that makes us feel we have lived for some time in the late Victorian world, and the incredible self-centredness, ambition and drive of Winston himself as he melodramatically strives to succeed - and the Battle of Britain is still forty years off when the film ends. Admirers of Churchill will probably find the film absorbing. Younger audiences who enjoy history will respond similarly.

1. The appeal of this film? What audience was it made for? What interest? British response? Overseas response? Interest in Winston Churchill, his early years, his later years and impact in 20th century history? How satisfactory a tribute was this film?

2. How wise was the screenplay to restrict the scope to his early life? The epic look of Churchill's early life, 19th century adventure, the atmosphere of Empire,, Empire politics, building up a career, a basis for his 20th century activity? Was the film satisfying in its limited scope?

3. The importance of Panavision. colour, Indian African locations? The importance of the themes of England and Churchill? The importance of a star-filled cast? Appropriate casting, the distraction of having so many stars? The star cast as a tribute to Churchill?

4. How satisfying was the structure? The opening in India and its build-up and the revelation of these as flashbacks? The importance of flashbacks to Churchill's earlier life? The technique of having interviews with Churchill,, his mother and his father? The structure based on the autobiography and the importance of Churchill's commentary? The success of Simon Ward in capturing Churchill's voice and intonation? At varying stages of his life? The portrayal of a success story?

5. The important sequences of Churchill as a child? What did they communicate about him? Especially in view of the scenes already seen of his young manhood? The boy as a loner. stately home. the harsh school and its severity of teachers,, headmaster? His exams and failures? The distance between his parents and himself? His looking out at them from a distance? His attachment to his nurse. as signified in the scene of her death? His going to Sandhurst? His attitude towards his parents and theirs' towards him? Did the family background explain Churchill's ambitions?

6. The portrayal of Land Randolph? Robert Shaw's style? What kind of man was he in himself? As a noble, parliamentarian? His gruff manner, brusque relationships with his wife? A man wanting success? Disappointment in his son? Not brooking failure? The importance of the few intimate scenes of himself with Winston? especially about Winston's ambitions to be a soldier? His attitudes of severity,, punishment? His illness? His behaviour seen in the light of his illness? The fact that he was dying of syphilis and the 19th century doctors' reticence in this matter? The response of Jenny Churchill? What was revealed about Lord Randolph in his interview with the unseen interview with the unseen interviewer? Was this a rounded portrayal of this man?

7. The characterisation of Jenny Churchill? As an attractive woman? As a mother? Her love for Winston., yet her distance., place in society? American background? Her support of Lord Randolph,, her ambitions and her ambitions for Winston? Her advice when he returned from South Africa? Her threatening him and yet her supporting him? Distance and closeness with her son? Her effect on him? How much of herself did she reveal in the interview?

8. The Indian sequences: the atmosphere for the opening, British Empire and danger, the siege, sudden death, violence? Churchill and his role as a correspondent, his impetuous heroism? Its effect on people? An explanation on his ability to rally loyalty?

9. The ambitious young man and his book, the effect on Kitchener? How credible was Kitchener's response? How satirically presented?

10. The change of atmosphere to the Sudan? Kitchener's role here? Churchill's impetuosity and brashness? His exhilaration in participating in the charge? The visualising of the charge?

11. The portrayal of British society in the 19th century? The world of politics? The various politicians; Lord Salisbury and his associates? Success and failure in politics? The portrayal of the leisurely way of life in garden parties, social events?

12. The contrast with South Africa at the turn of the century? Churchill's involvement, his being caught, association with Haldane, the plans for his escape, the ordinary people giving him help, the miners? The exhilaration of his escape? His autobiographical comments and his exhilaration as the train passed the border?

13. The transition to Parliament and his wanting election? His success? His meeting the people of Oldham and the miner's wife? A visual presentation of Churchill and his seeking popularity?

14. How wise was he in daring and risking his parliamentary career in his speech? His mother's pleading, Lloyd George's attitude?

15. A fitting climax to the film? The speech in itself, the response of politicians, especially George and Chamberlain? Lloyd George? His mother's pride? The beginning of his career?

16. How well did the film lay the foundations for his future, his final comments, the marriage to Clementine Rozier?

17. The strength of the minor characters and the stars who portrayed the-m? At school, in English society, the army? Buccold and the portrayal of the newspaper response to Churchill?

18. How important a 20th century figure was Winston Churchill? How adequately did this film introduce us to his life and its meaning?

Z

France/Algeria, 1969, 128 minutes, Colour.
Yves Montand, Irene Papas, Jean-Louis? Trintignant.
Directed by Costa-Gavras?.

Z is a political thriller from a novel based on incidents in Greece. In fact the film is an attack on the right-wing government and its repression in Greece, While the film takes a left-wing stand on politics and behaviour, it is presented as a reasonable left against dogmatic, self-righteous, right-wing stances. Extremists in the left are criticised as are extremists in the right. The extremists of the right appear as the worst because they base their plots and manoeuvres on their sense of God being on their side and their mission of cleansing and purifying.

A synopsis might make Z sound like a boring piece of propaganda cinema. On the contrary, Z is engrossing and exciting. The central figure of the Professor holds the film together - in the harassed preparation for his address, in his assault and death and in the investigations into his death. Yves Montand invests the character of the Professor with a fine dignity and this helps audience sympathy and concern.

The second part of the film has much of the interest of a court drama as the objective and somewhat anonymous investigator, played by Jean-Louis? Trintignant, probes the witnesses and the generals. The screenplay was written by Jorge Semprun, who also wrote Alain Resnais' Le Guerre Est Finie with Montand. Costa-Gavras?, Semprun and Montand worked after Z on The Confession, this time a critical look at the double-think of Communist countries.

Z is a very fine piece of film-making. It won the Oscar for best foreign film for 1969. It also won the Best Film Award from the National Catholic Office for Motion Pictures in the United States.

1. An engrossing film? Why?

2. Was its political bent the reason for its success or its thriller technique - or both?

3. On which side of the political spectrum did the film come down? Was it in favour of extremes or did it stay nearer the centre?

4. Why was reference to living people and situations intentional? What did the filmmakers hope to prove by this? What did they expect to achieve? (This applies also to the end of the film with the narrating of the punishments and the list of things banned from Greece.)

5. How was the Deputy presented? Was he sympathetic as a person, as a politician, what he said, as a martyr?

6. Do you agree with the C.E.O.C. lecturer's analogy of the virus of mildew with 'left-wing' civil liberties' moves? Why?

7. Do organisations, such as C.R.O.C., have the right to exist, even secretly? Do they have the right to protest against the policies of the left? Do they-have the right to use violence? In the name of God, the nation and morality?

8. What impression did the riot scenes have? Why?

9. How do you explain the logo and Vago and C.R.O.C. 's and the police's hiring of them for the assassination?

10. What examples of 'double-think' from the film, especially concerning Russia and America, Communism and Capitalism, the nature of freedom?

11. How convincing was the structure of the film as it showed bashings and the Deputy's speech? (the Deputy's question of why the moderate left's ideas always provoke violence)?

12. How did the Army and the police emerge from the film? Why?

13. What dramatic role did the Deputy's wife play in the film? Was her appearance necessary?

14. What was the significance of the sequence with the poor witness, his family's fear and the attacks on him?

15. What role did the Investigator play in the film? Why was he presented as neutral in manner and vocabulary and in dark glasses? Did he conduct the enquiry properly? when his career was placed as the alternative to his conscience? Was he right to proceed with the investigation?

16. Shock at the widespread membership of the conspiracy? At the planning and the story prepared? Are such conspiracies possible? Are they entered into in good faith?

17. What emotional impact did the investigation of the generals have on you - and the symbolism of their trying to get out the locked doors?

18. Shock at the persecution of the group after the military coup?

19. Was the film pessimistic at the end?

20. What political attitudes would the film form in audiences? C.R.O.C. was for authority, a nation where the pillars were Monarchy and Religion, national, united, clean, anti-intellectual, making war not love, on corruption and liberalism and too many liberties.

21. Must there be continual change in society? Or no change at all?

22. Why did the U.S. National Catholic Office for Motion Pictures gave it its Best Film Award in 1970 in conjunction with the National Council of Churches?

QUO VADIS

US, 1951, 170 minutes, Colour.
Robert Taylor, Deborah Kerr, Leo Genn, Peter Ustinov, Felix Aylmer, Norman Wooland, Marina Berti, Patricia Laffan, Rosalie Crutchley, Norah Swinburne, Ralph Truman, Buddy Baer.
Directed by Mervyn Leroy.

Quo Vadis was the biggest ancient spectacle of its time, directed by veteran director Mervyn Leroy (whose range includes Little Caesar to Blossoms in the Dust to Gypsy over thirty years). Its box office success was enormous, a spectacle on the small screen just before the use of the wide screen.

The film is enjoyable - Hollywood style in its way, with heavenly choirs at various times. However, there are many good things in it which still make it worthwhile. Peter Ustinov's eccentric Nero is excellently convincing in his imperial tantrums; Leo Genn is an elegant Petronius (the author of the Satyricon).

The presentation of Christianity is interesting, especially the glimpses of Peter and Paul. An enjoyable spectacle with some interesting themes.

1. Was this an enjoyable religious spectacle? What were the best features of this film? Why? Did it offer much insight into human behaviour?

2. Its insights into Rome and Roman life; the legions and the soldiers, commanders like Marcus, Roman parties, the status of slaves. cruelty. the role of the emperor, the quality of life in the Empire, civilised men like Petronius, the potential for revolution, the impact of early Christianity?

3. Its insights into early Christianity - the short flashbacks to the life of Christ (too superficial). the personalities of Peter and Paul. the authority of the preaching of Peter, Christian families. Christian attitudes to slavery. Christian values contrasting with Roman values. the reality of martyrdom, the impact of the martyrs and their courage and convictions. conversions. the effect of Christianity on the Empire?

4. The characters:

a) Marcus - Roman arrogance and pride. love for Lygia. Nero's giving Lygia. his disillusionment with Nero, his disgust: the burning of Rome, conversion and imprisonment, living happily ever after?

b) Lygia - as a woman, as a noble, as a Christian, her love for Marcus, her revulsion at Nero's intervention at the banquet, caring for Marcus, the imprisonment, her ordeal in the arena?

c) Petronius - as a noble Roman. his position in Nero's court. his affection for Marcus. his love for Eunice. his disillusionment with Nero. his letter to Nero. his death? Was suicide his only option?

d) Nero - Peter Ustinov's performance, his insanity, his vanity (singing), his ambitions (the burning of Rome), his callousness, his tantrums at the time of Petronius' death, his cowardice at the victimising of the Christians. his fear of death, his death?

e) Poppaea - as a person, as empress, lascivious and cruel?

f) Seneca and the Romans should they have withstood Nero? Why didn't they?

g) The Christian family as Christians, as Romans, in their martyrdom?

h) Eunice - as a slave, as a freed person?

i) Acte - her protection of Lygia, her love for Nero, her killing Nero?

j) Peter - as witness to Christ, his sermon; Paul?

This was the first ever written of these discussion sheets in October 1969 - the style and amplification has increased over the decades.

SATURDAY NIGHT AND SUNDAY MORNING

US, 1961, 89 minutes, Black and white.
Albert Finney, Shirley Anne Field, Rachel Roberts.
Directed by Karel Reisz.

Saturday Night and Sunday Morning, based on a novel by Alan Sillitoe, was produced during the early sixties, at the height of the 'kitchen sink’ dramas. John Osborne began the outcry against smug and mindless society and its drawing-room drama with Look Back in Anger (1956). The Establishment was the target of the continuing protest along with the growing industrialisation of our environment. Once more the intention was to show things as they are, the work, poverty, sweat and sins. Tony Richardson directed some of Osborne's work: Look Back in Anger, The Entertainer; he produced this film.

Set in a provincial industrial city, the film shows the hum-drum work-life of Arthur Seaton and the weekend getting away from it all in drinking, brawling and having an affair with another man's wife. Arthur's irresponsibility is looked at in the dreary industrial environment, two testing factors are his falling in love with a local girl and the pregnancy of his mistress.

The film is a well-acted character study of Arthur, but it is also notable for its evocation of the mood and atmosphere of an industrial city and the life and interests of its people. It serves as telling comment on contemporary Britain and the attitudes and values of its working-class.

1. How typical is Arthur Seaton of the young factory worker in the English environment?

2. Is he an exception?

3. How typical would he be of his counterpart in other countries?

4. How likeable is he?

5. Would you say that he is an 'outsider'?

6. What are his values?
- he talks about 'having a good times, everything else is propaganda'.
- he continually asserts that he'll get by. Does he like other people?

7. What are his standards? Would you say that he knows right from wrong?

8. Has he a chip on his shoulder? If you think he has, then why has he?

9. Could he be accurately described as 'despairing'? Why?

10. What hopes or attritions did he have?

11. What effect did the film have on you through its presentation of a way of life that is work all week, with weekends that mean alcohol, sex, and throwing your weight around?

12. Discuss Arthur's attitudes to Brenda's wanting an abortion and then wanting to keep the child.

13. Arthur is cheeky, spiteful, childish, says loony laws are to be broken, snarls at all those who want 'to grind you down'. How typical are his views of life and attitudes today? Of your attitudes? Of those you live or work with?

ROXANNE

US, 1987, 107 minutes, Colour.
Steve Martin, Daryl Hannah, Rick Rossovich, Shelley Duval, Fred Willard, Damon Wayans, Matt Lattanzi, Michael J. Pollard.
Directed by Fred Schepisi.

Roxanne is an updated version of Edmund Rostand's Cyrano de Bergerac. The screenplay was written by Steve Martin who also served as Executive Producer as well as, of course, star. He capitalises on his own ability for mime, comic timing, deadpan humour. He makes quite a sympathetic C.D.Bales, the local Fire Chief with the extraordinarily long nose.

The title focuses on the woman of his dreams and love, Roxanne. Here she is played with great charism by Daryl Hannah who had made an impact in Blade Runner, Splash, Legal Eagles. There is a good supporting cast and the film has the atmosphere of a small American town.

The film was directed by Australia's Fred Schepisi (Devil's Playground, Chant of Jimmie Blacksmith, as well as Barbarossa, Iceman and Plenty in the United States and England). While he does not exhibit a great flair for comedy, he nevertheless presents Martin and Hannah effectively.

There is some sentiment, some humour, some gentle wisdom.

1. A Steve Martin movie? Comic, romantic? Wise?

2. Familiarity with the story of Cyrano de Bergerac? The 1950 film version with Jose Ferrer? The updating by Steve Martin? Appropriate adaptation? Making the characters and plot plausible?

3. Canadian locations, British Columbia, the town, its style, natural beauty, contemporary atmosphere? Bruce Smeaton's score?

4. America, the '80s, life in the town, comic, serious, human foibles and pretensions?

5. The introduction to Charlie, Steve Martin's presence? The revelation of Charlie's appearance, his nose? (The expert make-up for the nose?) The encounter with the sportsman on the street, the mock duel with the tennis racquet and Charlie's winning? Making him a hero of chivalry and romance? His work with the Fire Department? With the fat boy on the roof, luring the cat down with the pet food? His team, their hopelessness, comic scenes of training them? His friendship with Dixie and his being able to talk with her? The first encounter with Roxanne? Helping her back into her house? His athletic prowess in scaling the house? Having something to eat? His wit? Hearing her story? Helping her with the telescope? The attraction? His falling in love with her? The attack by the man in the restaurant? The Steve Martin wit and comedy and comic timing of the 20 sayings about his nose? Roxanne confiding in him, his mistaking her intentions? His deciding to help with Chris? The encounter with Chris and his nose? The writing of the letters? The courting - and his being in the van and supplying the words to Chris? The letters written while Roxanne was away? The crisis on her return and his wanting to tell Chris? The real fire and its being put out? Dixie and the truth? Roxanne confronting him? Clash? The happy ending? In himself, his appearance? The shadow, the doctor and the noses, the self-consciousness, his true worth? His love for Roxanne and his expression of it?

6. Roxanne, her presence in the town, her beauty, predicament, her getting Charlie's help, meeting him, going out, her friendship with Dixie? The passes made by the fireman? And her critique of him at his shop? Her Infatuation with Chris? Setting up the telescope, her ambition to find the comet? Confiding in Charlie and getting his help? The experience with Chris, her romantic response to his letter? The courting sequence? His failure when his connection with Charlie was broken? His reverting to himself? Her forgiving him, the night together? With whom was she in love? The going to the university, her success? her getting the letters and her rapture? The return? The clash with Chris? His letter and the truth? The confrontation with Charlie? The happy ending? The humorous comment during the final credits?

7. The firemen and their awkwardness, gawky, work? Life in the town? their recreation, success in putting out a fire and working according to the drill?

8. Chris, his appearance, arrival, with the girls, his friend? Being sick with nervousness with Roxanne, escaping through the toilet window? With Charlie, the awkwardness about his nose? The long day writing the poor letter? The ear phones and his courting Roxanne? His going to her after Charlie's courting? His awkwardness, friendship with Sandy at the bar? The mix-up when Roxanne returned? His final letter? Going off with Sandy?

9. Dixie, her friendship with Roxanne, listening to Charlie, her, giving the truth to Roxanne?

10. The comedy sequences, in the restaurant, Charlie's manner and timing, Roxanne locked out, the fire drill, the fire?

11. An old story: appearances and reality, the truth about love?

ON THE WATERFRONT

US, 1954, 105 minutes, Black and white,
Marlon Brando, Eva Marie Saint, Karl Malden, Lee J. Cobb, Rod Steiger.
Directed by Elia Kazan.

On the Waterfront had a great impact when it was first released. Although audiences are familiar with it now, it nevertheless is a strongly moving drama. Throughout the history of the movies, there has always been social concern. D. W. Griffith made it explicit 1n his early films. Charlie Chaplin's little man also made social comment. During the Depression and the war, moods were not always open to social films, although the Russians and Germans, for instance, were strong in this area.

Since On The Waterfront, many American films have been more courageous in exposing evils. This was not new for director Elia Kazan who won the Oscar for Best Director for this film. He had previously made A Tree Grows in Brooklyn, Gentlemen's Agreement, Boomerang, A Streetcar Named Desire and Viva Zapata (the last two with Marlon Brando). Marlon Brando shows how good an actor he is in his portrayal of the young pug on the docks who is forced to face up to some responsibility. He is matched by the supporting cast. Eva Marie Saint won the Oscar for Best Supporting Actress in this, her first film. Karl Malden is in control as Fr Barry, and apart from some over-tough mannerisms, makes the priest a convincing character. Malden had won an Oscar for Kazan's A Streetcar Named Desire. This is early Rod Steiger, but his improvised scene with Brando in the taxi is still famous.

Veteran photographer, Boris Kaufmann (The Pawnbroker, The Group etc.) captures the New York waterfront vividly and makes the film more convincing. The story is melodramatic and somewhat triumphant at the end (and this has caused some criticism) but it has a sense of reality and urgency that overcome these possible deficiencies. On the Waterfront should be seen by most audiences for its own sake and as a fine example of films in the 50's.

1. How did the murder of Joey Doyle and Terry Molloy's involvement in it set the mood for the whole film?

2. How was Terry a victim of his circumstances, looked after by Charlie and used by Johnny Friendly, a pug who knew nothing else but this kind of life and what he was told? How did Marlon Brando make Terry Molloy a living person?

3. All commentators note the use of the pigeons during the film and their symbolism. Comment on the role of the pigeons for Joey Doyle, for Terry, for Edie, for the boy Jimmy, the overtones of 'stool-pigeon'.

4. What is the symbolic meaning of the passing on of Joey Doyle's jacket?

5. What kind of woman was Edie? How had her convent education formed her? How was she changed by the events on the waterfront?

6. What kind of man was Johnny Friendly? Why had he sought power? How did he get it? How did he keep it? Did he have any concern for the social conditions on the wharves? How different was he from a gangster?

7. Comment on Friendly's 'court'. How did they keep in favour with him? Why was Charlie part of this 'court'?

8. Why did Fr Barry get involved in the waterfront problem? How sincere was he? What did he learn by the reaction to his call for a meeting?

9. What was the impact of Fr Barry's sermon in the ship's hold after the murder of Kayo Dugan? Did it make Christ 's passion and suffering relevant to the hard life of the waterfront? Did Karl Maiden act this sequence convincingly? Did Fr Barry come across as a good priest, in showing what a priest might do?

10. Why could Terry talk to Fr Barry? Was Fr Barry right in advising Terry to tell Edit the truth? What was the effect of filming this confrontation from a distance?

11. Why could Charlie not kill Terry? What was the impact of their final talk in the taxi?

12. Why did Terry talk to the law? Was this weakness or strength? Why did Friendly lose control in the courtroom?

13. What was the significance of the short sequence with the man up-stairs watching the court proceedings on T.V.?

14. What was the effect of the ignoring of Terry for work after the trial?

15. Why did Terry have to fight Johnny Friendly?

16. Why did Terry have to walk by himself to work? What was the significance of this? What kind of victory was it?

17. Was the ending too triumphant and moralising or was it necessary for the completion of this kind of film?

18. Was the film a drama or a melodrama? Was it a religious film? Why?