BITTER HARVEST

UK, 1963, 100 minutes, Colour.
Janet Munro, John Stride, Thora Hird, Alan Badel.
Directed by Duane Clark.

Bitter Harvest is a magazine-type story of the rags-to-riches rise of a young Welsh girl - and her ultimate ruin. It is all presented with the dash and style of the early '60s.

The film was written by Lord Ted Willis (Woman in a Dressing Gown) and is from the Parkyn- Wintle Company, producers of such television series as The Avengers. The score is by Laurie Johnson, who wrote the music for a number of British films and television series of the time. There is a strong British cast including Alan Badel, Thora Hird, Francis Matthews. Janet Munro, the star, struggles to make the heroine both credible and attractive as well as self-centred.

1. The film as a slice of life? The old story of the road to ruin? The style of the '60s? Now?

2. Authentic atmosphere? The Welsh countryside, London? Colour photography, poverty and wealth? Theatre? The musical score and atmosphere?

3. The focus on Jenny's death, the long tracking shot? The flashback explaining the disaster? The ruin? The ultimate irony of Bob avoiding the passing ambulance, not knowing Jenny was in it?

4. The flashback and its effect? The audience knowing the ending, wondering how Jenny arrived at suicide, the ambiguities of her life? Growing in understanding of her character?

5. Jenny and the initial impact? The shop, her father, her aunts? The end being foreseen? The visitor, the possibilities? The lack of opportunity, the poor collieries? The dismal outlook in the town?

6. Her friendship with Violet? Two girls from the country? Their adventure? Timidity, the men and the drinks, the dancing? Violet aware of what was happening? Jenny and her going home with the stranger? Waking up? London? The effect on her, dismay? Being abandoned? A sign of the future?

7. Going to London? The initial encounter with Bob? His charm, help, talk? The train, her story of pregnancy? The encounter with Mrs. Jessup.(and Thora Hird's sharp performance)? The rent? The raising of the rent? Bob's attention, falling in live, the liaison? The domestic touches? His care for her? Bob and his work in the pub. his concern? Friendliness? Ella's devotion to him?

8. Jenny and the clashes with Bob, the reconciliation? The party? The fight? Dresses, going dancing, her hopes? The encounter with Karl Denny? The attractive actor? The effect on Jenny, outings, pregnancy - yet choosing Denny?

9. The contrast with Bob and Ella, his seeking advice, the crisis? The clashes with Jenny? Bob seeming at fault? The future for Bob and Ella? Mr Eccles and the talk, the people at the hotel?

10. Alan Badel's presence and style as Denny, sinister manner, impresario, his lifestyle, manners, morals, photo? His manipulation of Jenny? What he offered her? Her becoming his mistress? His treatment of her? His being the cause of her death?

11. The sketch of Mrs Jessup as the avaricious landlady?

12. Headlines, the model? Jenny's lies and the consequences? The goodtime girl? The irony? The babysitting. the bath, the ads and expectations, the initial five pounds and the seduction - and the fact that it was not spent at the time of her death? A mixed up and confused girl? Typical of the times? A sympathetic portrait? An understanding portrait?

BITTER RICE

Italy, 1949, 107 minutes, Black and white.
Silvana Mangano, Doris Dowling, Vittorio Gassman, Raf Vallone.
Directed by Giuseppe de Santis.

Bitter Rice made great impact in its time. It was the work of Giuseppe de Santis, director of a number of dramas in Italy in the '50s. It was a showcase for Silvana Mangano who was to emerge as an Italian superstar. She was also the wife of the producer Dino de Laurentiis. She appeared in many productions for her husband both in Italy and internationally from the '50s to the '80s (including Death in Venice and a guest role in Dune). Vittorio Gassman was at the beginning of his career and is effective as the criminal. Raf Vallone is the sympathetic hero.

The film has much of the atmosphere of the neo-realism popular in Italy at the time, especially with showing the women workers going north for the rice harvest in the Po Valley. It also has the styles, manner, dress and music and dancing of the time. The treatment is melodramatic - along the operatic style beloved of the Italians. It is interesting to look at - both for its re-creation of the time and for the picture of the smouldering sex symbol Silvana Mangano.

1. The impact of the film in its time? Importance for the Italian film industry? International popularity?

2. The film as a Silvana Mangano vehicle? The film's focusing on her role? Sex symbol? Melodrama? The male stars and their careers? Dino de Laurentiis and his subsequent work and success?

3. The background of Italian neo-realism, authentic look at Italy, the workers, their conditions, the rice fields? The attention to detail?

4. Black and white photography, location photography and authenticity, the documentary style, the use of the melodramatic thriller format?

5. The situation for the rice harvest: the Po River, the rice fields, the crop, the hard work, the conditions, dormitory, meals? The range of workers travelling to the north? The young girls? banding together? Tensions, clashes, rivalries? Recreation? The authentic atmosphere of the drama - and the focus on individuals e.g. the pregnant woman?

6. The melodramatic style: Walter and Francesca and their hiding out, tough attitudes, their characters, background, Walter and Silvana and the infatuation, her response to him, Francesca’s jealousy? Marco observing? The build-up to Walter and Francesca's escape, the trains, the shoot-out?

7. Silvana and her eagerness in coming north, the work, her ingenuous attitudes, her love for men, dancing, luxury? The infatuation with Walter? The fights? Clashes with Francesca? Marco and his devotion to her? The build-up to the flood, the shoot-out? The dangers? The melodrama of her death?

8. The contrast between Walter and Marco? Marco as gentle hero, work, devotion, help?

9. The drama of the flooding of the rice fields, the police searching for Walter, the gunfight?

10. The focus on the music of the time, the boogie-woogie and the dancing?

11. A popular film - but with operatic passion and gestures?

BITTERSWEET LOVE

US, 1976, 92 minutes, Colour.
Lana Turner, Robert Lansing, Celeste Holm, Robert Alda, Scott Hylands, Meredith Baxter.
Directed by David Miller.

Bittersweet Love is a brief and melodramatic romance film that is easy to dismiss, but is not at all bad. On the contrary. It reminds us of those old moral cases of theology where marriage impediments were studied with all kinds of imagined complications added in to test a student's application. Here the problem, while far-fetched in the circumstances, is made quite real (helped by the sympathetic acting of Scott Hylands and Meredith Baxter) and rightly makes an audience wonder how they would have acted in a similar situation. Questions of conscience, upbringing, taboo, feelings of guilt and the impulse to make innocent people share guilt all arise.

1. The significance and tone of the title? A romance film, a problem film?

2. The soap-opera style of the characters, the situations and themes? Did the film transcend the conventions of the soap opera? The significance and seriousness of the problem explored?

3. The Los Angeles background and the main characters within this? The contrast with Michael's home and the Canada sequences? The portrayal of homes, wealth? The contrast with the apartments? The world of the young, the world of the old?

4. The atmosphere of the first half hour and audience involvement and joy? Michael as a character, the humour of his first encounter with Patricia and the fountain? His work and his ability? An ordinary kind of man and likeable? Patricia as an attractive character, her friends? Her role as a schoolteacher? Interest in both characters? How real did they seem? The significance of the party sequence. the fountain, the visit home, the beginning of an affair? The quality of their love for each other?

5. The authenticity of their love, the announcing of the pregnancy, the build-up of hopes, the discussion about the marriage? The optimism for the future?

6. How well did the film intimate the darker side of things with reference to Clare and Ben. their wealth, their self-centredness? The communication with Patricia? The visualizing of Clare and Ben on their trips?

7. The portrayal of Howard and Marian Lewis as an ordinary couple, attractive in themselves, their bond with Michael,, their welcoming of Patricia, their knowledge of the pregnancy? The happy atmosphere of the wedding? The meeting of the families, the visit to Clare and Ben, playing tennis etc.?

8. How did the film effect the change of tone with Clare's looking at the photos, the ominous nature of the way the film was moving? Clare and her realization, the importance of the phone call to Howard, the impact on him? Clare and her memories, Howard's lack of memory? Marian and her puzzle? Her supporting Howard?

9. Audience understanding of the issue, audience understanding of technical incest, psychological incest and the difference? What moral issues were raised? The psychological conflict in each of the main characters? what would have been the best thing to do? Not tell the young couple, tell them? Clare and her fears about the baby being defective? Her guilt and memories of the past? Howard and the decision confronting him to tell Michael? Should they have been told? Should they just have been left in ignorance to pursue a happy life?

10. The facts about incest, laws, fears, old taboos? How true a case of incest was this?

11. Did the discussion between Howard and Clare sufficiently raise all the issues both moral and social for an understanding of their decisions? For Clare's fear and her guilt?

12. The way in which Howard told Michael of the truth and the effect on both?

13. The difference in the way that Patricia was told? The patience and understanding of her father in so far as she was not his child? His love for her? The pros and cons of the way in which she was told?

14. How credible was the effect on Patricia of this knowledge? Her lack of belief, her sharing in the fears and guilt? Her fear because of her pregnancy? The harming of her relationship with Michael? A real trauma and the seeming lack of being able to be healed? Was there a solution? The alternatives of separation, divorce? The importance of the baby being sound? Marian's visit, Michael and his wanting to help? The solution offered in the film took the line that incest was horrible and a taboo and therefore there was a very melodramatic situation. Was Michael right in going away and hoping to come back and the marriage then be healed?

15. What is the value of this kind of film, a combination of soap opera and social situation? Is this a way in which an ordinary audience can understand some of the complexities of moral problems and of life? What is the effect of this kind of film?

THE BITTER TEARS OF PETRA VON KANT

West Germany, 1972, 124 minutes, Colour.
Margit Carstensen, Hanna Schuygulla, Irma Hermann.
Directed by Rainer Werner Fassbinder.

The Bitter Tears of Petra Von Kant is a film by Rainer Werner Fassbinder. A young German writer-director, he made many films in the '70s and achieved some international fame. In some, like Fear Eats The Soul and Fox And His Friends. he uses an atmosphere of realism and strong elements of plot. In others he goes for the formalities of relationships and changing relationships, even confining them to one room as he does in this particular film.

The effect is sometimes claustrophobic and even very boring. Another example, much more artificial, of this kind of film is Chinese Roulette. He uses generally the same group of actors and actresses for his films and has built up quite a company.

The leading lady in this film is one of his regulars and she gives an excellent performance as the strange and tormented Petra. The supporting cast is also uniformly excellent. Striking, talky, yet ultimately moving.

1. An interesting film. enjoyable, entertaining? Its dramatic impact, thematic? A stage cinema experience? The work of the director - his prolific filmmaking, his intense personal themes, sexuality, pessimism?

2. The confinement of the action to the one room - the claustrophobic effect? The need to escape from the room? The room as a symbol of Petra? Her being locked in herself, her encounters with people within her room? The importance of the decor and its reflecting her character? Art design, fashion, odd beauty? Ugliness?

3. The film as an example of German film-making in the '70s - colour photography, style, cinematic effects? Editing? The musical score?

4. The fluidity of the photography for the confinement within the one room? The postures and tableau of the characters? The dramatic impact of these effects - and the influencing of response to themes, characters? The audience being at home in the room? The knowledge of Petra’s life, attitudes, her life for the day of the film's action?

5. The importance of the musical score: the classical themes - the popular music: Smoke Gets In Your Eyes, The Great Pretender, In My Room? The placing of these songs? Their comment on the action, Petra's character? The pop tune effect? The clash of cultures - Petra and her art, the popular songs?

6. The importance of words and dialogue in the film? The long speeches, the articulation of views, the elaborate wording of speeches? The impact of the sound and flow of the words? Their choice? Revelation of character? The counterpoint of words and images?

7. The significance of the title the focus on Petra as a character, a German character? Petra as a woman the feminine aspects of her character, her interests, relationships, career.. her room? The pessimism of the bitter tears -her own tears, her sorrows and pain? The tears that she caused? The revelation of Petra waking up., doing her make-up, her imperious attitudes, her work, her conversations with Sidonie, Karin, her mother, her daughter, the baroness? Her relationship with Marlene? The interaction of these people throughout the day, the change of moods? The final departures, the coming of the dark and the end of the film? The artificial structure for revealing Petra's character?

8. The character of Karin - her appearance, her work, as a type? As an aspect of the feminine? Her friendship with Sidonie? Her unhappy marriage, her eagerness for the fashion model career? The discussions with Karin especially about marriage? Petra's demands on Karin? Karin's indifference, laziness, quarrelling? Her relationship with her husband Freddie and her decision to depart? Karin's returning the phone call later in the day? Petra’s coolness? The comparison with Petra? What light on the feminine did Karin throw?

9. The growing revelation of Petra's obsessions, preoccupations, infatuations? Her marriages and her reflection on these? Love for a man, love for a woman? Her conversations with Karin as revealing these? The comparisons with the conversations with Marlene? Petra and her emotional needs, capacity for seduction? Her being left alone?

10. The character of Sidonie - feminine chatter? The quality of their talk, issues, style? Their friendship? Sidoni’s influence on Karin?

11. Petra and her relationship with Marlene - Marlene's presence, virtual slavery, the feminine comparison? Marlene's faithfulness? Her being finally released from her bondage and her decision to leave Petra? The relationship of Petra to her mother and daughter? Her bitterness with Karin before the arrival of the two women? Her daughter's talk of being in love, Petra's scorn for her daughter? Her discussion with her mother and shocking her by talking of love for another woman? The three generations of the family? The mutual influence? Love-hate relationships? Petra and her separating herself from her family?

12. Marlene and her being in the background, her hard work? The promise that she would have more freedom? The motive for Marlene's packing her bag and silently departing? Petra's inability to hold people?

13. What was the audience left with at the end of the film? An experience of contrived and stylised reality? The portrait before the audience - a distant world with which the audience could not identify but merely observe? The importance of the theorising about the issues of life by the heroine? Her making herself up from her real broken self to an artificially elegant woman? Doubt, jealousy and betrayal eating into her life, her appearance? The symbolism of the audience seeing Petra for only one day of her life? How much did Petra reveal of her character - the importance of her descriptions of her marriages - her intellectual elegance and aesthetics compared with the physical existence of her husband? Her talk about higher love and yet her need for passion? The decay of beauty? How much truth was there in the portrait of this woman? Truth about human nature, women, the feminine side of both men and women?

BLACKBEARD'S GHOST

US, 1967, 107 minutes, Colour.
Peter Ustinov, Dean Jones, Suzanne Pleshette, Elsa Lanchester.
Directed by Robert Stevenson.

Blackbeard's Ghost: So you, like the men of the 18th. century, thought Blackbeard was warming himself in Hell. You're wrong. He was in Limbo till he made this most successful comeback as Blackbeard's Ghost. The film's rather slow start shows that today things are a bit dull, but once Blackbeard arrives in the form of Peter Ustinov, the humorous pace is on. It's the old Invisible Man situation over again. With a nice blending of now we see him, now we don't, the film proves that even old situations need never be dull. Highlights are Blackbeard's part in the campus athletics carnival, his casino skill and his smashing up the local thugs. Peter Ustinov is no ordinary Blackbeard. His comic sense, his mobile face, his voice are most enjoyable. A family film, suitable for adults too.

1. The popularity of Disney film? Family entertainment? The qualities: pleasantness, whimsy, fantasy? The appeal of this film to young audiences, adults?

2. The presuppositions about pirate film and audience familiarity, satirising them? The gentle mocking of the pirate traditions, American college traditions? Romance?

3. The background of Godolphin - a small town, the pirate traditions, the bay, the inns, the hotel looking like Blackbeard's ship, the small college and its competitiveness, gangsters and the quibbling on legal rights for casinos? The atmosphere of America, the '60s?

4. The importance of colour photography, the atmosphere of the town? The special effects especially for Blackbeard's presence, the use of Invisible Man conventions: the sports, the gambling, the fights, Blackbeard in the restaurant? Audience familiarity with these - and the eager anticipation of accidents etc, and the enjoyment of their happening?

5. Peter Ustinov's strength as Blackbeard - the explanation of the curse, his continued drinking. the 18th. century pirate trying to get used to the 20th. century. his reaction to the car, the motor cycle? His being hurt by Steve's reaction? His wanting to help? His attachment to the old ladies? His gambling on Godolphin's role in the sports events - and his manoeuvres to make them win? His behaviour in the restaurant? His reaction to the gambling and his helping the winning? The fights with the gangsters? A three-dimensional character -dress, manner of speaking, feelings? His being hurt by Steve, his friendship with Jo-Anne? His appearance at the end and his happily returning to his ship? The quality of this impersonation of Blackbeard?

6. Steve as hero - his driving into the town, his attraction towards Joanne, his defying the gangsters, his role in the auction? The old ladies and the fortunetelling sequence? His tiredness, the incantation and Blackbeard's appearance? His continued talking to him (and the humour of others not seeing him and his behaving as if he were talking with Blackbeard, singing etc.?), his role as coach, the hopelessness of the members? The dinner and the interaction with Joanne? His principles being tested during the sports event? The gambling? The burning of the mortgage and the happy ending with Jo-Anne? The conventional clean-cut American hero?

7. Jo-Anne? and her role at Godolphin, her place at the auction, her taunting of Steve? Her working with the Dean, the football coach? Her trying to observe Steve and her worry about him? The dinner, the bet? Her enjoying the gambling? The final seeing of Blackbeard and the happy ending? The American heroine?

8. The old ladies and their pirate tradition, their needs, the money, their presence at the sports, the finale?

9. Seymour and the crooks? The spoofing of the gangster types? The final fights?

10. The Dean and his attitude towards the college. towards the sports, his final clash with the football coach? The football coach and his size and presumption? The other characters and their contribution - for example the waiter with all his accidents?

11. Conventional material made enjoyable - with the Disney values?

THE BLACK BIRD

US, 1975, 98 minutes, Colour.
George Segal, Stephane Audran, Lionel Stander, Lee Patrick, Elisha Cook.
Directed by David Giler.

The Black Bird is a slight, humorous film, full of laughs, especially for those who revere The Maltese Falcon (but not for the many who really reverence it). A floppy George Segal is Sam Spade Jr. (Humphrey Bogart turning in his grave!) and the Falcon is in his filing cabinet. Parodying the original, its characters and themes of greed, the film pokes fun at private-eve films and audience expectations. Lee Patrick repeats her secretary role 34 years on (is that what happened to U.S. women!) and Lionel Stander is a self-confessed conservative thug. Stephane Audran is the cool heroine. Enjoyable, broad humour which culminates with a nod to Jaws!

1. How enjoyable a comedy? Audience interest in the film because of the original 'Maltese Falcon'? The film as a treat for film buffs who would recognise the allusions and the parody? For the ordinary audience?

2. Did the parody destroy the impact of the original? Or did it do homage to the original by using it creatively?

3. Comment on the echoes of the original film: the lettering and styles of the credits, the music, San Francisco locations and the allusions to locations for murders etc. in the original, the recapitulation of names, the use of Lee Patrick and Elisha Cook again, the various lines and references to the original?

4. How much was the film a film of the 70s? The references to more recent films. e.g. the cars and Bullitt, Jaws at the end? The use of the 'Blackbird' song at the end?

5. How successful was the film in borrowing details of plot from the original? The linking of the original murder of the Fat Man, Wilma Cook arriving again, the use of various details e.g. the secretary?

6. How did the film borrow the themes from the original? The complicated plot and greed? Used in more knockabout fashion?

7. How did the film reflect the mood of the 70s in its humour, in its nostalgia for the past? The parody of the private eye genre?

8. How enjoyable a character was Sam Spade Jr.? (The ironic jokes of blacks as 'spades'?) George Segal's style compared with Humphrey Bogart's in the original? The deadpan narrative of a non-heroic private eye who didn't want to be one? His explanation of his career? Effie’s comment on his career and his relationship with women? His attitude towards money? His capacity for detecting, his greediness in taking clients? The intrusion of Immerman and Anna into his life and his relationship with both?

9. His gradual involvement with the question of the Maltese Falcon? His initial arrival and the police pushing him off while wanting to arrest him for murder,, the Maltese Falcon in the filing cabinet, his pawning the falcon, the attempted murder and his growing involvement?

10. The satire on the police. their trigger-happiness in wanting to arrest people, their inefficiency, their misreading of clues?

11. How humorous a character was Immerman? His intrusion,, his working for Du Quay? His explanation of himself as a conservative gangster? His incessant talking, his turning up at various times, rescuing Sam from the yacht,, wanting to be a partner at the end? A humorous comment on the duo detectives of recent films?

12. Anna as the cool heroine? The first meeting in the restaurant, the dancing, the quick escape,, the car and its crashing, the various chases, the parody of sex in her getting into the bed after he had been drugged etc.? The revelation about her father, about Litvac as her husband, her being with Sam and Immerman at the end? An attractive heroine, parodying the style?

13. The satire in having Litvac as the villain? The power-hungry dwarf? His entourage and way of life, Nazi overtones? The Hawaiians as his bodyguards? Their efficiency and inefficiency, being puffed out running up hills etc.? The satire on Litvac's death of a heart attack when he gets the Falcon back?

14. The minor criminals? Du Quay at the beginning, Wilma Cook and his death in the restaurant? The humorous sequence of finding Du Quay dead and the house detective watching television and then being arrested?

15. The contribution of Dr Crippen and her decoding the Aramaic? The revelation of the truth? The humour of the car parked on the hill outside her house? Expectations that the rubbish bin would go into flames and the car go down the hill etc.?

16. How much attention was given to small detail, visual and verbal detail, allusion to other films, the climax with 'Jaws'?

17. How enjoyable and American kind of film is this with its homage, parody treatment of themes and humour?

THE BLACK HOLE

US, 1979, 97 minutes, Colour.
Maximilian Schell, Anthony Perkins, Robert Forster, Joseph Bottoms, Yvette Mimieux, Ernest Borgnine.
Directed by Gary Nelson.

The Black Hole is Disney Studios' entry into the 1970s space trend - a creditable job for the fans with all the overtones of Star Trek and technology in exploration, plus a human villain in god-playing Maximilian Schell. The star cast comprising the crew is competent but is overshadowed in acting and characterisation by a variety of robots, evil giant Maximilian, gun-toting military squads and Vincent and Bob (a veteran one-legged robot with a Slim Pickens western drawl). The adventures, explosions, space jargon are as expected plus John Barry's booming score. The last half hour is quite explosive and enjoyable - and a rush through the black hole itself with echoes of 2001 and Fantasia.

1. The popularity of science fiction and its status in the '70s? Admiration for science, the elaborate skills of technology and their being visualised? The mystery of science, its key to solving man's future and his possibilities? Science fiction and the presentation of the future as interpretation of the present?

2. The fascination of space in the '70s, the hopes for exploration, the conquering of space, penetrating the mystery, admiration for the beauty? The importance of the visualising of space in the film - the credits, the black hole itself, the meteors, the journey through the black hole?

3. The significance of black holes and the end of time and space, the theories of their explanation? The challenge to human ingenuity, subduing him to mystery, the journey through the black hole and the effect on each of the characters - the visual impact, the use of their words and echoes? The presentation of Hell and Heaven in the black hole? Maximilian as the giant devil and the flaws, the angelic figures? People surviving the black hole and achieving their longing for immortality? How plausible this interpretation?

4. The qualities of the Disney production - wide screen, the musical score, the presentation of space, the black hole, the meteor storm, the technology and the jargon, the robots and their variety and skills, the large space ship and its halls, gardens, banquet rooms, rituals? The explosions and the smashing of the sets?

5. The variety of robots - the military robots with the overtones of the west? Maximilian as the cruel giant and his killing of Dr. Durand? His confrontation of the doctor? His being in space as a devil-figure? Vincent and Bob and their smallness, their talk, Bob and the western drawl? Comedy elements? The contrast with the humanoids and their appearance, their ugliness.. their loss of human power yet their funeral rituals etc.?

6. The human crew of the space ship - their exploration, the discovery of the hole? The variety of characters and audience identification with them? Their roles in space exploration? Dan: his leadership, knowledge, heroics, attachment to Kate, reliance on Charlie? His working with the robots and the confrontation of the doctor?
Charlie: young man, knowledgeable, the second in charge? His heroics?
Kate: heroine, her capacity for telepathy with the robots, sharing in the adventures?
Harry: the journalist, all talk, weakness, pretending injury, betrayal, death?
Durand: the genius, nervous temperament, fascinated by the doctor and tempted by him, his doubts, the violence of his death?

7. The characterisation of Vincent - his look. skills? Bob and the time off for the shoot-out and the spying? The contrast with Maximilian?

8. The doctor and his power, genius? His clothes, manner? The Germanic tone and the echoes of the fascist leader? His threats, persuasion of Durand and then allowing his death? The confrontation with Maximilian? His not wanting the crew to escape? His decisions about the hole and his wanting to explore it? The shattering of the space ship, the meteors and their destruction? His being crushed? His floating through space? Maximilian made in his image? Maximilian and Hell? The doctor and Maximilian as devil-figures?

9. The technical skill and the bravado in the adventures - the Star Wars style, heroes and heroines. shoot-outs, techniques and strategies, the final escape?

10. The going into the hole - echoes of 2001, the design of the hole itself with Heaven and Hell?

11. The overtones of the tradition of Star Trek and its exploration of space, Star Wars and the battles, space odysseys? An entertainment showing the technical skills of film-makers of the '70s with themes of space?

BLACK HORSE CANYON

US, 1954, 81 minutes, Colour.
Joel McCrea?, Mari Blanchard.
Directed by Jesse Hibbs.

Black Horse Canyon is one of the many Universal-International? westerns of the '50s. B-budget, with regular stars (the equivalent of later television series) and made as supporting features, they nevertheless captured the essence of westerns - and seemed much more entertaining and relevant than so many of the more serious dramas of the time. Joel McCrea? is at home in this kind of western. Mari Blanchard was one of the starlets at Universal at the time. There is beautiful colour photography, excellent scenes of horses - and a fairly gentle western. Direction is by Jesse Hibbs, the director of many such films in the '50s, especially with Audie Murphy.

1. An entertaining western of the '50s? The continued impact of the western? The American heritage, the opening up of the West, horses, the personalities, the clashes, the making of themselves?

2. Colour photography, scenery, action? Musical score?

3. The use of western conventions? The material seen a hundred times before - but how well presented in this case?

4. The basic plot: the older man and the bonding with the younger man, the father figure, the son figure - and the quality of relationships in the West? Their wanting to make something of themselves? The work with the horses? The encounter with Jennings and his violence and harshness? With Aldis and helping her? The clashes, the love, the images of men and women in the West? The taming of the horse, of the land?

5. Joel McCrea? as Rock? His bonding with Ti? Making his decisions for him, bringing him up? Hopes as he got older? The seeking out of the stallion, the mares? Skill in rounding them up? The encounter with Jennings and the violence? The sheriff's benevolence? Aldis' help? The rounding up of the stallion? The sabotage by Jennings? The breaking-in of the horse? Ti falling in love, Rock's seeming to betray him? Their joining together to fight Jennings? The happy ending and marriage?

6. Aldis as a strong heroine of the West? Determination. ownership of the horse, joining forces. spurning Jennings, attracted to Rock. kindly towards TI? Doc and her friends? The sheriff? The household? Participation in the capture of the horse, climbing the cliff, lassoing etc.? The need for help? Ti's making a fool of himself? The happy ending and romance?

7. Ti as the young man of the West, inexperienced, standing on his own feet, attracted towards Aldis, making a fool of himself? Bond with Rock - wanting to assert himself? on guard. the violence of Jennings, trying to break in the horse. showing off? The fall? The fight - and the reconciliation? Juanita paying court to him?

8. Jennings and his group as typical villains.

BLACK MAGIC

US, 1949, 105 minutes, Black and white.
Orson Welles, Nancy Guild, Akim Tamiroff, Valentina Cortese, Margot Grahame, Charles Coldner, Frank Latimore.
Directed by Gregory Ratoff.

Black Magic is one of several productions of several productions of Alexander Dumas stories by producer Edward Small. He had made, successfully, The Man in the Iron Mask in 1939 and The Corsican Brothers in 1941. His post-war film were not of the calibre of the earlier films.

This is an Orson Welles vehicle. Welles (at this time making such films as The Lady From Shanghai and The Black Rose and The Prince of Foxes) is said also to have assisted Gregory Ratoff in the direction. There are echoes of the use of black and white photography, light and darkness and shadows as well as close-ups and poses of Welles reminiscent of his work in Citizen Kane and his other films. However, the film is an Americanised Dumas adventure - even introducing Dumas father and son at the opening with consequent voice-over. (Raymond Burr unbelievable as the Dumas son.) Welles enjoys himself as the famous charlatan - hypnotist Cagliostro.

The plot involved him in a plan to substitute a girl for Marie Antoinette for Madame Du Barry. There is an atmosphere of 18th century France (even though locations were filmed in Italy). There is a good cast but the momentum of the film comes from its high-flown story and from Welles' performance.

1. An enjoyable period story? melodramatic and flamboyant history? A version of Alexander Dumas' story?

2. Production qualities: Italian location photography for France? Black and white photography? The Orson Welles touches with the emphasis on light and darkness, brightness and shadow? The portrayal of Cagliostro and the way he was filmed? The romantic musical score? Pageantry and spectacle? Action adventure - '40s style?

3. The introduction to the Dumas - father and son and their discussion about their novels? Telling the story to one another? The voice-over and the commentary on the action and motivation?

4. The focus on Josef and his parents and their trial, execution? The focus on his eyes? His effect on people - healing? The hostility towards the Duke of Montaigne?

5. Josef's subsequent career? His belonging to the troupe and their moving around the carnivals? His hypnotic power and the focus on his eyes? His relationship with the group? His future with them?

6. The encounter with Mesmer and the discussion about healing and hypnosis? Mesmer helping him? The healing power and the cure of the wealthy man? Josef taking the money and going on his career? His success and wealth? His assistants going with him? The devotion of the girl and her love for him?

7. The encounter with Lorenza? Under the power of the Duke of Montaigne? His hypnotising her and discovering the plot about Marie Antoinette? His controlling of her, jealousy, stopping Gilbert from marrying her? His becoming a celebrity? His involvement in the plot and Madame Dubarry? The expose? The court case and his madness? Mesmer hypnotising him and the truth being revealed? Gilbert fighting him on the rooftops? A flamboyant career and a flamboyant end - with the Orson Welles style?

8. The character of Lorenza? The initial encounter and her charm, Gilbert and his attachment? Her being mesmerised? The plot? Her moving in and out of trance? The response to Gilbert? The response to Cagliostro? The marriage? The trial? His death and her freedom? Nancy Guild's skill as Lorenza and as Marie Antoinette?

9. The hostility towards Marie Antoinette? Her place in the court? Her husband? Louis XV and the influence of Madame Du Barry? Court intrigues and exposes? The death of Louis XV and the crisis? Audience enjoyment of this kind of historical romance?

10. The court sequence and Cagliostro’s self defence? Mesmer defeating him - his skill in hypnotising him by avoiding his eyes and using the jewels? Cagliostro and the truth? His downfall?

11. The perennial popularity of this kind of historical adventure?

THE BLACK MARBLE

US, 1980, 105 minutes, Colour.
Robert Foxworth, Paula Prentiss, Harry Dean Stanton, Barbara Babcock. John Hancock, James Woods.
Directed by Harold Becker.

Ex-policeman turned novelist Joseph Wambaugh has a love-hate relationship with Los Angeles police forces. In several films (The New Centurions, The Choirboys, The Onion Field) with heightened black comedy tone, he shows how police do the dirty jobs for society without much thanks and suffer all kinds of traumas. He has written the screenplay for this film himself and given as an odd couple romance, the psychological deterioration from police work and pressure and a modest central crime, a dognapping. There is no compelling reason to see the film but it does grow on the audience. Acting is very good: Robert Foxworth as the Russian- American hero provides a complex picture of a policeman; Paula Prentiss is once again brassily zany and Harry Dean Stanton has a good role as a seedy small-time gambler. While it treats Wambaugh's usual themes it is rather another different police story.

1. The significance of the title and the way that it was explained? The themes of humanity,, gambling,, luck.. taking chances, control? The setting of this them within the Los Angeles police force? The world of the police - work.. human relationships?

2. How well was Los Angeles presented as the setting: the cityscapes, the precinct offices. the range of people. Skinner and his dog service, Miss Whitfield and her home, the streets, clubs, racecourses,, dog shows?

3. The contribution of the colour photography? The musical score and its overtones of Russian themes? The importance of the prologue and the introduction to the three characters: Valnikov and the Russian orthodox Church and his behaviour, Skinner and his sleazy way of life., his work with the dogs? Natalie and her place in the police force and at work? Creating an atmosphere? Introduction to the characters and focus on their interaction? Creating a mood? The development of the mood,, the audience growing in their knowledge of the characters. an increasing sympathy? How well did the film gradually involve its audience in the life of its main characters?

4. Valnikov representing the American policeman? The importance of his ethnic background, its explanations,, the American dream and its fulfilment? Valnikov and his brother with the restaurant? This being highlighted with the opening sequence in the Russian Orthodox ceremony? Valnikov’s odd behaviour, drinking,, the slightly scandalous sequence in the street? Valnikov at home? The initial impression? His reputation in the police force. his transfer? The highlighting of his traumatic experience and his inability to cope? The point about traumas for police and the effect of trauma on their personal lives, ability to do their job? The lack of professional help? Varied support from the Department?

5. The picture of the Police Department: Clarence and his relationship with the boss. the pressures on Valnikov? On Natalie? Their discussions about the pairs-at work? Taking complaints - and the humorous interruptions of people complaining? The discussions about cases. methods? The purpose of pairing Natalie with Valnikov?

6. Paula Prentiss' style as Natalie? The brassy type.. the importance of having her life in order, her puzzling over Valnikov and reluctance to work with him? Her getting him to tell his story? Her continued anger with him, misunderstanding him? The help with the visit to the restaurant and the discussion with his brother? The outings together.. and learning to work together? The violinist by the lake in the park? The contrast with her outings with her boyfriend? The build-up to her understanding and the resolution of difficulties? Her puzzle about Valnikov’s past and the impact of the death of his co-worker? The meal together., the night together and its- intimacy? Her puzzle about the nightmares - and his dropping off to sleep even at work? The hard shell returning in the morning? The build-up to the case? The problem of the dognapping? The interviews with Madeleine Whitfield? Natalie's despising of the situation, the human sympathy for the dog, her harsh attitudes towards Miss Whitfield? Her jealousy of her because of Valnikov's infatuation? The involvement with the dognapping, the confrontation with Skinner? Her going off with her boyfriend? Her decision not to go - the return to Valnikov, the finale at the lake and the violinist playing? The use of the endearing Russian names to indicate the bond between them? A capable American woman, a policewoman? The effect of her romance with Valnikov - especially in contrast with her previous marriage?

5. The picture of the police office and its busyness? Clarence and his orders to Natalie? Lack of compassion? The interviews with the boss and his hectic handling of situations? Discussions, arguments, elaboration of cases, methods? The object of the office in maintaining police control in Los Angeles?

6. Paula Prentiss' style as Natalie? A credible policewoman? The active brassy type? Wanting her life in order? Her exasperation in working with Valnikov? The puzzle about him? The antagonism and her anger? Complaints to Clarence and her boss? Her tolerating working with him? Gradually listening to his story? Getting to know him and understand him? His taking her to his brother's place and the enjoyment of the meal? The encounter with the violinist? The comparisons with her boyfriend and her outings with him? The gradual bond between the two? Their spending the night together - the possibility of a future?

7. Their involvement in the kidnapping case? The film sketching in the background of Philo Skinner and his work, his girlfriend? His gambling and the debt collectors? His skill with dogs? The set-up for the kidnapping of the dog? The encounter with Madeleine Whitfield? The dognapping and his ransom messages?

8. Madeleine and her devotion to her dog, her calling the police, the interviews with Valnikov and Natalie? Natalie’s exasperation? Valnikov's sympathy? His spending the night with Madeleine? The repercussions for Natalie?

9. The continuing build-up of the relationship between Natalie and Valnikov? Her puzzle about his companion's suicide? Their continued work in the investigation? The ups and downs in tracing leads? Natalie and her preoccupation about the order in her life, having to make decisions?

10. Madeleine and her leaving the money for Philo? Ruining the possibilities for police detection? Philo and his attempt to escape thinking the mob were after him? Valnikov pursuing a suspected robber? The build-up to the fights - and the background of a dogfight?

11. Valnikov left on his own after the solution of the case? His return to listen to the violinist? Natalie's coming back? Their discussion, their Russian names, the possibility of building a future?

12. The film's serious and comic illustration of Joseph Wambaugh's world of police, the exasperations of police work, crime in the city, the ugly side of the work, the comic side, needs and romance? How much insight into police work?