BLAZING SADDLES

US, 1974, 93 minutes, Colour.
Cleavon Little, Gene Wilder, Slim Pickens, Harvey Korman, Madeline Kahn, Mel Brooks.
Directed by Mel Brooks.

Satire-lovers, attention. Western-lovers, beware. Clearly intended as the satirical spoof to end all spoofs, this comedy parodies every western cliche, ridicules the solemnity of the western tradition and has a good go at contemporary U.S. problems - with a black sheriff and a Jewish ex-gunfighter as the heroes. Unfortunately, I cannot say it was hilarious; it was smiles rather than guffaws. American audiences would find it closer to home - and a touch of Yiddish for many jokes would help. The finale is over-exaggerated and an unnecessary coarseness pervades, But there is definitely a lot to smile at and the parody (especially Madeline Kahn's Dietrich take-off) is enjoyable.

1. The overall impact of this film? Its qualities of comedy? Its presentation of the west and its ingredients? The quality and tone of the parody? How do you explain the film's popularity with its audiences? As a film of the mid-'70s?

2. What are the main values of parody? The importance of the audience laughing at what is parodied? How is it important for the audience to laugh with characters and situations and jokes? Is there a moral purpose in parody? A judgment on people and situations? In this case a judgment on the west? How does parody heighten self-awareness by mockery and ridicule? Was this film a successful parody?

3. How effective was the humour? Was it consistent and well sustained? The cumulative effect of the comedy? The clever comedy, the jokes, the sight gags, the dialogue, the belly laughs? The humour of the ending and going beyond the west into the world of filming? How appropriate an ending for this kind of parody?

4. Comment on the basic ingredients of the western that were used: the black man, the arresting of the black man, the chain gang and the railways, the sheriff, a town and its life fights, the town jail, the saloon, the final siege and shoot-out. Comment on the way these were used for the development of the plot. Comment on how they were used and exaggerated for laughs. The insight into these ingredients via the laughs? The film's attention to small detail and the parody of many western films?

5. The impact of the opening, the old Warner Bros. sign, the use of colour, the ironic Frankie Laine song, the focus and the ridicule of a 'blazing saddle'? The emphasis on Black Bart? This being the original title of the film?

6. How important were the racial emphases of the film? The comment on the American negro situation by making Bart the hero? By showing white response to him, especially the hatred in its most blatant forms, e.g. the railway gangers, the people not wanting a black sheriff? The racial comment on the Indians: the flashback and the origins of the western family, the Jewish Indians' wagon, being in their own little ghetto? The racial comment on Jews? The Jewish characters, the Yiddish jokes?

7. The importance of the railway setting to give the atmosphere of the authentic west, the oppression of the chain gang? The irony then of Black Bart's song, and the men singing in a 'camp' fashion 'The Camptown Races'? The comment on the ambiguity of sexuality in the west?

8. Black Bart and his chic ensemble for becoming sheriff, e.g. his Gucci bag etc.? Bart's relationship with Jim? The morose and forlorn white man, his drinking problem, the moroseness? His introduction of himself in his monologue about his name being Jim? The irony of his being Bart's deputy? The place of Mongo in the town? Mongo being used by Bart? Lily being sent to seduce Hart and finishing up on his side? The irony of the black man as leader?

9. Comment on the role of Jim in the film, his helping of Bart. What were the strengths of his character? The comic aspects of his performance?

10. How humorous was the presentation of the town itself? The Johnson family and the humorous names? Seeing the families and the town at their religious service, the irony of their hymn and their singing about their town? The minister and his sermon? The welcoming committee for the new sheriff and their reaction? The way of life in the town and the parody of modern supermarket styles and big business?

11. What was being parodied in the character of Hedley Lamarr? The big time gangster and railroad man? His plots? His plotting with Taggart? Their scheme for the black sheriff to buy out the town? How humorous was this aspect of the plot?

12. What comment on American politics and government was being made through the character of the Governor? His parody of work? The girls in attendance? His irresponsibility and lack of awareness of what was going on? (The irony of the writer-director playing this part, as well as playing the part of the Jewish Indian?)

13. How serious was the parody commentary on political corruption etc.?

14. The character of Lily and the humour in the woman of the west? The parody of Marlene Dietrich in the songs and 'I'm Being Tired'? The flaunting of sex in the west? The seduction scene and the unexpected turn? Lily joining the goodies? The characteristics of Madeline Kahn's comic performance?

15. Comment on the presentation of the white cowboys and their vulgarity, especially the baked beans sequence? Their attack on their fellow men?

16. The humour of the signing up of the posse to besiege the town, e.g. the Hell's Angels, the Nazis, the Ku Klux Klanners and Black Bart and Jim disguised as Klanners? The humour of the siege of the town and its tricking of the attackers? The ironic details of the fight with women punching horses etc.?

17. Audience response to the transition to the musical sound stages at Warner Bros.? The nature of the musical being filmed? The 'camp' overtones of this musical and the response of the dancers and the director? The invasion and the mixing of the west and the musical? To what effect?

18. The presentation of Hollywood and the Hollywood tour, the Dream Factory and the tourist wanting to see the fantasy and seeing the mad chase?

19. How appropriate was the ending with the actors going to see themselves in the film? The irony of driving off in a car after riding their horses? The point behind this?

20. What achievement was this as a presentation of western comedy? How much was designed for laughs in themselves? How much moralising parody?

BLIND DATE

US, 1984, 99 minutes, Colour.
Joseph Bottoms, Keir Dullea, Kirstie Alley.
Directed by Nico Mastorakis.

Blind Date is one of many multiple murder thrillers so popular in the late '70s and early '80s. This one is quite good of its kind. It has attractive locations in Athens - often for decorative purposes rather than as part of the plot - and a strange 'Scalpel Murderer' (a medical student, taxi driver who follows his Passengers, stakes out their homes and - with a touch of prurient sex - murders them generally after their shower).

However, Joseph Bottoms is an American working for an advertising agency in Athens who becomes psychosomatically blind and has a device installed whereby he can 'see' by means of computer print-out in his brain. He then pursues the murderer. Keir Dullea has a small role who inserts the device. Kirstie Alley is an attractive heroine. While there are some violent touches, the film is an interestingly routine thriller - with a sequel promised at the end.

1. The popularity of the multiple murder thrillers? This film as a good example of its kind?

2. The use of locations in Athens? Attractive situations for a grim thriller? The use of the city? The special effects with the introducing of the computer device? The print-out and the way that it worked - the ability of the hero to look at the pictures and do his detection? Musical score - with the atmosphere of Greece?

3. The irony of the title - and indication of themes? The hero and his pursuing the girl who looked like Rachel, his being accidentally blinded, the psychosomatic condition?

4. Jonathan Ratcliffe and his work in the advertising agency, an American in Europe, his friendship with Claire? The attractive model and the memories of the hometown girl? His voyeur behaviour and its retribution in his going blind? His blindness remaining? Dr. Steiger and the insertion of the device? The sonar signals and his following them? His encounter with the thugs in the railway station - and the violent and ironic humour of his bashing them? The following of the murderer, the confrontation of the murderer in the swimming pool? His death?

5. Claire as attractive heroine, support of Jonathan, the final reconciliation?

6. The portrait of Dave, his work as a medical student, relationship with Rachel? The irony of his being the killer? The subjective shots for showing the killer, his stalking the victims, the brutal killings? The final retribution with Dave being exposed, confronted, killed with his own scalpel?

7. Dr. Steiger and his genius, how far-fetched the inserting of the experimental device for sonar contact and computer print-outs? A boon for the blind?

8. Rachel and the American girls in Athens for their glamour, for the advertising agency? The Americans in Europe with their affluence and glamour?

9. How effective the violent sequences? In proportion to an investigation and psychological thriller?

10. Satisfying entertainment of its kind? Portraits of characters? Melodramatic situations? Retribution? Resolutions?

BLINDED BY THE LIGHT

US, 1982, 90 minutes, Colour.
Christopher Atkins, Kirsty Mc Nicoll, James Mc Nicoll, Anne Jackson.
Directed by John Alonzo.

Blinded By The Light is a topical telemovie about religious cults and their influence on young people in the United States. A cinema treatment of the film was R. L. Thomas's Canadian feature A Ticket To Heaven with Nick Mancuso and Meg Foster. This film is effective for home audiences. It has the advantage of starring Kristy Mc Nicoll with her brother James Vincent Mc Nicoll. The situation is realistic enough - youngsters caught up in religious movements, the brainwashing, the hold over the adherents by the all powerful religious leader - the leader portrayed here resembling the Reverend Moon of the Moonies. The sequences of brainwashing and of rehabilitation could be quite frightening for parents if not for children. An interesting topical drama.

1. The impact of this type of telemovie? Relevance? observation of social situation? Warning? How sensational the treatment?

2. Telemovie techniques: establishing the scene, inviting audience identification with the characters, crises? The pace and intensity for the home audience? Colour photography, musical score?

3. The stars and the force of their presence and personalities?

4. The impact of the opening rescue? The situation and its drama, haste? The techniques for abducting youngsters from the communes? Audience sympathies for the youngsters or for their parents? The personnel operating in the rescuing of youngsters? The debriefing and the opposite effects of the brainwashing? The intensity, the long hours, the psychological techniques, the fightback of the young person? The group disillusioned with religious cults? The parents employing them? The reaction of the youngsters?

5. The presentation of the family: ordinary American family, details of lifestyle, parents? Kristy Mc Nicoll as heroine? Her relationship with her brother? Puzzle about him? The decisions about rescue, fights with her parents and their seeming intolerance? Her involvement in the plans after visiting? Her changes of mind? The impact of the ceremonies on her - a type of brainwashing?

6. The heroine in herself, her relationship with her brother, contact, letters, the visit and her suspicions, her experience, the pressures, her brother being absent and seeking him, her escape?

7. The build-up to the plan and the rally? Her getting caught up and the plan going awry? The young infiltrator and his death? The final escape and fight?

8. The religious group: the innocent types involved in the cult, games, meals, missions, money? The enthusiasm for the leader and the deep reverence for Father? Religious ritual, fanaticism? The rally and its media techniques? The focus on money? The audience reaction - and the heroine getting caught up in the atmosphere?

9. The young man pretending - his convincing style, his trying to rescue people? His death?

10. The glimpse of Father and his style? Indications of hypocrisy?

11. The business helpers, the aides, the salesmen? The harrowing debriefing and the possibility of a happy ending?

12. The impact of the film as drama? As warning?

BLIND TERROR

UK, 1971, 89 Minutes, Colour.
Mia Farrow, Robin Bailey, Dorothy Alison, Diane Grayson.
Directed by Richard Fleischer.

Blind Terror is a good little thriller which makes a first-rate support to a double feature. The story line can easily be guessed at, but this does not detract from the scary treatment of a fairly obvious plot. Blind Mia Farrow is terrorised by a maniac (amongst others) after he has murdered her relatives. It might occur to you early in the film that too much is being made of the romantic autumn tints of the English countryside, but by the end Mia has had her fill of terror, the audience has been satisfyingly frightened, and all loose ends are properly tied together.

1. Was this a successful fear-film? What happens when audiences become involved in such a film? What is the value of an audience being scared like this? What is necessary to create such an effect?

2. How well did this film use colour? The sumptuous house, the style of living, the horse riding and the autumnal countryside? The fact that we could see this and Sarah could not? How did it contribute to atmosphere for the scares?

3. The function of the music: the heavy tones, the soft music, the music of sentiment?

4. The appropriate title - and its literal portrayal? Audience sympathy for Sarah - as a heroine, her blindness, her pluck, her independence, her relationship with the family and their helping (our helping with them?), her love for Steve? The importance of the riding sequences? Her love for the horses and her achievement in riding again (how well were these scenes used for preparation for the later ride?) The growing fear, the terror, her being terrorised in the house? The strength of her escape and ride? The gypsy, the battering to get out of the hole, the bath sequence and the appearance of drowning? How exhausting was this experience of sharing Sarah's terror (how satisfying?)

5. Comment on the film's successful build-up - our liking the family, confrontation with the villain and the mud splash, the car scratch and the response to this? The brutality of the deaths and the way that these were filmed? Sarah alone in the house with the corpses? Her gradual discovery and the build-up of terror, the irony that we could see more than she knew?

6. Was the villain well explored or just portrayed - the boots, the Nazi overtones, the sex films, the sadism in the magazines and television? His behaviour in the bar? His scratching the car? Was the film fair in not showing us the villain? The sense of menace with the possibility of whoever the villain might be?

7. How was the mood changed with the riding and the cross-cutting to the dead bodies? Steve's arrival in the house and not knowing the deaths had occurred?

8. The variety of suspects? The suspicions of Barker and yet his death?

9. The effectiveness of the flight of the horse, the fall, the wandering, the tension?

10. The irony of the gypsies and their initial appearance, the imprisonment by the gypsy?

11. The irony of leaving the murderer to guard Sarah?

12. The fright of the bath sequence and the subjective sequence of drowning?

13. Was the abrupt ending satisfactory for this film?

14. How much did the involvement of the audience depend on Sarah and the ordinary and extraordinary experiences she had? How well does this stand in the status of 'fright films'?

BLOCKADE

US, 1938, 85 minutes, Black and white.
Henry Fonda, Madeleine Carroll, Leo Carrillo, John Halliday, V1adimir Sokoloff, Robert Warwick, Reginald Denny.
Directed by William Dieterle.

Blockade, according to Leslie Halliwell, was presented as the first Hollywood drama about the Spanish War situation of the late '30s. He points out that neither Franco nor Fascists were mentioned. In retrospect, the stance of the film is more obvious. However, it is a very dated action romance with a final plea speech by Henry Fonda.

Produced by Walter Wanger and directed by William Dieterle (and the film compares badly to his other successes at the time including the biographies of Pasteur, Zola, Juarez), the film is black and white Hollywood-made drama - with an attempt at re-creating Spain. A much better film, of course, was Sam Wood's version of Hemingway's For Whom the Bell Tolls with Gary Cooper and Ingrid Bergman.

The film was written by John Howard Lawson, later one of the Hollywood Ten. It is a criticism of Fascism and the deprivation of people's rights - especially for peasants who are oppressed. This gives the opportunity for Henry Fonda to be at his sincere and earnest best. Madeleine Carroll has a glamorous role moving from one side to the other.

Halliwell quotes critic Frank S. Nugent as saying 'The film has a curious unreality considering the grim reality behind it.' This seems an accurate comment on the film.

BLOOD ALLEY

US, 1955, 115 Minutes, Colour.
John Wayne, Lauren Bacall, Paul Fix.
Directed by William Wellman.

Blood Alley is colourful routine John Wayne adventure of the 50s. Wayne had worked for director William Wellman in Island in the Sky and The High and the Mighty. Here the setting is communist China and the atmosphere of the Cold War and antagonism of the 50s. Wayne emerges as a hero out of a Chinese prison and is asked to take a group of refugee Chinese to safety in Hong Kong. Lauren Bacall (who was to appear with him in his last film The Shootist) is a cool, strong heroine. The treatment is on the popular level and is full of action and conventional difficulties. However, the basic theme of the film is interesting with the later experience of the Indo Chinese refugees getting on to boats and seeking refuge in the late 70s.

1. Enjoyable popular adventure, romance? A John Wayne vehicle? John Wayne's style, presence, American heroism?

2. Use of Cinemascope, colour? The atmosphere of China, the sea? The atmosphere of the musical score?

3. A 50s treatment of a serious themes? The popular adventure level? The seriousness of the issues. the anti-communist atmosphere of the time. the Americans as rescuers? How does this seem in retrospect?

4. The background of China. American-China? relationships? The tradition of the Americans in the China Seas? The communist take-over and its repercussions on the international scene and relationships? The need for the refugees to escape to Hong Kong?

5. John Wayne's style as the Captain? The device of his talking to Baby? How well did he handle this - seriously, humorously? His explanation of the device for keeping his sanity under torture in prison? His basic integrity,, though his trying to give a bad image of himself as a tough womaniser? His presence in the prison.. his shipping experience? The action of the escape?

6. The proposal by the village and his questioning of it. final acceptance of it? The village chiefs and their persuasiveness.. the plan,, the detail, the motivation? The amount of time used for the preparation of the escape plan?

7. Katherine and her presence on the island. her devotion to her father - and yet his wisdom but drinking. the inevitability of his death? Katherine and her concern for the Chinese? Her relationship with the maid - and the touches of comedy? Her attraction towards the Captain, the falling in love? The battle of the sexes?

8. The portrait of the Chinese people, the various helpers, workers, elders, children? The pro-communist family and their return? The arrogance of the head of the clan? Their threat on the ship and the poisoning of the food? Their being left behind and the death of the head of the family?

9. The communist authorities and their investigations, the continual need to hide, to conceal plans? The drawing of the maps, the captain's understanding of Blood Alley? The planning of turning the ferry into the escape ship? The details of the pretended sinking of the ferry? The escape and the ruining of the patrol boats?

10. The difficulties of the voyage - how conventional, how well handled? The poisoning of the food and the Captain's getting the culprits, the abandoning of the family, storms? The pursuit by the authorities? The interspersing of these adventures with the telegrams and headlines?

11. The Captain and his ability to get the group to safety? The rescue of Katherine? The falling in love and a possible future?

12. The sense of achievement and congratulation when they arrived in Hong Kong?

BLOODBATH AT THE HOUSE OF DEATH

UK, 1983, 87 minutes, Colour.
Kenny Everett, Pamela Stephenson, Vincent Price, Gareth Hunt, John Fortune.
Directed by Ray Cameron.

Bloodbath at the House of Death is a star vehicle introducing television comedian Kenny Everett. It was written and directed by Ray Cameron, his comedy writer.

The film begins with a mass slaughter in the spoof style. The film seems to want to be a kind of Flying High or Top Secret of horror films. It has some moments and some laughs. However, on the whole, it looks more like the scratch concert and strives for laughs rather than induces audience humour.

Kenny Everett does a take-off of Dr. Strangelove. Pamela Stephenson does an imitation of the repressed blonde, in the style of Not the Nine O'Clock News, and breaks out, of course, into sexiness. Vincent Price is an old horror film icon - and sends himself up. However, contemporary swearing fits uneasily on his lips.

The film is done in the English style, broad humour with some understatement. There are also some film parodies of Carrie (especially with Sheila Steafel), Jaws, walls bleeding like The Shining and an atmosphere of vampires like Salem's Lot. There seems to be an influence of the Stephen King movies.

The film does not achieve nearly as much as it attempts - but it shows the popularity of the multiple mass murder horror film of the 1970s and '80s and how it worked itself out into broad parody.

BLOOD BROTHERS

US, 1978, 116 minutes, Colour.
Paul Sorvino, Tony Lo Bianco, Richard Gere, Lelia Goldoni.
Directed by Robert Mulligan.

Director Robert Mulligan has made a group of strong, popular films touched with compassion over twenty years. The initial sequences of raunchy behaviour make strong impact. But soon, after immersing us in this Bronx, Italian labouring family setting, Mulligan takes us into fine humane drama that, for the most part, rings painfully true. Very well acted (there are many truly moving sequences) by Paul Sorvino, Tony Lo Bianco and Richard Gere, issues of family life, pressures, expectations and freedom are engrossingly explored - what makes and breaks bonds and who is to blame, what it is to be manly, work as vocation. Despite the incessant language, strongly recommended.

1. The overall impact of this film? Success? Audience involvement, the change of moods, sympathy and understanding?

2. How authentic was the atmosphere, the people? The city streets, apartments, buildings, the hospital? Building sites? The sense of the location? The tone of the location? The stories of the people, the stories they told, their language, communication?

3. The colour? The Elmer Bernstein score and its appropriateness?

4. The significance of the title and its focus? For the two older brothers? The two younger brothers? one group mirroring the other? The relationship between sons and fathers, uncles and nephews? The nature of these bonds by blood? The closeness, support? The ending and its comment on the bonds?

5. The portrait of the two older brothers and the introduction of the film through them? Men, workers, language, communication, facades? The visit to the bar? Chubby and his relationship with Phyllis? Tommy setting him up with the date at the bar? The build-up to this, the men-watching, the woman herself, Chubby's anticipation and guilt? The religious fanatic and her portrayal of her character? The fight between the two brothers? The friends and joviality in the bar? The crippled owner and his outlook on life? The world of rough and readiness?

6. Sonny in this world and the same kind of background and behaviour? Taking the girl how, the thugs and the confrontation, the bashing and the violence? His relying on a telephone call to Chubby for getting him out of difficulty? Chubby's saving him?

7. The gradual revelation of the relationship between Chubby and Sonny? The phone call, Chubby coming, the fight and his prowess and scaring off the young thugs? His age and lack of breath? Love between uncle and nephew? As explained later to the barman in the long story about the death of Chubby's son? As explained when Tommy reacted and Chubby understood his nephew better than his father did?

8. The picture of home life - the younger son and his not eating, thinness, fear, watching television? The atmosphere of the house and the shouting? Dad and his work, his meals, wandering around the house, expectations of his sons, toughness, the Italian father? The mother and her nerves and her yelling? The ups and downs in the house? Sonny in this situation, the contrast with the little boy, the future for them both? The importance of the American Italian background?

9. Tommy's taking up with the girl at the bar? Her understanding of herself, knowing that she was the town pump? The dates with her, the nights? Their discussions and the mutual telling of the truth? Her urging him on? His testing her? His betraying her feelings and her reaction?

10. The importance of the hospital in the film? Sonny and his presence there and learning what it was like? The mother taking the little boy, the interview with the doctor, his advice, her reactions, Sonny's advice, possibilities for him?

11. How well did the film illustrate the bonds between Sonny and his brother? The scenes at home between the two, the tenderness of the hospital sequences? Sonny and his being part of the hospital, the getting of the job, the long telling of the story and its repercussions with the staff? The woman in charge? The pain of having to give it up? Why did Sonny respond so well in this hospital situation - as different from his home background?

12. Tommy and his attitudes towards his son, pressure for his following in his footsteps, jobs, education, ridiculing his son and his job? The persuading of Sonny and doing the deal about the working in the building site? The irony of the deal coming through on the day of the hospital arrangement? Themes of fathers and sons, emotional relationships, the dominance of the father?

13. At work on the building site - Tommy and his being at home, one of the boys, the tough work at the building site, the building itself, heights? Sonny and the incident with the lunches? Having to fight to prove himself and the effect of this on Sonny? Moodiness, ups and downs? His harshness towards the girl and abuse of her? His return to the former girlfriend? The final visit to her to apologise and to try to understand himself? Taking out his hostilities on her?

14. How well drawn was Chubby as a character? The quality of his life, its meaning, relationship with his wife, at work, relationship with his brother? The importance of the story about his son? The visit to the barman's son at the fashionable shop and trying to persuade him to go to his father's birthday? His helping of Sonny, the rest of the family? A good man?

15. The importance of the visit to the cemetery - family outing, family bonds, the brothers, the wives, the children. cars? The discussion about the cemetery and death, burial? The effect on all of them?

16. The importance of the party for the owner of the bar - the fact that he was crippled, his relationship with the men, the story of his son and his homosexuality, Chubby confronting the son. his joy at the party?

17. Tommy and the night out at the motel - the morals for the Italian man compared with the woman? The slip and Maria's discovery of it?

18. The drawing of Maria and her nervousness, as wife, mother, relationship with the two sons, her bullying of the little boy? Her reaction to the doctor's advice? The build-up to the laundry sequence - discussion with the other woman, discovery of the ticket in her husband's coat, knowing that the man was eyeing her sexually, going to his apartment and his nervousness, his mother and the telephone call?

19. The eruption of violence and the effect on Tommy, his bashing of his wife, the police, the hospital sequence? Maria and her not being able to change? Chubby and his intervention and wanting to make peace? Sonny and his reaction? The long sequence of repentance with Tommy and then his two-faced attitude at home? Audience response of revulsion towards Tommy's behaviour?

20. How credible was Sonny's decision to pack? His going to see Tommy and the confrontation between the two? Tommy's hardness? Chubby's presence? Tommy letting his son go yet his love, giving him the money?

21. Sonny's decision to take his brother, their going in uncertainty, hopes, the need to go? Sonny's articulation of the uncertainty of the future but the need to leave?

22. How real was the film? The portrait of a family, the nature of relationships, love and hate, the bonds, the limits? Expectations and pressures, change? Work and creativity and a person's potential?

BLOOD FROM THE MUMMY'S TOMB

UK, 1971, 94 minutes, Colour.
Andrew Keir, Valerie Leon, James Villiers, Hugh Burden, George Colouris, Mark Edwards, Rosalie Crutchley, Aubrey Morris.
Directed by Seth Holt.

Blood From The Mummy's Tomb is one of the best of Hammer's horror films. It was directed by Seth Holt who had worked as assistant on many British films in the '50s and moved to direction with Scream of Fear, Station Six Sahara, Danger Route. He died just before the filming was complete for this production - and it was completed by regular director Michael Carreras.

The film is an adaptation of Bram Stoker's mummy story: Jewel of the Seven Stars. (It was remade by Mike Newell as The Awakening with Chariton Heston, Susannah York and Stephanie Zimbalist in 19793

The film benefits by excellent character actors led by Andrew Keir as the Professor. James Villiers, Hugh Burden, George Colouris and Rosalie Crutchley all give over the top performances as the sinister archaeologists. Valerie Leon is the glamorous Queen Tera as well as the Professor’s daughter Margaret. There is exotic Ancient Egyptian atmosphere, hot-house atmosphere of archaeologists in London - with special effects, suspense and the touch of gore.

An interesting version of Stoker's oft-filmed story.

1. The popularity of Bram Stoker's work? The 19th. century horror imagination? Egypt? The past? Evil presences of the past in the contemporary world?

2. The work of Hammer Studios: the skill in making horror films? Colour photography? Atmosphere? Light and darkness? The sinister? The presence of evil? Editing and pace? Special effects? The touch of gore? Atmospheric musical score?

3. The title and its focus on the plot, themes? The awakening of an evil goddess? The evil-influence in the 20th. century world?

4. The opening in Ancient Egypt: the exotic atmosphere, the priests, the solemn ritual, the entombment of Tera, her powers, the relics (the skull, the statuettes of the cobra and the cat)? The cutting off of her hand, the ring? The force destroying the priests? Atmospheric prologue to the plot? The repetition of this in the 20th. century?

5. The archaeological expedition: the breaking into the tomb, the finding of Tera's body. their becoming influenced by her, the taking of the body and the relics to England? Foulks and his leadership? The irony of his wife dying in childbirth at the moment of opening the tomb?

6. Margaret growing up? Her love for her father? His gift of the ring? Her gradually being taken over by Tera? Her relationship with Todd, change in behaviour towards him? Her listening to Corbeck? His clash with her father? The gradual invading of Margaret by Tera? Her spirit visiting the other members of the expedition? Terrorising them, their violent deaths, their relics? The collection of the relics? Todd's death? Margaret and the effect on her father? Corbeck and his beginning the ceremonies? The clash between Foulks and Corbeck? The powers unleashed and destroying the house? The irony of Margaret's surviving - and Tera? For future destruction?

7. Professor Foulks, his archaeological work, decisions about the relics, bringing the body back to England? His wife's death? Love for his daughter? The gift of the ring? His knowledge of the positions of the planets? The possibility of Tera's new reign? The clash with Corbeck? The deaths of his associates? Corbeck and his taking over? The clash of wills? The Professor winning and destroying Corbeck - but not eliminating Tera? The conventional portrait of the Egyptologist?

8. Corbeck and his supercilious style, presence on the expedition, wanting Tera's power, beyond good and evil? The collection of the relics? Power over Margaret? The Scroll of Life? The ceremony to revive Tera? The clash with Foulks and his death?

9. The sketches of the other archaeologists: Berrigan in the asylum, his treatment, madness, his relic, the coming alive of the relic and his death? Dandridge and his work, his being killed? Helen Dickerson and her death?

10. The background of the asylum - and the touch of the Bedlam movies with the male nurses and their persecution of Berrigan? Dr. Putnam?

11. The atmosphere of evil, magic - all dressed up in the horror style of the Hammer Studios for communicating the atmosphere of evil for the 20th. century audience?

12. Audience willing suspension of disbelief in this kind of horror story?

THE BLOODHOUNDS OF BROADWAY

US, 1952, 89 minutes, Colour.
Mitzi Gaynor, Scott Brady, George Jessell.
Directed by Harmon Jones.

The Bloodhounds of Broadway is an entertaining Damon Runyon story. Runyon's popular gangster stories have been filmed many times, Little Miss Marker, Guys and Dolls. This film was an early vehicle for Mitzi Gaynor and for Scott Brady, in the days when he was expected to be a screen hero rather than a character actor. Colourful humorous entertainment from producer-actor George Jessell.

1. Entertaining comedy? Musical? Piece of Americana?

2. Colour photography, re-creation of period? Songs, choreography?

3. Damon Runyon and his stories? Ironic characters and situations? Pleasing caricatures? Comment on society through humour?

4. The plausibility of the plot? The gangsters? The orphans? The strange meeting of the two? New York society? Nightclubs? The encounter of Numbers and Emily-Ann? The happy resolution of the plot?

5. The sketch of Numbers? His genius for calculation, the running of the nightclub, bookmakers, gambling? Encounters with the police? His friends? The moving to New York? Being stranded in the country? Emily-Ann? The bloodhounds? Emily-Ann? falling in love with Numbers? Her success? The exposure and the prison? Emily-Ann? waiting?

6. Mitzi Gaynor's charm as Emily-Ann? As orphan, falling in love, cabaret success? Waiting?

7. The presentation of the orphanage? The people at the orphanage? Expected types?

8. The range of gangster characters: appearance, names, manners? Paulie, Shamus, Dave the Dude, Ropes McGonile?, Lookout Louis? The gangsters' girlfriends?

9. Comedy routines? Musical numbers? The blend of humour and sentiment? A pleasant piece of Americana?