FILM SOCIETY - REVIEW 19 68/69
- from Phoenix 69 [undated - assumed post-October 1969]

Increased membership left us at the end of the second season with a large balance, which prompted us to obtain more films for the third season, making the total nine. The first was shown on October 31st and was entitled "The Heroes of Telemerk." It was set in 1942 and concerned a desperate attempt, by a group of Norwegian Resistance fighters to destroy the Norsk Hydro heavy water plant, in the Rjuken Valley. The plant was being used by the Nazis in the race to perfect the first atomic weapons. This film included some scenic views of Norway with fancy skiing and a distinguished cast which was headed by Kirk Douglas, Richard Harris, Michael Redgrave and Eric Porter, of "The Forsyte Saga" fame. A good colourful action-packed adventure story.

"On the Beach" was adapted from a good novel by Nevil Shute, dealing with the human reactions of a few people waiting for an atomic dust cloud to reach them. The cast included Gregory Peck, Ava Gardner, Fred Astaire and Anthony Perkins who made the best of the material in this rather bad film. Stanley Kramer who directed "Death of a Salesman" by Arthur Miller, failed miserably on this occasion. He chose a vast, deserted, international setting to underline the emptiness of atomic warfare, and I believe this was wrong for three reasons: the basic Idea was a study and the setting should have been confined to the house in Australia where the film opened; if the setting was international a few dead people should have been shown; the major part of the film should not have been pivoted on the investigation of the incomprehensible bleeps radiating from the United States. I am afraid I found it disappointing.

"East of Eden" was the film version of the novel by John Steinbeck. I have never read the book so consequently I am unqualified to comment on the adaptation. The publicity handout stated that it was not easy or comfortable to watch because of its subject. Set in the First World War period, the plot concerned Caleb's (lames Dean) efforts to gain his father's (Raymond Massey) affection and interest. This is a complex story delving into the emotions and inter-relationships of people in a predicament created by their environment and themselves. The best performances were by Julie Harris, Raymond Massey and there was a fair but slightly immature performance by lames Dean. Elia Kazan did a good job as director In creating an atmosphere of intense depression and despair of the era and people with Ingeniously "seedy" sets. Unfortunately the film was made more depressing by the rather dark black and white copy of the film that we received.

Some of the committee were a bit apprehensive about the likely turn Out for our January film "Some Like it Hot", because the B.B.C. chose it as a Christmas highlight. Any fears were diminished by the large audience, some trying to recapture the magic the film radiated, others enjoying it for the first time. It was one of the funniest films that I have seen for years. It starred Tony Curtis, Jack Lemmon and that vivacious blonde, the late Marilyn Monroe. The plot revolved around two musicians played by Tony and Jack, who unwittingly witnessed a St. Valentine's Dat-type massacre. They manage to elude the leader Spatz (George Raft), by Impersonating female musicians and joining an all girls' band. Here they meet Sugar (Marilyn Monroe) and the rest of the film concerns the affection Tony has for Sugar and the men's illusion act. Billy Wilder satirises the female shape with subtlety and finesse without vulgarity. He also manages to coax a good performance from M. M., who was very obnoxious during the making, owing to personal matters. The music was the only reason that motivated me to see 'A Hard Day's Night" and it was Its only attraction. Songs like the title one and "She Loves You" are odd, but they brought back memories and were just fun to listen to. This was also a chance to see the Beatles in more recognizable circumstances in the light of their recent appearances. Unfortunately thelz antics were not as funny as intended, which war disappointing because the scripting was by Alun Owen, who wrote the brilliant trilogy for "Saturday Night Theatre", screened on television this year. Significant performances were produced by Wilfred Bramble as Paul's grandfather, and Victor Spinetti as the effeminate television producer.

Using the criminal file recount technique, the 1967 film "The St. Valentine's Day Massacre", retraces the incidents that lead up to the event. Authentic dates, times and family backgrounds were commentried in this slightly glossy film. Jason Robards, played Al Capone and George Segal one of his gangster opponents. An unnecessarily violent film which must have used gallons of tomato sauce'.

Completely authentic locations were used in the filming of "Electra", a Greek tragedy by Euripides. In my opinion, it was the best film of the year and deserved a larger audience. Agamemnon, a war hero, returns to be murdered by his wife Clytemnestra and her lover, Aeglsthus. His children Orestes and Electra are bound by code to avenge his death. To prevent this Orestes is sent away and Electra confined to a tower until she is married off to a peasant farmer. Later the children meet, plan and murder Clytemnestra and Aegisthus and are consequently exiled from the village.

Irene Papas from the "Guns of Navarone" played Electra, and the other parts were taken by internationally ünlceown Greek actors. Director Michael Cacoyannis wisely chose the dusty locations, and also made the film in black and white, which underlined the intense hatred the children had for the murderers. To execute this poignant plot, he employed more actions and facial expressions instead of speech, thus creating a universal appeal.

Music and photography are used to best advantage, partióularly in the sequence when the children murder their mother. Horror and disgust are sensations created by the unusual camera angles and the icy soul-searching music. Surprisingly, we see nothing of the victim and little of the assailants. I am sorry for those who missed this fine, dramatic film.

"Viva Maria", was the last film of the season and for me was a complete flop. I believe it had a rather vague plot, and no cinematic value or appeal. The film continually exploits the physical magnetism of Brigitte Bardot and Jeanne Moreau, together with trivial jokes to bind it. It opens with Brigitte and Jeanne as young girls, blowing up bridges and buildings for some obscure reason.

Due to circumstances the two, now grown and how~, perfect a semi-striptease song and dance act, which is part of a vaudeville troupe. The film employs this act several times with fatal results. After a tangle with some ruffians the plot dissipates completely. The next intelligible sequence depicts a full scale revolution, lead by the girls'. Again the purpose is unknown. The girls' side is apparently victorious and the two are declared saints, which was received inhospitably by the church. They are abducted by the High Priest who unsuccessfully attempts to have them tortured. This accounts for the only witty scene. Finally, there is a showdown (I do not know why) and the Vaudeville leader uses his gun to fire around corners and the magician employs a dove to drop grenades on the opposition, in order to win.

I hope that during the third season we presented a wide choice of films which satisfied the varying tastes of the majority of members. We wish good viewing and enjoyment for our fourth season members.

Patrick Lau LV1 (2).