THE FOUR HORSEMEN OF THE APOCALYPSE

US, 1961, 153 minutes, Colour.
Glenn Ford, Ingrid Thulin, Yvette Mimieux, Charles Boyer, Paul Lukas, Lee J. Cobb, Paul Henreid, Karl Boehm.
Directed by Vincente Minnelli.

The Four Horsemen of The Apocalypse was a star vehicle for Rudolph Valentino in 1921 an early highlight in his career. This spectacular and lavishly budgeted remake was directed by Vincente Minnelli in the early 60s. Minnelli is well known as a director of musicals, eg. Meet Me In St. Louis, The Bandwagon. During the 50s he turned his attention to drama and melodrama. These films are now noted as rather baroque examples of widescreen, colour, Hollywood melodrama, The Cobweb, Some Came Running. Home from the Hill, Two Weeks In Another Town and this particular film.

Glenn Ford is competent in the central role but does not echo Valentino in any way. Swedish actress Ingrid Thulin, who has appeared in many of Ingmar Berman's films, gives a strong presence although her voice has been dubbed by Angela Lansbury. There is an effective star supporting cast. The story is interesting in itself and explores the values of a wealthy family in South America confronted by the experience of the war. Ford plays a playboy who lacks responsibility but who is caught up in the war unknown to his family and friends and achieves a certain heroism. This provides the basis for many interesting discussion points about war, responsibility, conscience, wealth.

1. The film is based on an epic story. Was this evident? It is based on an old silent classic. How did the colour, widescreen, vastness, length of the film contribute to its impact?

2. What was particular about the style of the film? Its atmosphere of reality, background of spectacle, the veering into melodrama, the visionary aspects of the film?

3. The importance of the title, as it was explained by the old man, as it applied to the war, the way that it was visualized by the statues and the vision in the clouds? What did this add to the film?

4. How well did the opening communicate the joy of life, the dancing. South American exuberance and vitality? The irony of this for it was so quickly to change? What comment was made by this contrast of moods?

5. The initial focus of the film on the old man? The patriarch and his hold over his family, the vitality of the dance, his grandson, Julio, being like him, the spirit of Argentina? The background of their migration, their wealth, freedom, joy? The heritage away from the conflicts of the rest of the world? How important was it to see the spirit of the old man since he was to die so quickly?

6. The presentation of South America and its contrast with Europe? The emphasis on its neutrality? The fact that a family could be divided in loyalties?

7. How interesting was this saga of a family? Was it possible to identify with the family, with various members, with their interests and concerns? The impact of war on the family? How different would their lives have been had there been no war?

8. The presentation of the times: the atmosphere of the 30s, the table talk about Hitler and Nazism, the sequence showing Hitler and his speeches and applause, the comment by showing the war in Warsaw? Did the film give a sense of the ugliness of the war?

9. The impact of the divided family? The reasons for the German loyalty? Karl and his background loyalty in World War One? The death of the old Run as a consequence of this declaration of war? A symbol of what was to happen to the whole family? The frequent comments on only the children being left? And their deaths?

10. The emphasis on Karl and Heinrich? German allegiances, the reasons for Nazi loyalty, the strength of loyalty and their return to Europe, the irony of their command in Paris, the way that they worked for the Nazis, Karl and his loyalty towards the family and trying to help them, the effect on him of being too lenient with his family, Heinrich and his amused irony at Julio and Marguerite? The irony that the final confrontation should be between the two men? How did this symbolize the theme of the clashes in the family?

11. The contrast with the French Argentinian atmosphere of Marcello and his wife? Of Julio and Chi Chi? The explanation of their French background? The different loyalties? The Argentinian pride?

12. Marcello as a person? Quiet and artistic, saying that he lacked passion, his retreat from World War I. The sorrow of his life? The hurt at Julio's behaviour, his concern for Chi Chi? What was left for him at the end? A symbol of a world bereft of children, despite non-involvement?

13. Julio as the focus of the film? The hero? His easy bravura in Argentina, his superficial way of life in Paris, painting and the social life? The encounter with Marguerite and the gradual seduction? His lack of conscience in this regard? His selfishness? His disregard of Etienne? What changed his mind? The effect of conscience, the effect of his family involved in the war, the effect of the war itself? His asking the aid of Karl and Heinrich? The humiliation in the restaurant? What finally drove him to the Resistance? How did he change? The effectiveness of his work for the Resistance and the way this was visualized in superimpositions of deaths and accidents? The importance of his final test? The effect on his family, the impact of the death of Chi Chi, his father's words, Marguerite and her understanding? The achievement of his mission and some sense of achievement in his life? The irony of the confrontation with Heinrich? Death and the vision of the Four Horsemen? How interesting a character?

14. The contrast with Chi Chi and her social involvement at the Sorbonne, in the Resistance, participation in the riots, her torture and death?

15. Marguerite as a heroine for the film? As particularly French, symbolizing France in war: attracted by the Argentinian, her husband being taken away, the confusion of love and war? Her love for Julio? Her being seen with him etc.? Her devotion to Etienne and her final going to him?

16. Etienne as symbolizing France and its Resistance? His newspaper activity during the war, his friendship with Marcello and his family, devotion to Marguerite as exemplified in the art sale etc.? His Resistance work, imprisonment, torture and return, interview with Jusio for the Resistance, his torture and death?

17. The dramatic build-up towards the ending with the fathers and the two sons left?

18. What did the film have to say about human beings, war and its impact on family lives? The need for heroism during the war? How pessimistic, optimistic a film?