ROADS TO THE SOUTH

France, 1978, 100 minutes, Colour.
Yves Montand, Miou- Miou.
Directed by Joseph Losey.

Roads to the South comes late in the career of director Joseph Losey. After being blacklisted in the United States, he worked in England for some decades achieving fame with such films as The Servant, King and Country, Accident. Going to France during the '70s, he made such films as Mr Klein and the film version of the opera Don Giovanni.

This film is a mood piece, not popular entertainment. Set at the time of Franco's death, it is the story of a political exile (relevant to Losey himself as well as to the screenplay-writer Jorge Semprun - author of many political films including Costa Gavras' Z, State of Siege). The film shows the older generation antipathetic towards Franco living into the '70s. They seem somewhat outmoded.

The younger generation is also portrayed -with its atmosphere of rebellion and longing for causes. The film is interesting insofar as the central character is a film-maker and imagines scenes from his screenplay about a German soldier surrendering to the Russians during World War Two but not being believed and being executed.

Yves Montand gives a strong performance in the central role. Miou- Miou was emerging as a prominent French actress at this period. The musical score for the film within the film is by Michel le Grand.

A film of social awareness, human relationships - but not for entertainment.

1. Joseph Losey and his work, the history of his career and its relevance to the feeling of this film? Exile, a film-maker in exile? Past ideologies, the changes of history, of growing older? The exile who could never settle at home? The relevance to the screenwriter, Jorge Semprun, his background career? A subjective memoir and apologue.

2. The work of the director, the strength of the cast, Yves Montand and his presence? A strong film?

3. The French setting - the countryside, the city? The contrast with Spain and its towns, bright sunshine? The musical score? The jazz themes for the film within the film? The styles of the film within the film?

4. The film within the film - in itself, its story, surrender and betrayal, the role of Stalin and his orders to kill the German soldier? Its comment on war and loyalties? Its place in Jean's memories? Intruding into reality? Why his interest in this theme?

5. The atmosphere of the 70s and protest, youth and protest issues? Television coverage and portrayal of these? The older generation in its day and its rebellion? Memories of Spain, 30s, fascism, communism, the Spanish civil war? A cause, international interest? The activity of those young in the '30s? Keeping their objectives alive? The film's offering understanding of these protesters?

6. Memories of Franco and Spain? For Spanish nationals? For exiles? For those involved in the civil war? Franco's beliefs, intervention? The older generation and their longings, helping Spanish causes? Yet the changes after World War Two, more peaceful times, affluence, growing older? France as a place for exile, for memories? The atmosphere of Franco's final illness, anticipation of his death? The longing for it? The period of months, the papers, television? His actual death and response - headlines, speeches on television? The irony of Franco's death as the death of motivation for loyalty to a cause? The exiles lapsing into inertia?

7. Jean as focus: Yves Montand's presence, performance? In himself, his work, imagination, his film and its meaning? Discussions with his producer - affirmation but no money? His relationship with his wife, love for her? The irony of the diary in the bag, her death, discovery of her infidelity? Her funeral? His staying home to see his son, their being together, going shooting, discussions about guns, clashes? His irritation with his son and his values? Their emotional antagonism, talk against each other? Ordering his son from home? The issues and insult? The irony of the two men vying with each other, generation clash? Jean seeing his son on television, getting him released from prison? The presence of Julia and her enigmatic effect? Her love for his son, her sexual relationship with him? Exasperation with her? Her being a mediator and medium for contact between Laurent and himself? Her challenge, sharing his experiences? Bringing the girls home and his ordering them out? Her going to Spain with him? Death, collapse? Disillusionment? Suicide - new purpose?

8. Laurent and his relationship with his father, youthfulness, vying with his father? His own screenwriting? Demonstrations? Love for his mother, at her death? Going to prison? The relationship with Julia? How instrumental in reconciling him with his father?

9. Julia as the wanderer, relationship with Laurent, Jean? Her presence in the house, her selfishness, sensitivity? Going and leaving? Her dependence on Jean? Her friends? Enabling him to see the truth?

10. The sketch of Jean's wife, Spanish loyalties, jobs, friends? Her death?

11. The Spanish loyalists and their interest in Franco, working with one another, pamphlets and publications?

12. The satirical touches about the French film industry - and its money preoccupations?

13. The portrait of a man's life, his mind and imagination? isolation? Images portraying his life?