WELCOME TO BLOOD CITY

UK, Canada, 1977, 91 minutes, Colour.
Jack Palance, Keir Dullea, Samantha Eggar, Barry Morse.
Directed by Peter Sasdy.

Welcome to Blood City is reminiscent of Michael Crichton's Westworld. The scene is a world which is peopled by robots. In this case, in a war-torn world, computer programmers work on unconscious subjects in computer programmes to make them master killers. The setting for testing out programmes is the West. Thus there is a blend of science fiction about the control of machines and comment on western conventions as a way of testing out readiness for killing in the modern world. While the ideas are intriguing, the execution of the film is fairly conventional.

It is a Canadian-British? co-production, in the late '70s, when there were many such films. Most of them were ordinary entertainment - somewhat mid-Atlantic rather than striking film. There is a mixture of Canadian supporting cast with international leads. However, the ideas are of such interest that they will attract the fans of imaginative science fiction.

1. The blend of science fiction and western? The conventions of each genre - how well do they blend? The comment on the heritage of the western past, the comment on the science fiction interpretation of the future? Their comment on the present? The background of war-torn society?

2. The film as British- Canadian co-production - which background dominated? The response to "mid-Atlantic films"? Colour photography? The atmosphere of the western town? Contrast with special effects and computers? The musical score?

3. The impact of the opening? Social upheaval? The transition to the lonely shore and the five isolated people? The puzzle as to their identity? The memory flashbacks throughout the film? Sufficient for the audience to understand the background? The computer plans? The characters identified as killers? Their attitude towards death? Their being introduced to the city? The law? Audience curiosity as to how they would react?

4. The characteristics of the western genre: the conventions of the Sheriff, the decor of the town. sets and set pieces? Law? The overtones of fascism in the uniform? Horses in a world of technology? The arrival of the group? The guidance of Frendlander? His explanation of the law? The need for imprisonment, slavery, self-protection? The possibility of turning and confronting the law?

6. Michael Lewis as hero? The opening? His not being a credible killer? His coping? Listening to the laws? His going for the boots? The clash with Peter? Gaining the uniform? The gun? His continued regard for and help of Martine? His attitude towards Frendlander? cooperation? Clash? The build-up to ultimate fight-out? The encounter with Katherine - outside with western town? Inserted into the programming? The computerised love affair? Computerised seduction? Her place in the town and in the saloon? Her changing Michael's programme? Her reaction to his saving Martine? The build-up to the siege? The fight? The clash with Frendlander?

7. The audience discovery of the computers and the programmes? War games? The personalised and impersonalised programming? Western fantasies? The head and his attitude towards killers and the war situation? The purpose of the games? The strengths and weaknesses of the victims? Playing on the unconscious? The personalities involved in the programming - banter, clashes, flirting? Katherine and her involvement? Altering the rules? Becoming jealous, changing the programme? The crisis and the exposure?

8. Martine and her presence on the shore, in the town, becoming a slave, humiliated, the siege and her rescue? The victim character? Pete and his being programmed to react against Michael?

9. The action sequences in the tradition of the western - shoot-outs, bar brawls? The siege?

10. The glimpse of the rejected patients? The pathos of their wandering as in a mental asylum? Michael's discovery of them?

11. Michael and his role in the fantasy, his unconscious being played on, his being a victim? His awakening and discovering the truth? His being trapped? The siege in the hospital room? His opting to go back to fantasy?

12. The importance of the flashbacks, the status of the victims - especially with the university background? Their treatment to become killers? The impact of the television images of contemporary war?

13. The film as action adventure, science fiction story, contemporary fable?