IN THE COOL OF THE DAY

US, 1963, 89 minutes, Colour.
Peter Finch, Jane Fonda, Angela Lansbury, Arthur Hill, Constance Cummings, Alexander Knox, Nigel Davenport, John Le Mesurier, Alec Mc Cowan.
Directed by Robert Stevens.

In the Cool of the Day is a 1963 soap opera. It is directed by television director Robert Stevens whose only other cinema film besides this was, at the same time, I Thank a Fool, also with Peter Finch and with Susan Hayward.

One of the advantages of this film is the Greek settings. However, it is an illicit romantic story, Peter Finch is a publisher with a wife who has experienced a car accident (Angela Lansbury) having an affair with his best friend’s wife (his friend Arthur Hill, the wife a young Jane Fonda).

As with so many of these films, the young girl is somewhat neurotic, creating problems not only for herself but for all those she comes in contact with.

No great shakes as a melodrama, it is interesting principally for the melodramatics, the Greek locations, and the cast.

1. A good film or not? Critics were very hostile? Why?

2. The significance of the title? The mention of evening in this connection? The initial song and its tone?

3. The importance of settings and atmosphere? American atmosphere, England and London, Greece and its cities, ruins and mountains? The final scenes in Delphi? The characteristics of Greece? The characters being influenced by all these settings?

4. Was the film successful romantic melodrama? Are such films about real people, real emotions and situations? How do they heighten reality? The film's strengths and weaknesses of dialogue, situations, presentation of motivations? Why do audiences enjoy romantic melodramas?

5. Did the film explore and understand its characters? How much did it exploit their situations? Especially the marital situations?

6. The presentation of the American business world? Murray and his entrance into this world? The visit to Christina's father? The contrast with England? The film's atmosphere of wealth, society and status? The film's judgment on this?

7. Murray as the focus of the film? What understanding of him did the audience have during his visit to America? His relationship with Christina and understanding of her? The strengths and weaknesses of his character? His explanation of his life, his work and ambitions, his relationship with Sybil, marriage, hostility, the death of their son and his guilt? His support of Sam? How credible a man was he?

8. The contrast with the character of Christina? Jane Fonda's style? Being introduced to her as sick and as spoilt? Sam's fussing over her, Christina's reaction to her mother, especially her fear in the restaurant? Her growing dependence on Murray? Did she understand what it was to be alive? To relate, to love?

9. The film's presentation of the links between theme the writing of letters and visualising each of them, the growing sympathy? Christina's arrival In London, her touring around London and Murray's guiding her? The bonds between the two? The plans for the holiday, Christina's trying to persuade Sybil? The sharing of the holiday? The reputation and their living up to the false reputation? growing in love? The effect on each of then, especially with the pursuit of Christina, her mother, her final illness and the prospect of dying?

10. How interesting and credible a character was Sam? Their American businessman, his protection of Christina, his lack of understanding of her, his explanation of his attitude towards Murray and his tolerance of their relationship, his wanting Christina to understand love?


11. How credible was Sybil as a character? Her type? Her nagging and her indolence around the home, her self-centredness, her sensitivity about her beauty after the accident? The lack of relationship with Murray? The initial relationship, the sequence in the car in flashback, the accident and its effect on Sybil? Her whim in going for the holiday? Her flirting with the man on the plane? Her boredom? Her provoking Murray and Christina? Was it inevitable that they should go to each other? Was it inevitable that she would leave? How much insight into this kind of character and her choices?

12. The contribution of the minor characters? Christina's mother and her hold on her, Christina's fear of being like her? Her ageing father? The people that belonged to the firm in England and their entertaining Christina? Murray's mother? The Syrian doctor and his friendship and advice? The travelling salesman and his relationship with Sybil?

13. How well did the film present inter-relationships of love and hate?

14. The importance of the atmosphere of Greece? The characters' response to Greece and its changing them?

15. The melodrama of the resolution and the prospect of death? How humane a film, how sentimental, how wise?