DON'T DRINK THE WATER

US, 1969, 100 minutes, Colour.
Jackie Gleason, Estelle Parsons.
Directed by Howard Morris.

Based on a successful Broadway play by Woody Allen. Allen is a writer, comedian, saxophone player who had made his debut in films with his performance in What's New Pussycat which he also wrote. This was in 1965. He also appeared in Casino Royale and directed his first feature - Take the Money and Run - in 1970. This film dates from the same period and lacks Allen's presence as actor and director. There are many of his funny one-liners and the situation echoing American- Russian clashes is farcical and spoofed humorously. However, the material is designed for Jackie Gleason who is the opposite of Allen in size and subtlety. The material is played for very broad humour. This is indicated by the performance of director Howard Morris as the demented pilot at the end. Morris has directed several comedies including the amusing Who's Minding the Mint? Somewhat dated - although east-west relations are always precarious - and not a very good illustration of Allen's material. However, of interest in his development and popularity.

Woody Allen directed his own version for television in 1994 with himself and co-starring Julie Kavner and Michael J. Fox.

1. The comedy style of Woody Allen? In the sixties and early seventies? Impact later? Audience expectations from his work?

2. The film echoing the atmosphere of 1970 ? Nixon and Agnew, the Iron Curtain, Russia? Americans and their attitudes towards Europe? The spoof of the times? Its point then, later? The basic rhetorical points?

3. The reliance on visual humour, for example the credits, Collage and the pre-credits sequence? Verbal humour and Woody Allen’s one liners? The humorous situation, farcical episodes?

4. The Hollanders as a typical American family? As revealed in their preparations for their trip? Walter and his catering, the talk of jobs and the styles of the cakes etc.? His collaborators and his antagonism? Hillarion and her excited naivety? Susan and her innocent knowingness? The young boy at the camp? Could audiences identify with them? Laugh at them? The contribution of Jackie Gleason's comic style and timing?

5. The suggestions of the trip (and the comments that it was not Miami) - loving the trip, hating the trip? The hijacking as the climax? Clarion's excitement, the photo? The mistake, their running for the American car, the repercussions? Political incident out of accidents?

6. The family's behaviour in the embassy, attitudes, the numerous phone calls, trying to cope? Walter's disgust and his attempts to leave, his returns? The preparations for the escape, the new story, the party and the party talk? The various clues to be followed, the humorous effects and the final escape?

7. Susan and Axel - falling in love, Axel as a failure in his father's and in Walter's eyes? His help with the bomb, the family liking him, the happy ending - a future?

8. Axel and his father's criticisms, his minding the embassy for a fortnight, the admitting the espionage onto the tape, the dismantling of the bomb, clashes with his father and putting him in the cupboard? A happy ending despite his bumbling?

9. The satire on the Ambassador and his manoeuvres to be Governor?

10. The people of Vulgaria, the airport, the military, the various chases? Krojak and. his mistake, his pursuing the Hollanders, examining the catering list in intelligence, inciting the riot, the verbal clash with Walter?

11. The comedy in the chases, the mad pilot?

12. The character of the priest, his long internment, his magic tricks, his helping in the escape and the various aspects of the magic in trail as he left?

13. Humour on war, politics? A spoof on human nature? How good a blend of the serious and. the comic?