THAT KIND OF WOMAN

US, 1958, 92 Minutes, Black and White.
Sophia Loren, Tab Hunter, George Sanders, Jack Warden, Barbara Nichols, Keenan Wynn.
Directed by Sidney Lumet.

That Kind of Woman is an amiably ironic comedy. In itself it is not of great value although it has a pleasant performance by Sophia Loren and ironic one by George Sanders. Tab Hunter, though pleasant, is no match for the other leading stars. What makes the film of particular interest is that it is one of the earliest films directed by Sidney Lumet. At this stage he was at the beginning of a successful career - he had made Twelve Angry Men, Stagestruck, and The Fugitive Kind. During the 60s he had achieved some popularity with versions of Long Day's Journey into Night and A View from the Bridge. He also made The Pawnbroker, The Hill, The Group. His films were not so popular by 1970 but in the mid 70s he made a successful critical and commercial comeback with Serpico, Dog Day
Afternoon, Network, Murder on the Orient Express and Equus.

1. The meaning and tone of the title? Indication of sharp drama or romantic drama? Which kind was the film?

2. The quality of the black and white photography, the documentary atmosphere of the train and New York etc., the use of sounds often rather than music? Other technical achievement?

3. The atmosphere of war, how well was it communicated visually and by theme? The atmosphere of the train and the train ride and its effect on people? The picturing of cities, life of cities, the effect of cities on people. The restaurants, the streets? The meanings of lives in such atmospheres?

4. How sharp and observant was the screenplay and its treatment? How much insight into war themes and into real persons? How much was romantic and conventional?

5. The importance of war and its theme. The impact of war in America and on peoples' lives? Accidental meetings and interactions? Poverty and riches, opportunities and opportunism? Soldiers and the background of war and death, leave and the need for people? Time and the shortness of time? The quality of love and people driven to love? Protection by big business, the role of wealth in war? Jane for instance wanting the war to go on so that the life would not change? What judgement was made on the war-theme?

6. How satisfactory a hero was Red? His boyish expressions? Being considered a boy, protected by Kelly, by Kay? His love and infatuation? His immaturity in approach and feelings? His reaction in the train? Following Kay to the house, creating the scene in the restaurant? Did he understand himself well, understand Kay? Why did he want to be loved? The difficulty of Kay's telling him the truth? His pressing her, waiting for her? What future would he have (the paratroopers and D-day and the background of the film?) His ideas of a future life married with Kay in Vermont? How much insight into an ordinary character did this portrayal give?

7. How attractive was Kay? Sophia Loren's performance and style? The Naples background, the war and poverty, the need for protection, enjoying wealth, her reliance on The Man? Her capacity for having a good time and laughing? The morality of her situation? Any regrets? Red's attack that she was not a hot-shot? Her comments on being known by him and the allusion to the flavour of ice-cream? On the train, the effect of Red on her, talking, resisting, and a choice between a career and wealth and reality and love? How convincing was this? The discussions with Jane, Kelly, the man? The enjoyment of the day with Red? On what basis did she make her decision?

8. Was the man a convincing character? Politics.. graft, amorality, love and protection? The typical wheeler-dealer behind war and big business? The final sequence and his letting Kay go?

9. How enjoyable was the parallel of Kelly and Jane with Red and Kay? Kelly as a show-off, a con-man, having a good time, laughs, The change in emotions? Jane as similar in her role of having a good time? How was each of them hurt? Why did they not stay together?

10. How important was the sketch of Harry and his particular type, protection, working for the man, his role with the girls etc.?

11. How valuable were the scenes of interaction, the quality of the dialogue, the situations real or contrived?

12. How did the film balance emotional tension and romantic overtones?

13. How much insight into love, hate, decisions?