RAIN PEOPLE

US, 1969, 101 minutes, Colour.
Shirley Knight, James Caan, Robert Duvall.
Directed by Francis Ford Coppola.

The Rain People is an interesting film of 1969-70, reflecting the questions of the time and people taking to the road to sort themselves out. The film is also interesting as an early work by Francis Ford Coppola. His commercial career began with a horror film made in Ireland in 1963, called Dementia 13. His first successful film was You're A Big Boy Now which was followed by the musical Finian's Rainbow. The Rain People comes next. He was then to work on the two Godfather films and The Conversation. His film after these achievements was the film of the Vietnam war based on Conrad's novel Heart of Darkness, Apocalypse Now.

It is interesting to look at the film in the retrospect of Coppola's later achievements. James Caan appeared in the Godfather films as did Robert Duvall who also appeared in The Conversation and in an Oscar-nominated role in Apocalypse Now. Shirley Knight is very effective as the heroine passing through the landscapes of the United States. The screenplay is by the director and the music, as in his other films, by his father. The Rain People has been compared with films by such directors as Bob Rafaelson, for instance Five Easy Pieces and The King Of Marvin Gardens.

1. How interesting a film in itself? As representing the attitudes of the late '60s? A particularly American film about American identity? A woman's film -the centre of attention being the female character? The work of the writer director, seen in retrospect?

2. The significance of the title, Killer's explanation of it, reality and unreality, imagery - and the way this was visualised?

3. Colour photography, the atmosphere, the locations? The improvisation of scenes -e.g. the incorporation of the military parade in Chattanooga? The feel for the United States, its range of cities, the countryside, the roads, the people, the weather? The world seen from the car, wandering the roads? Communication by telephone? The phone box communication (and some have suggested it looked like the confessional)? The absence of score, especially at the beginning? The contribution of the music?

4. The effects of the travelling through America? The use of the camera especially for angles e.g. the long phone call sequences? Editing. flashbacks? The use of symbols? The poetic and symbolic atmosphere of the film - enhancing reality?

5. The opening and its mood, Natalie and her waking up, the revelation of her situation, in bed, the husband? Revealing her as a character - and the visual manner of this? Her decision, the drama of her leaving home? The importance of the discussion with her parents as highlighting her character, motivation? The flashbacks to her wedding - with the joy, the ethnic tone, the American style?

6. Natalie's tensions - her taking the car, the Pennsylvania Turnpike? Lack of direction, destination? The picture of the American housewife and her needs, taking to the road?

7. The significance of the phone calls - the three places in which they took place, the long takes and Shirley Knight's skill in communicating herself through the phone call devices? How moving the phone calls - her explaining her emotions, motivations? Hesitant and then able to explain herself and her anguish? Her listening to her husband and his reaction - upset, anger, pleading? The road and her reaction to the traffic? The passing of time, day and night? Fatigue on the road? The flashbacks - especially the wedding? The ethnic background, the implications for sexuality, the inserts - in pink? Natalie and her expressing herself, and her grasp of reality? Her hope? The pregnancy? Her incompetence as a wife, as a parent? Her judging herself in the light of her parents? The phone call from Alabama and her needs? Her steadier phone call from Nebraska and coping with Vinny's anger?

8. The significance of her hesitating to pick up Killer, picking him up? Her motivation, wanting to have a liaison with a man? Her committing herself to him by picking him up? The discussion, his ease, explanation of his name? The decision to go to the motel? Her attitudes of seduction? Comparisons with her husband? Her playing games with him, getting him to take his shirt off, Simon Says? Her humiliating him and his acceptance of this? The effect on her and her being humiliated?

9. James Caan's presence as Killer, his look, way of speaking, the importance of his story as he revealed it, the reason for the name, the flashbacks to his career, sport, violence and injury? The reason for his compliance? His retardation? His being paid to leave the college? His reaction to Simon Says, the sexual situation? A pleasing American man? The flashbacks as seen from his point of view. revealing himself to the audience?

10. Natalie's decision to drive Killer to Virginia - the atmosphere of the drive-in, the meeting with Artie and his promise of the job, Ellen and her violent reaction, her snobbery? The importance of the flashbacks - explaining her fear. her relationship with Killer? The nature of her rudeness, family tensions? Natalie’s reaction and taking Killer away? His submissiveness and disappointment?

11. The atmosphere of the Chattanooga parade, Natalie losing Killer, the phone call and her self-assertion, finding Killer again, a renewed commitment to each other?

12. The transition to Nebraska and its atmosphere, the cowboys, the need to get a job for Killer, Mr. Alfred and his taking Killer on? The chickens, the reptiles? The importance of Killer having the thousand dollars and his telling people, Mr. Alfred and his manoeuvres to get the money? His taking on Killer and Killer's freeing all the animals? The visuals communicating Killer's attitude towards imprisonment? The return of Natalie, getting Killer away, the two hundred dollars? The visual symbolism in this sequence - imprisonment and release?

13. What was happening to Natalie by this time? Her speeding away, the encounter with Gordon? Gordon and doing his job, the interrogation, taking her back to pay the fine, picking her up, showing off with his riding? The encounter with Mr. Alfred and the resolution of Killer's problems?

14. The clash with Killer? Natalie going off with Gordon? Leaving Killer to help himself and wander? The fact that he wandered back? The encounter with Rosalie - the two children and the comparison of Natalie and Gordon looking after these two children? Rosalie thinking that Killer was clever? The irony of her rescuing her father after her being hit, being responsible for Killer's death?

15. Natalie and Gordon - Gordon's story about his wife, his memories, self-punishing, his attitude towards Rosalie? A rather brutal way of life in the caravan? The sexual encounter and Natalie's attitude, Gordon's? Killer trying to rescue her and Natalie being the occasion of his death? Natalie's reaction to Killer's death? To the experience with Gordon?

16. The brief characterisation of Rosalie - shooting, saving her father? The repercussions for Gordon? Natalie and her continuing on the road - and her making up her face, in large close-up, after the attempted sexual liaisons?

17. The finale - the future for Natalie? Her reaction against her way of life and being taken for granted, the American wife, housekeeper? Was she changing? Could she return to her husband?

18. The American road as a microcosm of the country? The types on the road, encountered? Help, selfishness, exploitation? Self-knowledge?

19. How hopeful was the film? The analysis of American character, relationships, love? Natalie and Killer talking about loving 'a little bit'? Vinny and his regard for his wife, Gordon and his regard for Natalie and using her? Ellen and her reaction to Killer? The symbol of childhood and simplicity? Care, harmony? A hopeful film? A reflection of its times?