BRASS TARGET
US, 1978, 111 minutes, Colour.
Sophia Loren, John Cassavetes, George Kennedy, Robert Vaughn, Patrick Mc Goohan, Bruce Davison, Edward Hermann, Max Von Sydow.
Directed by John Hough.
1. How enjoyable a thriller, popular entertainment, familiar war and thriller material? The significance of its being made in the late seventies? The basic appeal of the thriller, detective story, war story? Politics and conspiracies?
2. How well did the film blend fact and fiction? The nature of the imagination in conspiracies about historical characters and situations? The tone of the ending with the information about General Patton, about Yebbor? The facts and the plausible possibilities? The attraction for audience imagination?
3. The use of Panavision, colour, European locations especially the mountains and the cities after the war? The special effects, for example with the sabotage of the gold train? The gun for the assassination? The atmosphere of post-war Europe?
4. The contribution of the stars and their personalities? Sophia Loren and fashion and glamour, Max von Sydow and suave villainy, John Cassavetes and his intensity for the hero? The stars portraying the villains: George Kennedy's style as Patton?
5. Audience familiarity with the basic themes of Nazi gold and robberies? The credits sequence and Rogers and the masterminding of the robbery? The sinister meeting and crash in the tunnel with the train? The deaths of the soldiers through the gas? The robbery? The plan used during the war for sabotage? The skill of the plan? Audience response to the robbery - and the reaction of Rogers and Gilchrist?
6. The character sketch of Rogers as a military man. his masterminding the plot, his work for the Army in Europe, his authority and its use? His ruthlessness? His not lacking in scruple for murders of the 59 soldiers, of Mc Cauley, of Shelley, the assassination of Patton? His hold over Gilchrist? The significance of his homosexuality and its presentation? An intense character, his killing of the flash Shelley? The suddenness of his death and that of Gilchrist?
7. Mc Cauley and his place in the Army, his occupying the castle and his style, relationship with Mara? Friendship with De Lucca? His participation in the plot, the selling of the plan? His double, activity with Rogers and with De Lucca? His helping De Lucca to leave Europe? His visit to Switzerland and the tensions of the deal with Shelley? His return to Frankfurt. the girl, the nature of his death and its inevitability? As a type, the presentation of his motivations?
8. The film's sketching in of post-war Europe and its atmosphere –assassins, thieves, cover-ups, corruption? The comments of the corruption of war and the after-effects of war? De Lucca as hero - his role in the war, his plans and their use? Dawson and his control over De Lucca and, the investigation? his personality, his involvement. motivation, moral stances? Friendship with Mc Cauley and disillusionment? The interview with Lucky Luciano and the revelation about De Lucca’s father and justice? His following up the tips from Luciano’s lawyer? Friendship with Webber but not trusting him? His disregard of Dayson but the growing bond between them? The assassination attempt in the church and the dangers for him? Love for Mara, memories of the past, renewing the love affair? The bond with her and her assistance in the solution? His inability to prevent Patton's death? The suspicions of Webber and the execution of him - ironically with his own weapon? An American hero? attitude towards the law, patriotism, killing, sabotage? His values, involvement in the search, execution of justice?
9. Audiences sharing De Lucca’s response to Dawson - his age, role? His participation in the investigation, anointing De Lucca with the confrontation of Rogers and Gilchrist and their deaths?
10. The credibility of the character of Mara - Sophia Loren and her style, fashions? Her love for De Lucca, liaison with Webber during the war, his protection? With McCauley? The tram sequence and her decision to stay with De Lucca? Her anxiety with the involvement in the church, her knowledge of Webber, her seducing him to his death?
11. Max von Sydow's characterization of Webber? Our first meeting him as the professional assassin, his presence on the boat, his ability to do deals, the meeting with the gun-maker and the specifications, the inevitability of his killing him? His disguises? The irony of his official role for war orphans? The ironies in the dialogue in the mea1 with Webber, his past liaison with Mara? His skill in the setting up of the tale? Shelley and Roger’s execution of him? His not trusting people? His skill in his presence as the American G.l., the placing of the trucks, the shooting of Patton and his escape? The being tricked by Mara and the irony of his own death? A credible and suave villain?
12. The ironies of Lucky Luciano and his involvement - and the comment on his subsequent pardon and life?
13. A popular picture of Europe and the effects of war? The historica1 background, for example with Eisenhower?
14. A satisfactory resolution to this kind of thriller? What was the audience left with? Interesting adventure story, the testing of values, the political and moral implications?
