UN VERANO PARA MATAR (THE SUMMERTIME KILLER)

Spain, 1972, 110 minutes, Colour.
Christopher Mitchum, Karl Malden, Olivia Hussey, Claudine Auger, Raf Vallone.
Directed by Antonio Isasi- Isasmendi.

The Summertime Killer is a revenge film. The focus is on a young man who had witnessed the Mafia beating his father to death when he was six. He now goes in pursuit of those who killed his father. The Mafia boss wants to thwart him. So also does a police officer (Karl Malden) who feels guilty about what went on and wants to atone.

This is very much in the atmosphere of American-style stories being filmed in Europe, with a particular atmosphere, visual angle style, international cast.

1. The indication of the title and its meaning? The use of thriller conventions?

2. The contribution of colour, the spread of countries, the beauty of the scenery, musical accompaniment? The atmosphere of violence, the editing and pace?

3. The significance and mood of the prologue? Its style and the child's eye view? Sharing the child's horror? The shrill tones of the murder? The atmosphere of feeling and revenge? Understanding of horror and revenge? The influence of the prologue throughout the film?

4. The film as a revenge thriller? How well did it work in the level of feelings? On the level of morality? Insight into the nature of revenge and its administration?

5. Questions of law. justice. personal hatred. the administration of private justice? What rights have Individuals to administer justice?

6. The film's focus on Kiley? As representing crime and law? As representing justice? Employed by the Mafia? His understanding of the meaning of freedom? The symbolism and significance of his death in terms of law and justice?

7. The visualising of the initial murders? Their variety? Shock impact? Violence? Audience response to this? Colouring our understanding of Ray?

8. How well did the film present Ray? Did it help us to understand him? The details of his plan? His personality, background? The fact that he was redeemable? His use of the secretary? The spying on Tanya? His imprisoning her? his cruelty?

9. Ray as a feeling person: towards Tanya, the talking, the love? His response to her warning him not to go? His hesitating to kill? The significance of the dog?

10. How important was the bike in the film? As part of Ray's personality? The details of the stunts? Especially showing off to Michele? Did the film use well or exploit the bike sequences? The murders, the escapes from the horsemen, the ending? The impact of a hero on a bike?

11. The contrast of Kiley and Ray? Kiley doing a job, interest in the case, the relationship to Castor, his efficiency, the film's detailing step by step the investigation, his capture of Ray, his decision to let Ray and Tanya go? How well prepared for his death was he? The impact of his death?

12. The portrayal of Alfred as a criminal? The insight into his feelings with the flashback to Tanya? His cruelty to his secretary? To Ray?

13. How much warmth and humanity did Tanya add to the film? The details of her personality, affair with the lecturer? The details of her trying to escape? Her loneliness, relationship with Ray? A future with him?

14. The film's comment on Ray and Tanya as second generation Mafia and paying for the crimes? their parents?

15. How satisfying a thriller?