THE BLACK MARBLE

US, 1980, 105 minutes, Colour.
Robert Foxworth, Paula Prentiss, Harry Dean Stanton, Barbara Babcock. John Hancock, James Woods.
Directed by Harold Becker.

Ex-policeman turned novelist Joseph Wambaugh has a love-hate relationship with Los Angeles police forces. In several films (The New Centurions, The Choirboys, The Onion Field) with heightened black comedy tone, he shows how police do the dirty jobs for society without much thanks and suffer all kinds of traumas. He has written the screenplay for this film himself and given as an odd couple romance, the psychological deterioration from police work and pressure and a modest central crime, a dognapping. There is no compelling reason to see the film but it does grow on the audience. Acting is very good: Robert Foxworth as the Russian- American hero provides a complex picture of a policeman; Paula Prentiss is once again brassily zany and Harry Dean Stanton has a good role as a seedy small-time gambler. While it treats Wambaugh's usual themes it is rather another different police story.

1. The significance of the title and the way that it was explained? The themes of humanity,, gambling,, luck.. taking chances, control? The setting of this them within the Los Angeles police force? The world of the police - work.. human relationships?

2. How well was Los Angeles presented as the setting: the cityscapes, the precinct offices. the range of people. Skinner and his dog service, Miss Whitfield and her home, the streets, clubs, racecourses,, dog shows?

3. The contribution of the colour photography? The musical score and its overtones of Russian themes? The importance of the prologue and the introduction to the three characters: Valnikov and the Russian orthodox Church and his behaviour, Skinner and his sleazy way of life., his work with the dogs? Natalie and her place in the police force and at work? Creating an atmosphere? Introduction to the characters and focus on their interaction? Creating a mood? The development of the mood,, the audience growing in their knowledge of the characters. an increasing sympathy? How well did the film gradually involve its audience in the life of its main characters?

4. Valnikov representing the American policeman? The importance of his ethnic background, its explanations,, the American dream and its fulfilment? Valnikov and his brother with the restaurant? This being highlighted with the opening sequence in the Russian Orthodox ceremony? Valnikov’s odd behaviour, drinking,, the slightly scandalous sequence in the street? Valnikov at home? The initial impression? His reputation in the police force. his transfer? The highlighting of his traumatic experience and his inability to cope? The point about traumas for police and the effect of trauma on their personal lives, ability to do their job? The lack of professional help? Varied support from the Department?

5. The picture of the Police Department: Clarence and his relationship with the boss. the pressures on Valnikov? On Natalie? Their discussions about the pairs-at work? Taking complaints - and the humorous interruptions of people complaining? The discussions about cases. methods? The purpose of pairing Natalie with Valnikov?

6. Paula Prentiss' style as Natalie? The brassy type.. the importance of having her life in order, her puzzling over Valnikov and reluctance to work with him? Her getting him to tell his story? Her continued anger with him, misunderstanding him? The help with the visit to the restaurant and the discussion with his brother? The outings together.. and learning to work together? The violinist by the lake in the park? The contrast with her outings with her boyfriend? The build-up to her understanding and the resolution of difficulties? Her puzzle about Valnikov’s past and the impact of the death of his co-worker? The meal together., the night together and its- intimacy? Her puzzle about the nightmares - and his dropping off to sleep even at work? The hard shell returning in the morning? The build-up to the case? The problem of the dognapping? The interviews with Madeleine Whitfield? Natalie's despising of the situation, the human sympathy for the dog, her harsh attitudes towards Miss Whitfield? Her jealousy of her because of Valnikov's infatuation? The involvement with the dognapping, the confrontation with Skinner? Her going off with her boyfriend? Her decision not to go - the return to Valnikov, the finale at the lake and the violinist playing? The use of the endearing Russian names to indicate the bond between them? A capable American woman, a policewoman? The effect of her romance with Valnikov - especially in contrast with her previous marriage?

5. The picture of the police office and its busyness? Clarence and his orders to Natalie? Lack of compassion? The interviews with the boss and his hectic handling of situations? Discussions, arguments, elaboration of cases, methods? The object of the office in maintaining police control in Los Angeles?

6. Paula Prentiss' style as Natalie? A credible policewoman? The active brassy type? Wanting her life in order? Her exasperation in working with Valnikov? The puzzle about him? The antagonism and her anger? Complaints to Clarence and her boss? Her tolerating working with him? Gradually listening to his story? Getting to know him and understand him? His taking her to his brother's place and the enjoyment of the meal? The encounter with the violinist? The comparisons with her boyfriend and her outings with him? The gradual bond between the two? Their spending the night together - the possibility of a future?

7. Their involvement in the kidnapping case? The film sketching in the background of Philo Skinner and his work, his girlfriend? His gambling and the debt collectors? His skill with dogs? The set-up for the kidnapping of the dog? The encounter with Madeleine Whitfield? The dognapping and his ransom messages?

8. Madeleine and her devotion to her dog, her calling the police, the interviews with Valnikov and Natalie? Natalie’s exasperation? Valnikov's sympathy? His spending the night with Madeleine? The repercussions for Natalie?

9. The continuing build-up of the relationship between Natalie and Valnikov? Her puzzle about his companion's suicide? Their continued work in the investigation? The ups and downs in tracing leads? Natalie and her preoccupation about the order in her life, having to make decisions?

10. Madeleine and her leaving the money for Philo? Ruining the possibilities for police detection? Philo and his attempt to escape thinking the mob were after him? Valnikov pursuing a suspected robber? The build-up to the fights - and the background of a dogfight?

11. Valnikov left on his own after the solution of the case? His return to listen to the violinist? Natalie's coming back? Their discussion, their Russian names, the possibility of building a future?

12. The film's serious and comic illustration of Joseph Wambaugh's world of police, the exasperations of police work, crime in the city, the ugly side of the work, the comic side, needs and romance? How much insight into police work?