THE STORYTELLER

US, 1977, 100 minutes, Colour.
Martin Balsam, Pattie Duke Astin, Doris Roberts.
Directed by Robert Markowitz.

The Storyteller is an excellent television movie. It raises all the questions that are perennially asked about television programming, writing, portrayals of violence, influence on the impressionable - and the possibility of always turning the television off.

The film was written and produced by the team of William Levinson and Richard Link, originators of the many popular television series of the 60s and 70s. Their film is the fruit of experience and the possibility for retrospective on their work.

Martin Balsam is excellent, a man of integrity, a writer of television shows whose aim is to tell a good story and to entertain. When one of his popular telemovies, portraying an adult committing arson, an adult who was disturbed, an adult who experienced the execution of justice during the film, when his show influences a young boy to set fire to his school and he is killed because of smoke inhalation, there was a hue and cry about the influence of television. Media reporters and commentators take the very moral high ground. The film portrays the problems for the writer, his dilemmas, especially when the parents of the boy send photos in the post. He decides to visit the parents, finds a very aggrieved and hostile mother, is apologised to by a father who understands the situation, realises that his son was disturbed and that they had not found the strength to do anything about his mental behaviour.

Doris Roberts appears as Martin Balsam's wife, Patty Duke Astin as his daughter. There are snippets inserted throughout the film, glimpses of ordinary people who make a wide range of comments on television and its impact.

A film of the 70s, it is nevertheless still relevant, raises the important issues and would be most useful for media education work.

1. The 70s perspective on television, its power, influence, responsibility, its power for incitement to action?

2. A 70s perception on audiences, their watching patterns, choices, children watching, parents, disturbed people watching?

3. A 70s perspective on writers, producers, executives, decision-making, trends, testing audiences and watching the adrenalin pumping during violent scenes, research?

4. From the perspective of the 21st century on television, audiences, those contributing to television programs? The changes in thirty years, similarities? Changes in the media, availability, openness, responsibility?

5. The inserts with the various interviews and comments by members of the public? The housewife and her child, watching and the influence; the executive, the free society, the world full of nuts, self-censorship? "How can a story hurt someone?" The policeman, the lack of realism, his wanting more realism and comparisons with what happens in real life? The housewife, her experience of television, children, turning the television off? The end of the film and the collage of the variety of opinions?

6. The discussion during the drama for the various viewpoints, from Ira and his perspective, the executives for the network, the police, the press conferences and the media?

7. The film as a case study, the portrait of a writer, the portrait of a disturbed child and his actions? The responses from society? The ambiguity of the issues, the truth?

8. Ira his age and experience, his having written so many shows, creative, with his tape recorder dictating scenes, his facility and ease with his imagination? His discussions with the producer, omissions, changes, tailoring things to popular expectations? His preparation, the writing of the show, its being produced, ready for screening, the publicity, the premiere, his family and friends gathering, his wife, daughter, the discussions about phones and babysitters, their enjoying the show?

9. Ira, his way of life, wealth, the long marriage to his wife and their ease of communications, discussions? His daughter, her broken marriage, her child? Her not letting the child see the television? Their discussion about fairytales and violence? The differentiation between fantasy and reality? Fears and the children coping via this kind of violent story?

10. Kenny, at school, alone, with his teachers? Information about him, the fact of his getting out of bed, burning the school, dying in the smoke? The news treatment of the episode? The media and its taking stances, presenting information, judging, condemning? The press conferences and the questions to Ira, the speech by the executives, the accusatory questions from the press? The letters in the post with the photo? Ira and his discussions with the producer, his going to Seattle?

11. Ira and the hard decisions, examining his conscience, unable to sleep? His accepting of responsibility? His reaction to the letters and photos? The contact with the journalist from Seattle, the incessant phone calls in the house? Going to Seattle, the limits for the interview, the poor interview at first but the help of the journalist, Ira and his explanation of himself? His visiting Kenny's mother, her hostility? The father coming, offering the apology, explaining about his son and his being impressionable? The parents not able to do anything for their son?

12. His return home, being greeted by his wife, daughter, their support? His discussion with the producer, his choices about his future programs?

13. The portrait of a good man, the shock of the episode, the challenge to himself and to his career? His response?

14. The role of the story teller, taking risks for a wide audience, the results, the judgments? Responsibility?