BUMP IN THE NIGHT

US, 1991, 93 minutes, Colour.

Meredith Baxter-Birney, Christopher Reeve, Wings Hauser, Corey Carrier, Richard Bradford, Geraldine Fitzgerald, Shirley Knight, Terrence Mann, Richard Joseph Paul, and to me.

Directed by Karen Arthur.

A strange, unexplained title.

However, this is a 1991 American television movie that is still worth noting.

Basically, it is the story of an abduction of a child, the anxiety of the parents, their participation, with the police, to find the child. The family story is complicated because of the careers of the parents, she, played by Meredith Baxter-Bernie, a successful investigative journalist and Colin writer who has taken to drinking, unreliable, especially with her son, and the father, a successful novelist, played by Wings Hauser.

There is a sympathetic presentation of the police and the investigators, led by Richard Bradford, professional, having to react to the anger of the mother, learns to understand the pressures on the father.

However, the theme that makes this television movie significant, especially in the early 1990s, is that the abductor of the little boy is a paedophile. There had not been many films about paedophiles to this point, Short Eyes with Bruce Davison, a prison film, an example.

What is very telling for this film is that the paedophile is played by Christopher Reeve, a very nuanced performance, taking away from his iconic Superman performances. He plays a literature Prof, colour of the community, discovered to be a paedophile, imprisoned, model prisoner, early release, but in no way cured or rehabilitated. He is in league with the woman associated with the pornographer, she sending him a photo, he paying her $1000, setting up a meeting with the boy on the pretence that the boy was meeting his father.

What is significant for those who want to understand something of a paedophile is the way in which, often subtly, Christopher Reeve plays his role, words spoken, sharing stories, the mentality of the child, touching, moods, the techniques of grooming.

There is an excellent supporting cast, veteran Geraldine Fitzgerald in her last role, Shirley Knight is an alcoholic friend, Terrence Mann as the pornographer.

At the same time the Dutch film, For a Lost, a nonjudgemental portrait of a relationship between an American soldier and a 12-year-old boy, was released, the film that with current understanding of age of consent, legislation about underage sexual relationships, could not be made in the same way today.

1. A telemovie of the 1990s? Issues?
2. The New York setting, filmed in Pittsburgh, American cities, apartments, police precincts, the streets, atmosphere? The musical score?
3. The meaning of the title?
4. The initial focus on Jonathan and Martha, ready for school, another drunk, sleep, contact with his father, going to the old lady who was minding his cat, going to the restaurant to wait? School principal, friend of Martha, concern, phone calls, the teacher referring to Martha is drunk, interrogating the little girl? Visiting the old lady with the cats, her information, the later visit and information?
5. The tension between husband and wife, her past career as an investigative journalist, success, column? His successes and novelist? The separation? Her drinking? The refusal to admit it? Her irrational behaviour throughout the search, outburst, anger, drinking, the need for a drink? The treatment of people, relegating them? Her attitudes towards Patrick, arguments, anger?
6. The introduction to Lawrence Buller, Cheryl the phone call, the photo, the rendezvous, the restaurant, Laurence introducing himself, talking about his father? The film showing something of the psychology and behaviour of the paedophile, the link, the contacts, with child pornography, charm, the mentality of a child and an adult, conversation, trust, sharing stories, the poem, the child trusting? Friendship? The experience of the zoo? Christopher Reeve and his performance, indicating the paedophile, touch, words, persuasive, trust? Techniques of grooming? Knowing how to respond? The rendezvous at the apartment? Pretending about his father to Jonathan? At the apartment, waiting for his father, the photography equipment, Laurence having an answer to everything? Time progressing, Laurence and his moods, angry, aggressive torts Jonathan? Locking the doors? Jonathan, the escape, his ingenuity, going to the attic, hiding, spending the night? Laurence and his frustrations? No food, going out, Jonathan breaking the glass in the window, Laurence noting it? The arguments, cajoling, the ultimate threat of the fire, setting it, getting out of hand?
7. Cheryl, the dance company, Nicola 90s and the pornography, getting the photo from the photographer, contacting Lawrence, $1000, the apartment and rendezvous? Nickel ideas, confronting Cheryl, the police, killing Cheryl, searching for the information, going to the apartment, confronting Lawrence, bashing him, Laurence killing him? The police arriving, Laurence killing himself?
8. The search for Jonathan, the clues, Martha and her not drinking, moods, aggression, friendship with Katie, sharing the drinking, Katie denying her alcoholism, the sketch of the face, made available, a couple recognising Laurence and telling the police?
9. Patrick, his arrival, the tension with Katie, tension with the police, the search?
10. Sgt Mooney and his assistant, taking the case seriously, the school, the outbursts, confronting each parent, moving sympathies, memories of Martha and her column? The assistant, actively involved, suggestions? The identification with Laurence Miller, Mooney and his telling of the story of Laurence, University lecturer, pillar of the society, accusations, jail, model prisoner, release? Yet his preying again?
11. Martha, the photos, the numberplates, contacting the police, identifying the building? The fire, urging Jonathan down and catching him?
12. The resolution, together, going into rehab, possibilities for the future?
13. The raising of the issue of paedophilia and dramatising it in 1991? Impact at the time? Later?