THEY MADE ME A CRIMINAL

US, 1939, 92 minutes, Black and white.
John Garfield, Claude Rains, Gloria Dickson, May Robson, Bobby Jordan, Leo Gorcey, Huntz Hall, Gabriel Dell, Ann Sheridan.
Directed by Busby Berkeley.

The Made Me a Criminal is a remake of the 1933 film The Life of Jimmy Dolan. This is a star vehicle for John Garfield at the beginning of his short but successful career. He was able to portray tough guys -with the heart of gold underneath. He is supported by Claude Rains, looking rather uneasy but trying his best to be the tough American detective. The supporting cast includes the Dead End Kids who were popular at the time (Dead End, Angels With Dirty Faces).

The film is in the tough Warners vein of the '30s: the boxing rackets, police, criminals, the contrast with the Boys Town kind of film also popular at the time. Of interest, the film was directed by Busby Berkeley who had made his name as a choreographer-director.

1. An entertaining piece of '30s Americana? film? Boys' rehabilitation film? types?

2. Boxing film? Criminal ?A satisfying blend of these?

3. The production values of the time: the atmosphere of the city, the prizefights, the police precincts, the world of criminals? The contrast with the Depression and wandering the United States in search of work? The rehabilitation communities? The small American towns? The special effects - especially for the boxing sequences? Musical score?

4. The title and its focus on Johnny? His seeming innocence, his double game, his being exploited, his being forced to escape and change his name? The ending with the contradiction to the title?

John Garfield's screen presence: the opening bouts, his success as a boxer? The talk to the press and their praise of him as a great guy - love for his mother, no drinking etc.? The contrast with the reality, the women, the manager,. the drinking? The girlfriend coming and her newspaper boyfriend? The clash? The manager killing him? Johnny being unconscious? The reading of the paper about their deaths? His panic, getting the money from the bank, being swindled? The advice to change his name? To go West? His wandering the country looking for a job? The encounter with Peggy, Grandma and the boys? Their helping him to health? His staying with their, falling in love with Peggy, helping the boys, rescuing the boy while swimming in the tank? His affection for them? The boxing bout, the training? Seeing the policeman pursuing him? His trying to back out, the disappointment of the group? Tommy and his wanting to go with hirp,? The decision to fight? The motivation? To hide his left-handed strength? The discussions with the manager, the fellow-fighters? The bout and his staying there, the detective indicating that he knew who he was? Winning the money? The detective coming to take him away, Peggy's grief, Tommy following him? The discussion at the railway station? The detective's change of heart and letting him go? A future?

5. Claude Rains as the detective? His mistake, his colleagues holding it over him? His knowledge of Johnny? Knowing that he was innocent? Determining to pursue the case, the leads, discovering Johnny, watching the bout, the conversation at the end - and his letting him go? A credible good-hearted gesture?

6. Johnny's background and double image? His manager, the girlfriend? The death, their going off, the chase and the crash? The venal bank manager taking most of his money?

7. The contrast with Grandma, Peggy and the boys? Their work, the echoes of Boys' Town with the help from the priest in New York? Their work, supervision? Johnny as a model for the boys? Their support, the Dead End Kids' style, the young boy with the movie camera and the strip poker and winning his camera? Buying the boxing gloves? Disappointment in Johnny, their faith in him, confirmed? Peggy as heroine, her work, in love with Johnny, supporting him? Knowing when he was lying?

8. The boxing background of the film? The opening bouts? Johnny withstanding the champion at the end?

9. A popular piece of entertainment? Real/unreal? The gangster theme so prevalent in the 1930s, the possibility of reform, the atmosphere of groups doing good in the 1930s and the Depression? An entertaining piece of 30s Americana?

THIN ICE

US, 1981, 100 minutes, Colour.
Kate Jackson, Lillian Gish, Louise Latham.
Directed by Paul Aaron.

Thin Ice is an American telemovie, that deals with a relationship 18-year-old college boy and his teacher, in her mid-20s. What might be soap opera, is presented in a thoughtful way with Kate Jackson in the central role. There is also an interesting contribution by Lillian Gish as her grandmother and. Louise Latham as the scandalised mother of the boy.

It has a small-town setting with the prejudices and the criticism of the people. It shows them reacting to surface, whereas the audience appreciates the emiotional and moral dilemmas of the characters.

Direction is by Paul Aaron, a director of a diverse number of filims including the drama A Different Story and Chuck Norris in A Force of One.

1. The impact of the American telemovie: audience, treatment of personal problems, resolutions? For the widest audience?

2. Carolina settings, the small town, the sea and the boats? Te use of romantic songs and lyrics, especially in the sailing sequences?

3. The title, the reference?

4. The credibility of the plot and characters, the small town, the resolution?

5. Kate Jackson as Linda Rivers: as a widow, her relationship with her husband, his death? Her friends, the school staff, her contribution to the school, her history lessons? Her friendship with Paul, introducing him to her grandmother? Her teacher friend and reliance on her? Dating? Going sailing, enjoying Paul's company, the holiday atmosphere, falling in love? The beginning of the affair? Linda's comments on thinking and the consequences? Taking time to think, people's criticisms? Paul's mother and her visit? The head of the school and the board, interviews, disciplinary action? Her decision to take responsibility and shielding Paul? Her friend and not being able to rely on her? The lawyer, the grounds for the case, the dismissal, pay? Paul and his resolve? Going before the board, the ploys of the lawyer? The resolution? Her desire to teach? Paul's proposal? A future?

6. Paul and his age, at college, his family? his legless brother and helping him? His mother and her love, her concern about people's opinion, his differing from her, leaving home? His father and the friendship, his father's absence? Talking over the questions? His love of sailing, his friends, advice about marriage? Attraction towards Linda, taking her sailing, the falling in love, the affair, his taking responsibility, decisions, leaving home, his brother's support? Standing by Linda, later? The headmaster? His proposal?

7. His mother, husband, headmaster? approving? The ordinary mother, her concern, her two sons, the absence of concern about opinion, her feeling that she had to tell the The visit of Linda and her praising her courage while disapproving?

8. The brother, his accident, support?

9. Linda's friend and her not being involved, worry about her job? overhearing the school board talking and ringing the lawyer, giving her name?

10. Lillian Gish as the grandmother, strong woman, love for Linda, interest in Paul, moral support? The possibility of leaving the town?

11. Headmaster and his using discipline and laws? The school board and their standards, attitudes, bigotry? Their lawyer and his being challenged? Linda's lawyer and his shrewdness? Their talking in the restaurant, their being sued? The resolution of the affair? The power of letters of recommendation and the network of telephoning?

12. The theme of falling in love, the affair, consequences, difference of ages? Marriage? Commitment ?

THIS IS SPINAL TAP

US, 1984, 82 minutes, Colour.
Rob Reiner, Harry Shearer, Christopher Guest, Michael McKean?, Bruno Kirby, Ed Begley Jr.
Directed by Rob Reiner.

This is Spinal Tap is described as a rockumentary. It is an entertaining satire on the world of rock and roll, the false glamour, the gigs, the personalities, management, promotion. It has some comments on the stars, their way of life, the groupies, the effect of popularity on temporary celebrities.

The film was devised by Rob Reiner (son of Carl Reiner, from All in the Family etc.) and the costars, friends Christopher Guest and Michael McKean?. There is a lot of improvisory comedy - which generally works. Particularly effective is American stars portraying English pop stars as they were in the '60s and '70s as well as in the '80s. Reiner acts the part of the trendy director of a trendy film. Parodying such movies as Martin Scorsese's The Last Waltz with its portrait of The Band, the film uses all kinds of television methods, interviews, live action, the backstage drama etc. The methods of making the film are clever and an effective part of the parody.

The film has become something of a cult film.

1. Entertaining? Enjoyable? Cult feature?

2. Inventiveness, parody, an affection for the world of rock and roll even while spoofing it? A rockumentary? Successful aiming at targets - and hitting them?

3. The collaborative effort of Rob Reiner as director with his actors? The cast and improvisation? Their composing the songs and performing them? Rock and roll music? Satiric lyrics? Americans aping English pop stars?

4. Rob Reiner's portrait of the trendy director - manner, dress, way of speaking etc.? His intentions in photographing Spinal Tap? His memories of Spinal Tap's long career? Interviews with names and Cates? His intensity? Portraying the groups, capturing their performances. cinema verite. backstage jokes, socialising? Personal stories? the rock stars' audiences?

5. The film relying on audience familiarity with the rock world and television coverage? Accepting the basic premise and treating it seriously and comically? The blend of reality and send-up? Audience expectations and fulfilment? Deadpan style? Irony and subtlety?

6. The background of English rock groups, their touring of America from the time of the Beatles to 1980s groups? The English background, accent? Working class story, education, growing up in England etc.? The American response? The humour of Patrick Macnee portraying the head of the record company - with his British style?

7. The visuals: nuances, taking images literally, exaggerations? Highlighting the stupidity? Decor, costumes? Humour in the visuals?

8. Verbal humour: play on words, the album titles (Intravenous de Milo, The Gospel According to Spinal Tap, the humour about the glove that smelt?) The inanity of the improvising for the interviews? Tensions? The sending up of memories: the photo albums, the aping of the Beatles, the psychedelic styles or the 1960s?

9. The world of rock music: instruments, music and sound, performance, intensity, the emphasis on the physical, sexuality? The group and their image? Tough, Dunk, protest? Lifestyle, groupies etc.?

10. The commercial background: film-making, the tour, records, the record company and parties, the cancelling of the gigs, performing? The world of agents and their double-talk? The humour with the failure - nobody turning up for the autographs etc.?

11. Ian as manager, his failure? Jeannie and her take-over, the clash, Ian's leaving, her failure? The tour of Japan?

12. The taking off of the film director? The serious style of Rob Reiner communicating comedy?

13. The portrait of the group: David and Nigel and their names, their friendship and their later clash, personalities, English, philosophical outlook, way of talking, performance, relationships? The other members of the group and friendships? One-upping each other on stage, collaborating? The flashbacks to the various n-,er.pbers of their group - and the talk about their deaths? Individualised characters.

14. The phenomenon of the rock celebrity, the audience, the hype, the satire on the way of life?

THROUGH NAKED EYES

US, 1983, 91 minutes, Colour.
David Soul, Pam Dawber, William Schallert, Fionnula Flanagan, Dick Anthony Williams.
Directed by John Llewellyn Moxey.

Through Naked Eyes is an entertaining, if obvious, crime telerlovie. it works entertainingly as a murder mystery. Its title indicates a voyeur therne - and this is followed through with the use of binoculars, telescopes, photography.

The film is directed by John Llewellyn Moxey, an English director who made.a number of horror films in England before moving to the United States and working extensively with telemovies and series. The film is glossy, is set in a hot Chicago, has David Soul as a concert flute-player, Pam Dawber as a National Geographic writer. There are some interesting supporting characters including William Schallert as Soul's father.

There is a series of murders, the police react unsympathetically towards Soul, there is a vigilante group in an apartment block - and a finale which indicates that the moralising vigilante is repressed and violent and the murderer.

There is quite an amount of suspense - though the final outcome of the film is seldom in doubt.

1. Entertaining telemovie? Thriller? Murder mystery? Portrayal of interesting characters? Insights into character?

2. The atmosphere of Chicago, location photography, apartment blocks, the streets, the lake and the background scenery, police precincts, concert halls? The contribution of the musical score - especially the flute music and its part in the screenplay?

3. The title and the voyeur themes: people watching one another, sexual undertones? The use of binoculars and telescopes? William and Anne looking at each other? Ance and her guided tours and the giant telescope? The murderer and his binoculars, photography? The audience sharing this voyeur experience? Legitimate? Made to seem prurient by the police? Abused by the murderer? The complexity of observation and prurient curiosity? Invasion of privacy?

4. The portrait of William: the middle-aged bachelor, living alone, binoculars, fascinated by Anne, his flute rehearsals, concert performances and reputation? The meeting with Anne? Falling in love? An affair? His being accused of the murders? Trying to clear his name? The visits of his father, their clash, the attempt to understand each other, the father listening to his records, his being disturbed about Anne?

5. Police victimisation? His concern at the vigilante in her apartment, the phone calls, running, outstripping the police, the death of the murderer? The reconciliation with Anne?

6. Anne in her apartment, being watched, her work in the museum, her writing, the relationship with her agent? Meeting William? The relationship? The situation of the murders? Her support of William? The suspicion - the information from the police? Her turning against him? The vigilante, the threat in her room, the rescue by William? The melodramatics for a heroine? The character study of a woman, her watching William, infatuated by his music, meeting him, the affair?

7. William's father, the background of their hostility, his not listening to his son's music, William's hostility towards him? His visit? Their clash? His return, arguing things out, his willingness to listen to his son's music? William being more sympathetic? The interrogation by the police?

8. The police and their investigations, individual policemen, their hostility towards William, antagonism to him because of his being a musician? The holding of hirri, interrogations? His outwitting them and getting to Anne's apartment?

9. The vigilante, his organising of the people in the apartment block, their antagonism towards the killer? The psychologist's comment about the nature violence? The going up to the killer and his sexual problems, suppressed revelation that the moralising man was the killer? Anne's apartment, the attack, his death?

10 . The presentation of the police and their routine investigations? The contrast with the unaerstanding of the police psychologist?

11. The contrast between the atmosphere of music rehearsals, concerts, writing for the National Geographic, museums and the squalidness of the atmosphere of the sex murderer?

12. An interesting, if predictable, telemovie thriller?

TIMERIDER - THE ADVENTURE OF LYLE SWANN

US, 1984, 92 minutes, Colour.
Fred Ward, Belinda Bauer, Peter Coyote, Richard Masur, L.Q.Jones, Chris Mulkey, Ed Lauter/
Directed by William Dear.

Timerider - The Adventure of Lyle Swann is another time warp film. This kind of adventure in time became popular in the late '70s with such features as Time After Time and continued into the '80s with The Final Countdown, Somewhere in Timie, The Philadelphia Experiment, The Terminator. This is a film about a bikerider who is time-warped into the Wild West. The main action of the film is really that of the western, except that the hero has a motor-bike available. There is the usual arrangement of 19th century people confronted by 20th century technology as well as the 20th. century rider lost in the past.

Lyle Swann is played by Fred Ward (Uncommon Valor, Southern Comfort, The Right Stuff). There is an interesting supporting cast led by Peter Coyote (E.T.) with action character actors like Ed Lauter and L. Q. Jones.

The fil-m is rather like a television series pilot or episode. There is a rough and readiness style,as well as an emphasis on bluntness and even brutality. This gives the filin limited quality - enjoyable but a bit too rough-edged.

1. An entertaining actioner? The exploration of time travel? Possibilities? Improbabilities? The fascination of people of two centuries confronting each other?

2. Location work? The motor cycle race of the 20th. century? The 20th century final helicopter rescue in the desert? The motor bike in the 19th century? The atmosphere of the 19th Century West? Desert locations, decor? Music?

3. The focus on Lyle Swann as hero? The tough 20th century hero and his 19th century ancestry? The nature of the hero - good and bad, committed to causes? Romance? The travel in time? Comparisons between 19th and 20th centuries?

4. Lyle Swann as hero: as champion motor cycle racer, becoming involved in the time warp, the discovery of the body, pursued by Porter Reese, the gang pursuing him, the swim and the encounter with Claire? The clashes of the cyclist with the cowboys of the 19th century? His losing the cycle, his determination to regain it, the pursuit? The hiding in the church crypt? The encounter with Claire? The canyon hideout? The U.S. Marshals and Swann working with them? The use of the rescue flares, freeing Claire? The surviving lawman after the other had been shot? The gang chase? The intervention of the helicopter? Swann's discussions with Claire about his ancestor, the medallion? Swann's return to the 20th century?

5. Claire as 19th century heroine? The first encounter with Swann? The swimming? The church crypt? Her being taken, treatment by the gang? The rescue? The irony of her being Swann's grandmother?

6. Porter Reese and his gang, the pursuit, the typical western villains? The capturing of the 'fire machine'? The sheriffs and their vendettas? The shooting of the sheriff? Swann beating the cowboys of the West?

7. The sheriffs and their involvement? Typical characters of the 19th century West?

8. The Mexican village, its way of life, the reaction to Swann? Swann's reaction to the 19th century?

9. Conventional action material? The novelty of the blend of centuries? The time themes? Looking at the 19th century through 20th century eyes? Vice versa?

THE TINGLER

US, 1959, 82 minutes, Black and white.
Vincent Price, Judith Evelyn, Darryl Hickman.
Directed by William, Castle.

The Tingler is a tongue-in-cheek thriller produced and directed by William Castle who specialised for a time in this kind of cheap and enjoyable horror: Homicidal, I Saw What You Did. The film is a star vehicle for Vincent Price who had already appeared in such horror films as House of Wax and The Fly. He was to specialise in this kind of film for the coming decades, especially in Roger Corman's Edgar Allen Poe adaptations. Here he is, it seems, a mad scientist with a theory about fear creating a parasite on the spine, a tingler. However, he is not quite as bad as seems and the innocent-looking thin bald-headed bystander is highlighted as the murderer. The film anticipates many of the horror films of the '70s and '80s - especially with the shock scares and the tingler itself. There is a coloured sequence in the centre of the film as the deaf mute wife is terrorised - especially with bright red blood in the sink and in the bath!

The film also has an introduction by Castle, has screams during the credits - and has a tongue-in~cheek climax where the tingler is let loose in a cinema (which may have caused havoc in the late '50s) and the screen goes black while Vincent Price talks about the tingler in the screen theatre hoping for scares in the real theatre. The film is modest by later standards - but is an enjoyable example of attempts at shock horror in the past.

1. Enjoyable horror story? Science? Mad scientists?

2. Black and white photography? B-budget? The coloured section - with the focus on the blood red? The darkness for scaring audiences? Vincent Price's voice and his scares and reassurances?

3. The musical score?

4. The title and audience response to tingling? The elaboration of the theory by Warren about fear, looking at victims of fear, the materialising of a parasite - and its holding onto the backbone? The appearance of the tingler - like a giant centipede parasite? Its being visualised in the X-rays, an actual tingler, its growth, its being reduced by screams (and the audience being invited to scream to shrink the tingler!)?

5. Vincent Price as Warren: as a doctor, his autopsy on the execution victim, David as his assistant? The clash with Isabel and her infidelity? Scaring her and taking the X-rays of a tingler? Her trying to poison him - and her leaving him? His friendship with Lucy and David? His support of them and asking Isabel to give the money? The encounter with the brother-in-law of the executed man, his going home, the encounter with Mrs. Higgins, her fainting? The friendship with Ollie? His going back to Mrs. Higgins, administering the drug, discovering her dead, the cutting out of the tingler, his later reinserting it? The experience with the tingler, its getting loose into the theatre, people screaming? His change of heart about the limits of scientific investigation? A Vincent Price character?

6. Ollie and his interest, his wife, the running of the theatre with the silent films? Mrs. Higgins and her fear, communication, preoccupation about the money? Her fainting? Ollie and his concern, Warren giving Mrs. Higgins the drugs? Her hallucination in the night, the colour sequence, her fear, the tingler and her death? The irony that it was Ollie terrifying her? His quiet manner, unobtrusiveness?
Wanting the money? The confrontation with the doctor, the gun? His being terrorised by the revived Mrs. Higgins - the final scream?

7. Lucy and David - and the romantic sub-plot, money difficulties, dedication to science?

8. The use of the theatre as a location, the screening of Tol'lable David? The sequences in the film corresponding to the atmosphere of the audience?

9. The melodrama? The scientific theory - fantasy or presented seriously? Themes of fear? Being scared to death? The filmmakers wanting the audience to tingle as they watched their horror film?

THE TIN STAR

US, 1957, 93 minutes, Black and white.
Henry Fonda, Anthony Perkins, Neville Brand, John McIntire?, Betsy Palmer.
Directed by Anthony Mann.

The Tin Star is an Anthony Mann western in black and white Vistavision. During the '50s Mann made a number of significant westerns, especially with James Stewart: these include Winchester 73, Bend of the River, Far Country, Man from Laramie. At this period Mann also made the Korean war study, Men in War. He was then to move into epics including E1 Cid and The Fall of the Roman Empire.

Henry Fonda is at home in the role of the bounty hunter who trains the young sheriff, played with eagerness by Anthony Perkins. Villains include Neville Brand and Lee Van Cleef. The film is a modest western. It is also fairly predictable - but nevertheless is impressive in its way of working out familiar themes in familiar characters.

1. Interesting and entertaining western? Its use of conventions? The work of Anthony Mann and his exploring of western genres?

2. Black and white photography, the picture of the town, action sequences, locations? A oicture of the West?

3. The title and its focus on the sheriff, law and order, justice and responsibilitp, danger? The young sheriff learning from experience? The West and American heritage?

4. The picture of the town and its growth, the businessmen and the Mayor? Bogardus and his wanting to be sheriff? His outlaw connections? The town and its society? The sheriff and Mary? The outcast family? The cross-section of a western town - needing a hero?

5. Henry Fonda as Morgan: bounty hunter, bringing in his man, the hostile reaction.:of the town, the ousting from the hotel, the young sheriff and his ignoring him? His friendliness with Kim and being taken in by Kimls mother? The Indian background? His concern about the reward? Talking things over with Ben, the friendship, instructing him, technioues? Ben's clash with Bogardus in the street and Morgan's shooting? Ben's shooting practice', listening to Morgan's philosophy of life? Morgan at homein the family, the deaths? Doc and his friendship, the celebration of his birthday, his death? The search for Kim, Ben and his brashness and being shot, Morgan taking the brothers alive? His helping Ben in confronting Bogardus? His leaving the town with a new family? The hero figure, the change from bitterness? Learning and teaching? A new future?

6. The contrast and comparison with Anthong Perkins and his youthfulness? His being the temporary sheriff? His love for Mary, her not wanting him to be sheriff, the argument with the slammed door? His paying Morgan? The confrontation with Bogardus on the street, Morgan's intervention? Practising, learning, timing? The friendship with Doc? The celebrations? The posse and their separating from Ben?
The confrontation with the brothers, his being shot? His promise of a fair trial? The final shoot-out with Bogardus? The apprentice who had become sheriff? Mary's support?

7. The family and Morgan staying with them, the mother and her upbringing in sympathy with Indians, her son, outcast in the town, her being insultea by Morgan, reconciliation, her concern? Kim and his playing With Morgan, the pigeons, the horse? Friendship? His pursuing the dog, his being shot at, rescue?

8. The future of Morgan with this? Doc and his wisdom, his advice, help, the birth of the child, his birthday, the diary, his death? Bogardus and his hostility towards Morgan, his place in the town, wanting to be sheriff, exercising power, prejudice against Indians, the confrontation with Ben in the street, Morgan's shooting? The final confrontation and his missing?

9. The portrait of the posses: lynch-law and hostility? The sheriff taking a stance against lynch-law?

10. The brothers, outlaws, the killing, the death of Doc, the chase, the snoot-out and their being outwitted, in prison, the preparations for their hanging, the need for a fair trial versus lynch-law?

11. Predictable material and characters - but a good exploration of the values of the West?

TO PLEASE A LADY

US., 1950, 91 minutes, Black and white.
Clark Gable, Barbara Stanwyck, Adolphe Menjou, Will Geer, Roland Winters.
Directed by Clarence Brown.

To Please a Lady is a film about motor racing, an unlikely subject for Clarence Brown, director of many Greta Garbo and Joan Crawford vehicles in the '30s, of such films as The Human Comedy and National Velvet in the '40s.

The film would be a mere programmer of 1950 were it not for the main stars, working on their popularity even though past their prime. Clark Cable is persuasive enough as the seemingly ruthless driver. Barbara Stanwyck is effective as the seemingly ruthless newspaper and gossip reporter. Adolphe Menjou does his typical adisory role - with the touch of the sinister. A young Will Geer appears appears as a carparker. The film has a brief running time, establishes the two characters and pits them against one another - and then with a sudden kiss they are seemingly allies. The film makes some points about ruthlessness and winning in one's profession. There are quite a number of racing sequences, 1950s style. This theme was taken up much more readily in the '60s and '70s with such films as Grand Prix, Winning, Le Mans

1. An enjoyable '50s film? The appeal of the subject? The stars?

2. MGM production values: director, stars, black and white photography, atmosphere, locations?

3. The title and the focus on Regina? Mike and his final gesture for her? For himself? The title indicating the theme?

4. The appeal of motor racing? 1950 and the speedways? Cars, speeds, tracks, dangers, accidents? The commentators? The capturing the atmosphere of Indianapolis and other speedways?

5. Clark Gable as Mike: his skill as a driver, his reputation as a Marine, his association with the deaths of two drivers, his relentlessness, sense of responsibility? The antagonism of the crowd? Regina choosing to attack himi? Her judgment on his arrogance? The effect of her column? His clash with her? His kissing her? His working as a daredevil after selling his car? His encounter with Mackay and their going into partnership? His comeback? Coming second? The friendship with Regina? Her continued questions about the deaths? His final success - and each of them keeping their career plus a happy ending?

6. Barbara Stanwyck as Regina - the self-assured and ruthless columnist, her attendants. her briefings? Her being used to power and wielding it? Her attack on the politician - and his trial, his appeal to her, condemnation, flamboyant suicide? The effect of this death on her and her judgment on Mike? Her advice from Gregg? Going to the speedway, the interview with Mike and the clash with him, her reaction, the column, her ruthlessness? Her being pleased with his failure? Going to see him as a stunt man? His kiss and her change? Her relenting about the column Gregg wrote? Her seeing hirri, outings, discussions about responsibility, the final success and the happy ending? Her performance matching that of Clark Gable?

7. The role of newspapers, their influence, damage to people's careers? Gregg and his impersonal attitudes towards drivers, towards politicians? His cynicism. at the speedway, about Mike and accidents and killing, about Regina's romance?

8. Mackay as a decent man, partnership with Mike?

9. Themes of relationships, careers and success?

TUCKER: THE MAN AND HIS DREAMS

US, 1988, 110 minutes, Colour.
Jeff Bridges, Joan Allen, Martin Landau, Frederic Forrest, Mako, Christian Slater, Nina Siemaszko, Elias Koteas.
Directed by Francis Ford Coppola.

Tucker: The Man and His Dreams is a piece of enthusiastic Americana directed by Francis Ford Coppola (Godfather, Apocalypse Now). It is based on the true story of Preston Tucker, a self-promoting inventor full of ideas about the car of the future. After producing fifty cars in the mid-'40s, he was thwarted by the big three manufacturers from Detroit as well as Senate and political pressure.

The film is in the vein of Frank Capra's enthusiastic pieces of the '30s like Mr Deeds Goes to Town and Mr Smith Goes to Washington. Jeff Bridges is excellent as Tucker but is more of a promotion man than the sincere and naive Mr Deeds or Mr Smith. There is a good supporting cast but the film has the added bonus of an excellent perforimiance by Martin Landau as Tucker's business associate, Abe. Regular Coppola star Frederic Forrest is one of the engineers. Christian Slater (Name of the Rose) is Tucker's eldest son. There is an uncredited appearance by Lloyd Bridges as the hostile senator.

The film is made with the verve of Tucker himself - and is a film of the 80s, highlighting the American Dream, the potential of individual dreamers, thile heavy pressure of politics and bureaucracy thwarting the dream.

1. An interesting and enjoyable piece of Americana, 1940s? The end of the Reagan era? The focus on the individual, the American Dream, free enterprise? Conspiracy, politics and bureacracy? The position of Americans in the 40s as regards inventions, trade, Germany and Japan?

2. The work of Francis Coppola - and its place in his group of filins? His re-creation of the '40s, period, the U.S., Michigan, Chicago, Washington? The world of car-manufacturers? Panavision, split-screen techniques, forward editing (from one scene into the next)? Musical score, 'Hold That Tiger'?

3. The title and its focus on the person of Tucker, his dreams? Repercussions for the U.S.? The car industry?

4. The use of the promotional style, captions? The family album, the voiceover? The pre-credits sequences and the black and white photography, newsreels? Tucker's love of cars, his war tank and its rejection? (And the humorous use of its speeding down the road later?)

5. Jeff Bridges and his verve: the W.S. man, full of ideas and dreams, his past? Vera and his love for her, the children? The all-American? Extrovert, promoter, fighter? Arrival home, the plan of the car, trying to persuade Abe, going to the ice cream parlour? The idea about the magazine article, the article and the letters, the map and the origins of the lotters? Pre-sales? interviews? Filming, promotion? The beef dinner and his accident slides? The factory in Chicago? interviews in Washington? Bennington as the president of the board? Sixty days to make the car? Conman or dreamer - some of both?

6. Vera and Preston's love for her, interest in his work, help, phone calls, challenging of Bennington? The children: Junior and his going to college, staying to work for his father, sharing the enterprise? His energy, devotion (and the scene with Abe's dress)? The younger boy and his going to visit Howard Hughes? Getting his family on stage? Their support in court? The family emphasis?

7. Martin Landau's portrait of Abe: his appearance, arrival at the home, wanting to drink coffee in the city? His talks with Preston? Visits, the beef dinner, pessimistic outlook, the contracts, the gaining of the factory, his gaining of pre-sales? Frank and the movie promotion? Anxiety at the opening? Continued support, getting close to the family, presents? His offering his resignation, the truth about his being in prison? The warning phone calls? In court, admitting his responsibility, trust in Tucker? The final triumph? His memories of the old country, ambitions, getting close to people?

8. Maddie and his loyalty, capacity for work, angers, humour, success? The airman and his interview, streamlining the model, continued improvements, challenge by Tucker? Head of the department? Loyalty? his Japanese background, friendship, skills? The other workers and their contribution? Junior and his work? Getting the car from the scrap heaps, the preparation at the expo, final touches for the car, the assembly line and producing the last three, driving them to the court?

9. The building of the car: the plans, the changes, not having the car? Speed, the various scrap heaps and the parts, the delays at the opening, success? The safety features - and their being used in successive decades?

10. Senator Ferguson and his spies, the interview with Preston and Abe, his remarks about comedies and yet his menacing warning? Attitudes, not shaking hands, Preston- presence in the court, lawyers, his losing face?

11. Preston and the promotion, the newsreels and the films, travels, the presentation of the car and its razzamatazz, the girls, his slogan song Hold That Tiger? His morale-boosting for all and his clowning?

12. Bennington and his background, going on the board, contracts, changing plans, pressure from the big three in Washington? Preston's clashes? Vera going to the meeting, his resignation?

13. The development of the cars, the 24-hour test and the crash, the last three jurors and the judge impressed?

14. The court case, accusations of fraud, leaking of documents to the papers, conspiracies, the accusations by the lawyers, the witnesses, the political manoeuvres?

15. Preston and the factory going, producing the fifty cars, his final speech in anger to the jury, wanting the evidence of the cars, giving his life story in the vein of Mr Deeds and Mr Smith? The jurors concerned for him, his vindication? The visit to Howard Eughes, Hughes and Senator Ferguson, Hughes and his dreams and ambitions, interest in mechanics - and the suggestions of his health, idiosyncrasies and privacy?

17. An interesting and enjoyable humane story, American values, universal values? A film of the '80s?

THE 13th FLOOR

Australia, 1988, 90 minutes, Colour.
Lisa Hensley, Tim Mc Kenzie, Mirando Otto, Michael Caton.
Directed by Chris Roache.

The 13th Floor is an Australian murder thriller. It has touches of the supernatural. Not original, it is reminiscent of`so many of the films of the '70s and '80s.. However, it boasts Sydney locations, quite an effective atmosphere - despite some gratuitously violent touches.

Lisa Hensley is persuasive enough as the heroine. Tim Mac Kenzie changes pace from awkward heroes, Gallipoli, Lighthorsemen, Silver City, to become one of the heroes.

1. Interesting and entertaining thriller? Touch of the supernatural? Australian atmosphere?

2. Sydney locations, city, buildings? Special effects? Musical score? Atmosphere?

3. The title; the prologue and the deaths, no rental, the accidents, the squatters, the death and revenge?

4. Thriller elements blended with horror? Gratuitous violent touches?

5. The prologue and Heather, seeing her father, the boy? The effect on her? The boy's reappearance? The irony of her hiding the documents in the generator? Thompson and his murder of the boy, the boy's father? The revenge?

6. Heather and her growing up, rebelling, university, drugs, leaving home, going with Rebecca, squatting on the 13th floor, manoeuvres? Meeting John, using him for the computer information? out with him, liaison? The detective and his pursuit of her, brutality, the chase, his death? Rebecca and her friendship, the drugs, her death? Nick, bringing the food, his help, death? The television and seeing her father? Bert and the encounter, his sexual advances,and her resistance (and his later boasting)? John, the friendship, his phoning her, his death? The chase, the horror, the hospitalisation, escape, inviting her father, his, death? Waking up to normality?

7. The father and his politics, credible, the murder, hiring the detective and allowing him to be brutal, his thugs, television appearances, his fascist leadership ideas, his relationship with his daughter, wanting the documents, coming to her, the boy killing him?

8. Rebecca, friendship, drugs? Nick and his friendship, death?

9. John, his help, Heather's profile of him and its accuracy, at work, with the computer, his boss? His death?

10. The sketch of Sydney thugs and detectives?

12. The office, the computer authority and his criminals?

13. Thriller atmosphere, horror themes? Relationships, politics, violence?