TRUE CONFECTIONS

Canada, 1991, 95 minutes, Colour.
Lesley Hope, Kyle Mc Culloch, Judah Katz, Jill Riley.
Directed by Gail Singer.

True Confectionsis a delightful Canadian film - set in Winnipeg in the late 1950s, a Jewish family setting. Based loosely on a book by Sandra Gotlieb, the film was written and directed by Gail Singer, known in Canada for her documentaries. The film stars Lesley Hope (Talk Radio, Men at Work) and a Canadian cast. The title sets the tone, it is true confessions - in the style of the late 50s but seen with confectionary colours and nostalgia. The screenplay uses chapter divisions, some long, some short - but enables the audience to dip into the experiences of Verna, the heroine, and her life in Winnipeg. It means that there is continuity - there is no need for strict and accurate plotting. The film has many delightful and enjoyable sequences. However, there is a rueful attitude underlying the whole film: teenagers trapped in life in Winnipeg, the prejudice against Jews in the Canadian community, the hopes for opportunity in moving out to places like New York, contrasting with the possibilities for marriage and motherhood in Winnipeg. While the material is familiar enough, the writing and the perfromances give vitality and verve to this particular treatment.

1. An entertaining Canadian production? A memoir of the 50s? Nostalgia and regrets, a wry interpretation of the past? The feminine perspective?

2. The city and surroundings of Winnipeg, the prairies, the severe winters, the farm and city locations? Homes, school, the town, the cinema? The shops? The musical score and songs?

3. The title, its tone, colourful?

4. The structure of the film: the chapters, the titles, obvious, subtle? The effect of these glimpses? The tone of the film, the serious and the comic?

5. The portrait of the family of the 50s, the nuclear family. the bonds? The Jewish family living in the middle of Canada, its style? The expectations. marriage and family? Success? The experience of anti-semitic prejudice?

6. The focus on Verna as heroine, young, enthusiastic, wise-cracking? The opening with the movies, William Holden and Picnic? The talk in the women's room, the frank talk about biological functions? (And that tone throughout the film)? At school, friends, expectations - and the unexpected Wasp anti-Semitic remark? The preoccupation about boys and sexuality? Verna and the expectations of her relationship with Harvey, his style, going out with him? Her attraction to Kenny - and imagining him sharing with her friends and with Verna? The Beat poet, the gift, her rejecting him as a James Dean type? Her poet and going to hear him - the questions, her comment on Winnipeg life? The drink with him and his coming on to her? Her naivity - but her shrewdness in rejecting him? His invitation to come to New York, planning, deceiving her parents, packing? Going to the train, waiting with Kenny? his not showing up? Going to the camp - life at the camp, the activities, the music? Attraction towards Kenny - his outbursts against her, avoiding her - and her glimpsing him with the Rabbi? The disappearance of Kenny?

7. Norma and her girlfriends, their Jewishishness, the Wasp girl and her indiscreet comments? Norma and her support, pregnancy, concern, the money? Martin and his presence at the camp, the families talking about him, Verna talking with him? His superior attitudes, Oxford background? The dates, the engagement? The planning for the wedding in its detail? His treatment of her, his correcting her? The further encounter with Harvey, his enticing her home, the attempted rape and her reaction? Her brothers going and fighting with Harvey?

8. Verna and her relationship with her mother, her mother's wisdom, talking? Father and his presiding over the family? Her brother and his medical studies, support, fighting with Harvey? Her embarrassment about her grandmother - but hearing her on the radio, her grandmother being on side? Supporting Verna for the marriage?

9. The crisis on the wedding morning? The preparations for the marriage, the issue of the coat, Harvey sending the inspectors, the humiliation of the family, Verna being humiliated? Mark being humiliated and the breaking off of the wedding? Verna free and able to leave Winnipeg?

10. The portrait of the family in detail, at home, meals? Conversations, expressions of hope? The Jewish tradition? Ronnie and his hopes to be a doctor? Harvey and the expectations about him, the way of talking about Kenny and his going off with the Rabbi? Martin and the preparations for the marriage, the handling of the crisis?

11. Verna and her girlfriends and their talking, preoccupation about sex? Friendship, going to the camp? Norma and her night out, the black man, her pregnancy? The interview with the nun? Concern about the child, the abortion? Verna getting her the money? Martin's reaction against it?

12. Harvey, type, place in the town, work, regard for Verna? His mannerisms? Verna's not being attracted? His control, his breakdown of control, inviting Verna home, his behaviour, the attempted rape? His vindictiveness with the coat - and the family?

13. Kenny as the idealised young man, going to hear the Beat poet, going to camp, his reactions against Verna, the embrace with the Rabbi and leaving town?

14. The grandmother, her arguing at the shops? Her going to the head of the medical school and arguing, putting pressure to bear about prejudice? Going on the radio, the interviews with Rev Risler, highlighting prejudice? The good news about Ronnie's acceptance? A successful campaigner?

15. Martin, his snobbery, age, expectations, the lifestyle of his parents - and the humorous parrallel as the wives went out and the husbands went to clean the car?

16. Martin's parents, the preparations for the wedding? The two mothers going to the cook and caterer and discussing menus? The dress preparations? The bleeding nose and Verna getting blood on the dress - and their having to get it ready for the wedding?

17. Uncle Rex, at work, his love for Noreen, Maureen and her place in Winnipeg? Her taking instructions about the Jewish religion? The gossiping woman who instructed her? Seeing bad motives in Noreen's conversion? Wanting to gossip at home? Verna and her attack on her? Her going to help Noreen? The issue of the coat and hiding it?

18. Details of life in the Canadian city? The characters within this context? Winnipeg as not enough for fulfilment of hopes? Hopes and the future?

TWIN PEAKS

US, 1990, 120 minutes, Colour.
Kyle Mc Lachlan, Michael Ontkean, Richard Beymer, Lara Flynn Boyle, Ray Wise, Grace Zabriskie, Sherilyn Fenn, Madchen Amick, Peggy Lipton, Everett Mc Gill, Jack Nance, Piper Laurie, Russ Tamblyn, Sheryl Lee, Joan Chen.
Directed by David Lynch.

Twin Peaks is the pilot movie for the series which initially received such acclaim in the US. It is the work of David Lynch (Eraserhead, Blue Velvet, Wild at Heart) and Mark Frost (Hill Street Blues). The film is reminisent of many of Lynch's films especially Blue Velvet and Wild at Heart with their being located in suburbia and ordinariness - but illustrating another world, weird and wild at heart.

The film relies on audience familiarity with television series - a type of Peyton Place. However, esoteric elements are also added and event piled on melodramatic event. The cast is a strong one - especiall Kyle McLachlan? from Lynch's Dune and Blue Velvet as a very fussy FBI agent. Michael Ontkean is more normal as the local Sherrif, Harry S. Truman. A range of younger and older televisions stars bring the oddball characters to life. The pilot for television was varied for video release. A killer of Laura Palmer is actually identified with a coda by Lynch set in the future.

1. The work of David Lynch? His perspective on American society, surfaces and deaths? The quirky and the weird? The success of the pilot and the series?

2. A telemovie for the television audience? Introducing characters and situations, mystery? The wide audience? The American audience, overseas? The small town, melodramatic and exaggerated? The two versions for video and for television?

3. The title, the visuals of the credits, audience expectations?

4. The portrait of the town, the timber town, the Canadian border, the beauty o the surroundings, the trees? Homes, big business, schools? Musical score and atmosphere?

5. The town's sub-culture - youth, drugs, sexuality, the mysterious?

6. Laura Palmer and her death, the body, her background, her family? Her relationship with Bob, secret relationship with Jim, friendship with Donna, the video? Her parents and their shock,? At School? The seeming teenage queen of the town and the murkier side?

7. The portrait of the police: Harry S Truman, his style, ordinary policeman, his relationship with Miss Packard? The contrast with Cooper, his driving into the town, knowledge of other crimes, talking into his tape, the great attention to detail of meals, trees etc? His mannerof interrogation? His speech to the assembled townspeople? With Truman tracking Jimmy? Jimmy in Jail? Bobby and Mike? The possibility of a solution?

8. The timber town, Miss Packard and her ownership, her closing down the mill for the day? The contrast with Catherine Martel, her husband, the discovery of the body? her affair with the businessman?

9. The kids, teenagers at school, the football team, classes? The background of drugs, bikies, sex and rape, the discos, their behaviour in prison?

10. Bobby and his relationship with Laura, with the girls at the diner, affairs, driving the girl home and finding her husband with his truck? The arrest, the video? Mike and his crazed behaviour? The scream in the prison? (And his killing the murderer in the video version?)

11. Jimmy and Donna in class, the news of Laura's death, their grief? Jimmy and his bike, riding into the hills? Donna and her parents, getting out of the window, her sister and her answers to her parents? The clash in the disco? Going to the mountain? The background of Jimmy and his breaking the ring with Laura? The railway car? Burying the ring?

12. The businessman, the Norwegian takaeover, Audrey as the rich girl, Her behaviour
in class? With the police? Telling the businessrian about the murder?

13. The Palmers, in the big business league? The news from the police? Mrs Palmer, the search for Laura, her reaction and grief, sedated? Interrogation? Her vision in the dream of Laura's murderer?

14. The open ending of the pilot? The suspicions for the murderer? The crazed Bob and his killing at the end of the video feature?

15. The cult status of the film? Of David Lynch's work and vision? Relying on television cliches - more than television cliches or not?

TIGERLAND

US, 2000, 100 minutes, Colour.
Colin Farrell, Matthew Davis, Shea William, Clifton Collins Jr, Russell Richardson, Thomas Guiry, Cole Hauser.
Directed by Joel Schumacher.

One might have thought that films about Vietnam have become a thing of the past. Tigerland does not actually take place in Vietnam. It is 1971 and Tigerland is the culminating boot camp for the trainees about to go to war. For those who know their Vietnam films, Tigerland is the equivalent of the first part of Stanley Kubrick's Full Metal Jacket where R. Lee Ermy hounded his recruits, mercilessly abused them verbally in their training and seemed to take sadistic pleasure in the physical demands made on them. Tigerland is lower key but it is the same territory, the same humiliation of the men so that they will become automatic war machines, obeying in the field without hesitation.

What makes Tigerland a little different is the character of Roland Bozz, played with cheeky assurance by Irish actor,
Colin Farrell. Bozz is the James Dean of his day, a rebel not sure of what cause is best. He is insolent to authority, but they can see he has leadership qualities. He wants to go back home, but spends his energies enabling others to get out. He likes friends but puts on a shield of indifference so that he won't get too close and be hurt.

This is a brief study of what it is like when a group of young men are forced to live together, train together, be
competitors when they don't really know each other or like each other. Tigerland is tough.

1. The critical acclaim for the film? Performance? Screenplay? Insight into training for war? Vietnam?

2. The film made thirty years after the time that it was set, a re-creation of the period, a critical look at the period, at America's presence in Vietnam, the massacre of My Lai, the training of the soldiers, the inhumanity, the need for discipline in action, the stimulation of violence, the possibilities for leadership? At a time when the public was alienated from the war and many thought that it had been lost?

3. The Louisiana settings, the base camp, the towns and the bars, the local yards, the tents, the huts, the open spaces and the training areas? Tigerland itself?

4. The focus on the training, the Full Metal Jacket style, the emphasis on discipline, no questioning of commands? The officers in charge, the grounds for their authority? The human element, discipline, cruelty? The officers and their language, the roaring of orders, the confrontations with the men? Their being stood up to? A change in the relationship between officers and men, the move from discipline and strict orders to some kind of dialogue?

5. The voice-over introducing Roland Bozz? His strong personality, from Texas, his having dropped out from school and jobs, running away from responsibility yet his capacity? His cheeky attitudes, his speaking back to the authorities? His being punished and disciplined? His friendship with Jim Paxton, in the bar, with the girls? In the platoon, their talking, understanding each other? Bozz and his capacity for listening, people telling him their stories? Cantwell and the story of his marriage at fifteen, his children, his wife? His injuries and his being disciplined? Bozz organising his words to the authorities whereby he could be discharged? His farewell? The humiliation of Miter, Bozz stepping in, saving him, confronting the officers when the platoon was in the trenches? His discussions with Miter in the shower room, listening in detail, his reaction, his explaining the psychological dimension and Miter farewelling him? The friendship with Jim, the threats from Wilson? The continued snide remarks, the fights in the huts, in the action with Wilson? At the firing range and Wilson threatening him with the gun? In Tigerland and his final confrontation? Bozz and Paxton and their discussion with the officer about getting rid of Wilson? The fact that he was still there? The shooting of Jim in the forehead, his wound, his being discharged? Bozz and the final conversation with him, getting him out to continue his studies? Bozz and Johnson, the discussions about the men, the possibility of his running off to Mexico, his return in the morning? Bozz and his personality, the discussions with the men, with Ezra after the disciplinary conflict? All the authorities talking directly to him, the possibility of his running away, his finally going to Vietnam, his exercise of leadership?

6. The portrait of Cantwell, his age, going off to war, finding the training difficult, his story about his wife and children, his discharge? Miter and his being put in charge, his failing, his being humiliated, the electric shock, his breaking down? His inability to lead the men? His wanting to leave, telling his story to Bozz, wanting to be a butcher, his humiliation by his father, the infidelity of his wife? His leaving? Paxton, the college background, Upstate New York, the friendship with Bozz, with the girls together, friends, discussions, the issues of Wilson and the fighting, the discipline? The leave before going to Tigerland, on the roof of the building, thinking about jumping but unable to? His being wounded, his being indebted to Bozz, Bozz saying farewell and leaving the friendship, tearing up the book that he always carried and throwing the pages out the window?

7. The officers, in the field, their brutality, for example with the electric shock equipment? Their picking on Miter? Their picking on Boz? Tigerland and Cole, his story told to Bozz and the men about the man who was shot in front of him, smoking the cigarette and giving the light indication to the Viet Cong? His discipline in the field, showing the possibilities of leadership? The older officer who introduced them to Tigerland?

8. The themes of respect for oneself, for the men, and for the enemy? The pep-talk about respect?

9. The perspective on Vietnam from the year 2000, seeing the generation of the aftermath of the war and what it had meant for American society? The place of the military, the place of training? The human dimension of training?

TIGERLAND

US, 2000, 100 minutes, Colour.
Colin Farrell, Matthew Davis, Shea William, Clifton Collins Jr, Russell Richardson, Thomas Guiry, Cole Hauser.
Directed by Joel Schumacher.

One might have thought that films about Vietnam have become a thing of the past. Tigerland does not actually take place in Vietnam. It is 1971 and Tigerland is the culminating boot camp for the trainees about to go to war. For those who know their Vietnam films, Tigerland is the equivalent of the first part of Stanley Kubrick's Full Metal Jacket where R. Lee Ermy hounded his recruits, mercilessly abused them verbally in their training and seemed to take sadistic pleasure in the physical demands made on them. Tigerland is lower key but it is the same territory, the same humiliation of the men so that they will become automatic war machines, obeying in the field without hesitation.

What makes Tigerland a little different is the character of Roland Bozz, played with cheeky assurance by Irish actor,
Colin Farrell. Bozz is the James Dean of his day, a rebel not sure of what cause is best. He is insolent to authority, but they can see he has leadership qualities. He wants to go back home, but spends his energies enabling others to get out. He likes friends but puts on a shield of indifference so that he won't get too close and be hurt.

This is a brief study of what it is like when a group of young men are forced to live together, train together, be
competitors when they don't really know each other or like each other. Tigerland is tough.

1. The critical acclaim for the film? Performance? Screenplay? Insight into training for war? Vietnam?

2. The film made thirty years after the time that it was set, a re-creation of the period, a critical look at the period, at America's presence in Vietnam, the massacre of My Lai, the training of the soldiers, the inhumanity, the need for discipline in action, the stimulation of violence, the possibilities for leadership? At a time when the public was alienated from the war and many thought that it had been lost?

3. The Louisiana settings, the base camp, the towns and the bars, the local yards, the tents, the huts, the open spaces and the training areas? Tigerland itself?

4. The focus on the training, the Full Metal Jacket style, the emphasis on discipline, no questioning of commands? The officers in charge, the grounds for their authority? The human element, discipline, cruelty? The officers and their language, the roaring of orders, the confrontations with the men? Their being stood up to? A change in the relationship between officers and men, the move from discipline and strict orders to some kind of dialogue?

5. The voice-over introducing Roland Bozz? His strong personality, from Texas, his having dropped out from school and jobs, running away from responsibility yet his capacity? His cheeky attitudes, his speaking back to the authorities? His being punished and disciplined? His friendship with Jim Paxton, in the bar, with the girls? In the platoon, their talking, understanding each other? Bozz and his capacity for listening, people telling him their stories? Cantwell and the story of his marriage at fifteen, his children, his wife? His injuries and his being disciplined? Bozz organising his words to the authorities whereby he could be discharged? His farewell? The humiliation of Miter, Bozz stepping in, saving him, confronting the officers when the platoon was in the trenches? His discussions with Miter in the shower room, listening in detail, his reaction, his explaining the psychological dimension and Miter farewelling him? The friendship with Jim, the threats from Wilson? The continued snide remarks, the fights in the huts, in the action with Wilson? At the firing range and Wilson threatening him with the gun? In Tigerland and his final confrontation? Bozz and Paxton and their discussion with the officer about getting rid of Wilson? The fact that he was still there? The shooting of Jim in the forehead, his wound, his being discharged? Bozz and the final conversation with him, getting him out to continue his studies? Bozz and Johnson, the discussions about the men, the possibility of his running off to Mexico, his return in the morning? Bozz and his personality, the discussions with the men, with Ezra after the disciplinary conflict? All the authorities talking directly to him, the possibility of his running away, his finally going to Vietnam, his exercise of leadership?

6. The portrait of Cantwell, his age, going off to war, finding the training difficult, his story about his wife and children, his discharge? Miter and his being put in charge, his failing, his being humiliated, the electric shock, his breaking down? His inability to lead the men? His wanting to leave, telling his story to Bozz, wanting to be a butcher, his humiliation by his father, the infidelity of his wife? His leaving? Paxton, the college background, Upstate New York, the friendship with Bozz, with the girls together, friends, discussions, the issues of Wilson and the fighting, the discipline? The leave before going to Tigerland, on the roof of the building, thinking about jumping but unable to? His being wounded, his being indebted to Bozz, Bozz saying farewell and leaving the friendship, tearing up the book that he always carried and throwing the pages out the window?

7. The officers, in the field, their brutality, for example with the electric shock equipment? Their picking on Miter? Their picking on Boz? Tigerland and Cole, his story told to Bozz and the men about the man who was shot in front of him, smoking the cigarette and giving the light indication to the Viet Cong? His discipline in the field, showing the possibilities of leadership? The older officer who introduced them to Tigerland?

8. The themes of respect for oneself, for the men, and for the enemy? The pep-talk about respect?

9. The perspective on Vietnam from the year 2000, seeing the generation of the aftermath of the war and what it had meant for American society? The place of the military, the place of training? The human dimension of training?

TWILIGHT

US, 1998, 95 minutes, Colour.
Paul Newman, Susan Sarandon, Gene Hackman, Stockard Channing, Reese Witherspoon, Giancarlo Esposito, James Garner, Liev Schreiber, Margot Martindale, John Spencer, M. Emmett Walsh.
Directed by Robert Benton.

Twilight is for those who appreciate strong performances from veteran stars. The private eye plot and twists remind us of the old days, especially with Paul Newman at 72 in a role reminiscent of his Harper in the 60s. He has worn very well even if he is playing a down and out. Gene Hackman and Susan Sarandon are a rich and arrogant Hollywood couple with skeletons in the closet. James Garner has a good role as their former bodyguard. The screenplay and direction by Robert Benton (Kramer versus Kramer, Places in the Heart, Nobody's Fool) are intelligent with an appeal to a more mature audience which appreciates the film noir genre. Enjoy the veteran
stars.

1. A film noir of the 1990s? The use of the tradition - and the variation, especially with Katherine not being the femme fatale?

2. The exotic settings, Mexico, California, Los Angeles? The homes, the slums, the world of the affluent? The police precincts?

3. The old-style musical score, the use of "The Very Thought of You"? Hollywood people?

4. The title, the characters, ageing? The twilight zone of American moral behaviour, especially in Los Angeles?

5. The interest in the plot, its twists and intersections, characters and shadows? The variation on the femme fatale theme?

6. The prologue, Harry, his experience in searching for Jeff and Mel, the hedonism? His finding them, the room, the shooting? The tone of the film?

7. Harry's narration, the interviews? The flashbacks? Harry, a loser, his life, his self-assessment, truth or not? Verna and her giving him the final truth? Audience perceptions of him as a loser or not?

8. Harry and his life, his connection with the Ames family, with Raymond Hope? His wanting a new life? Mel and her precocious behaviour, his playing cards with Jack, doing handyman work, not getting any payment? His relationship with Katherine, his attitude towards her, in love? The jobs, living above the garage? Suspicions of Katherine and the death of her first husband?

9. Gene Hackman as Jack, portrait of a successful man, a star, on the wane, his vanity, weakness? Cards? His cancer? His being his own man, his will? Katherine and the attack, hospital? Harry and the jobs, getting him to find Mel? His power, especially over Jeff? Sexual betrayal? Suspicions and Mel? The attack on Billy, the cover-up? The role of Raymond in their lives? The final truth, asleep with Katherine? His life spoilt?

10. Susan Sarandon as Katherine, her glamour? The swim, seductive, smoking, her love for Jack? Staying with him and helping him with his cancer? The liaison with Harry, the job, the kiss of life, at the ranch? Jack's return, the questions and answers with Harry? The lies, the ultimate lie? The smash, no sense of responsibility? The truth about her?

11. Raymond, ex-police, friendliness, with Verna, work as a bodyguard? His affluent home, being genial, Harry's visit? Cleaning up, the revelation of the truth, the shoot-out, the angry motivation?

12. Jeff and Mel, Jeff and his resentment, the beach? Gloria and her parole, her scheme, the beach, the house, the deal, the shooting?

13. Mel, her age, her attachment to Jeff, running away, her relating to her parents? The spoilt young woman?

14. Verna, the bond, the truth and the talks, the questions, her telling the truth, the ending?

15. The picture of the police, the investigations, the captain and his antagonism?

16. Reuben, the surveillance, inadequate, Gloria, her death - the digging up the corpse?

17. Lester, Ivar and his death, the investigation?

18. Paul Newman as Harry, in himself, his work, Lester, the house and Verna? The questions, Jack and the cards, his anger, saying he was sorry? Katherine, the sexual liaison? Gloria and Jeff, the beach? Reuben, Ray talking? The twenty-four hours, digging up the corpse? Jack and the truth, Ray and the shoot-out?

19. The tradition of film noir, Los Angeles society, universal aspects of human nature, wealth, violence, truth?

TILL DEATH US DO PART

US, 1991, 95 minutes, Colour.
Treat Williams, Arliss Howard, Rebecca Jenkins, Embeth Davidtz, John Schuck.
Directed by Yves Simoneau.

Till Death Us Do Part is based on a real trial by celebrated lawyer Vincent Bugliosi who was later to be even more famous for his prosecution of Charles Manson and his group. He wrote the book about the trial, Helter Skelter.

This film is based on an actual case in 1966, a callous ex-policeman who conspired with a woman to murder her husband, collect insurance so that he could open his own club. Emboldened by the success of his first murder and covering his tracks, he married again and murdered the new wife within a month.

Treat Williams gives an effective performance as the callous husband. Arliss Howard tends to underplay the role of Bugliosi, especially because of his short stature - he does not seem as aggressive as the real-life Bugliosi might have been. The film offers an early performance by Embeth Davidtz who was to appear in Schindler's List and many films in the 1990s.

The film is an interesting police investigation, portrait of a criminal, portrait of a criminal covering his tracks with supreme self-confidence, even to defending himself in court.

1. An interesting murder investigation, court case? Based on facts?

2. The Los Angeles settings, the 1960s, homes, clubs, courts? Musical score?

3. The title, the focus on the initial killing, Sandra and the death of her husband? Alan and his own marriage, divorce, wanting to marry again - for insurance policies? The irony of the title?

4. The portrait of Alan, former policeman, working for the yacht club, his relationship with Sandra, it emerging that he was able to persuade her to participate in the fraud and in the murder? His friend Michael and using him at work? The police investigations, the clashes with Bugliosi? His complete self-confidence? Taking Michael and asking him to pose as a Mob type so that he could pressurise the owner of the club to sell it to him more cheaply? His relationship with his wife, brutality, deception? Trying to run her down, seeing her in hospital, bashing her? The proposal to remarry? His flirting with other women, especially at the opening of the club? His persuading the impressionable young girl to marry him, his being at the club, her wanting to be with him, his shooting her? His attitude towards the police, there being no clues, his confidence in his cleverness? The arrest, the trial, his discussions with his lawyer, contempt of Bugliosi? His being ordered to trial by the judge? His defence? The witnesses, his disproving their testimony? His treatment of Michael, friendship, telling him the truth, his being betrayed by Michael telling the truth in court? His outburst, his sentence, being still in jail?

5. Sandra, her divorce, remarriage, the death of her husband? Going to see her sister and telling her the story? The attraction to Alan, the plan, keeping out of the way, his marrying other women, his phone calls persuading her that he was doing all this for her? Her believing him, her doubting him, her going to trial? Her sentence and parole?

6. The other women, the witness in the trial telling the truth about his proposal and saying he would be married in six months? The young impressionable woman whom he married and killed?

7. Michael, quiet, watching Alan, at work, the interviews with the police? Going to work with Alan, Alan telling him the truth, promising him a management job? Michael and his feeling that Alan was his only friend? Bugliosi going to see him, the pressure, persuading him to testify in court, his telling the truth?

8. Bugliosi, his appearance, confidence, his collaboration with the detective who did the footwork (but failed to make contact with Michael)? His persistence, his superiors and their saying there was not enough evidence? His working on intuition, circumstantial evidence - and his explanation of circumstantial evidence like strands of a rope and being able to break a single strand but not the rope? His taking charge of the case, the apology from his superior? In the courtroom, his witnesses, trying to build up the circumstantial evidence, his interrogation of Michael, his final speech to the court?

9. An interesting popular insight into police detection, preparation for court work, trials, witnesses' interrogation, defence? Sentencing? The gallery of American criminals in American movies and telemovies?

21 GRAMS

US, 2003, 124 minutes, Colour.
Sean Penn, Naomi Watts, Benicio del Toro, Charlotte Gainsbourg.
Directed by Alejandro Gonzalez Inarritu.

Alejandro Gonzalez Inarritu impressed critics and the public with his grim and earthy picture of men and dogs in Amores Perros. He then contributed a segment to the portmanteau film, 9/11/01 (which was mainly darkness with sounds except for a man falling from one of the twin towers). Sean Penn also contributed a short story to this film.

Here he combines with Sean Penn (Best Actor at the Venice Film Festival for this role) to make his English-language feature debut. And it is an impressive film.

There were three stories in Amores Perros which intercut with each other. This time Inarritu has three central characters whose stories intersect in tragic ways. He plays with time by introducing the characters with scenes from the present, quickly moving to the past or to the future. At first, one wonders whether the three stars are playing more than one character each, so different do they seem. Gradually, we are able to put the very varied jigsaw pieces together and to work out the linear story. Some critics have remarked that if you put this linear plotline down, it seems a basic and rather ordinary story. Maybe. But the fact is that Inarritu and his writer, Guillermo Arriaga who also wrote Amores Perros have decided to challenge the audience to work at understanding the characters, the complexity of their motivations, the decisions they make and the consequences of their actions.

The three stars give powerful performances. Penn is an ailing maths professor in a loveless marriage waiting for a heart transplant. His wife, Charlotte Gainsbourg, has returned to him to help during the convalescence and wants to have a child. Naomi Watts (Oscar-nominated) is a happily married woman with two daughters. Benicio Del Toro is equally impressive as a petty criminal with drinking and drug problems who has found Jesus and is fervent and evangelical in his conversion. Their paths cross - but this has to be seen as the film unfolds.

Many of the conversations turn on the meaning of life and of the world. The maths professor loves and lives by numbers which give a sense of order and interconnectedness. The wife's decisions are almost all emotional. The criminal has found the Lord but is challenged to see whether he deeply believes that all is dependent on God. The 21 grams sounds like a bit of urban legend. Allegedly everyone loses 21 grams when they die - the weight of the soul?

Grainy, gritty, grim - but compelling.

1. The film's acclaim, nominations and awards?

2. The work of the director, Amores Perros, his Mexican background and perspective? Career? Working with his writer in the US? The Mexican perspective on the US?

3. The use of the hand-held camera, the saturated colour, the grainy footage, the more formal framing of set scenes? The combination of these elements of style? The score?

4. The use of Memphis, the average American city, the drab areas, the affluent areas, shops and restaurants, swimming pools and bowling? Prisons, police precincts? The golf club? The cross-section of the real American city, heightened for the purposes of the drama? The locations outside the city, the use of New Mexico settings, the motel, the empty swimming pool, the work site, the roads?

5. The structure of the film: the introduction to the three characters, the non-linear presentation of the events, the ending shown near the beginning, audiences not aware of this, beginning to put the pieces together, the repetitions of scenes, the jigsaw effect? Pace and editing? The characters as seemingly different characters, the complexity of characters by the jigsaw effect? The interconnectedness? Dependence of each character on the other? Had it been made in linear fashion, what would have been the impact?

6. The screenplay and themes of fate, destiny, providence, chance, design, God's will - and issues of freedom of will or actions determined by an unseen power?

7. The three world views of the central characters: Cristina and her total emotional response to life, relationships? Paul as the maths professor, his explanation to Cristina about numbers, combinations, mathematics as a way of interpreting the world? The contrast with Jack, his hopelessness in his early life, the born-again Christian, the perspective of the enthusiastic born-again evangelist, his faith being tested by his actions?

8. The title, the reference to all humans losing 21 grams at the moment of death and the indication that this could be the weight of the soul? Death as the death of the body, the liberation of the soul?

9. The themes of death: Paul, his illness, the transplant and his not dying, the weakness of his heart, the possibility that he would die again soon, facing death comforted in the hospital or facing death outside, his final actions and his shooting himself? Having to die again? The accidental death of Cristina's husband and her children? The plan to murder Jack? The consequences of death?

10. Themes of love: Paul, his marriage to Mary, the collapse of the marriage, his liking Cristina, coming to love her? Mary and her love for Paul, wanting the child - for herself or for them both? Cristina's love for her husband and children, expressed in grief for them? Jack and his love for his wife, the hard times, his love for his children? Cristina and the unborn child?

11. Themes of sin and responsibility, in each of the three characters, guilt, accepting of responsibility, vengeance, forgiveness?

12. The portrait of Paul: the mathematics professor, his life before his illness, his marriage to Mary, his infidelities, the separation, her pregnancy and abortion? His illness, on the list for the transplant, his going into the bathroom to smoke, Mary reprimanding him? Her proposal about the baby, his discovery that she had an abortion, the doctor and the discussions, his agreement in writing? His arguments with Mary? Not wanting to preserve the marriage, at the doctor's, at the lift, the scenes at home, his going to see Cristina, Mary and her packing and going? The phone call to have the operation, the experience of the operation, the aftermath? The celebration at home with the guests, Mary's announcing the news about the IVF, his challenging her about her motivation, wanting it private? His checking the identity of the heart donor? His following Cristina, talking to her in the restaurant, his comments about eating alone and the kidneys, his comment about her arm and swimming, at the bowling club, giving her a lift with the rain? Seeing her at the club, her drug-taking, her abusing the chauffeurs, his driving her home, leaving his jacket? His later seeing her, inviting her to dinner? Their talking, the explanation about mathematics? His saying that he liked her and her getting upset? His going in, telling her the truth about his heart? The phone call in the night, his going, the sexual encounter? Seeing her taking drugs and trying to stop her? His response to her anger, wanting to kill Jack, going to his contact and getting the gun? Driving with Cristina to the motel, his confronting Jack, shooting behind Jack, telling him to leave? Lying to Cristina? Jack's reappearance, the confrontation, his shooting himself? Going to the hospital, his death? His living on in the child with Cristina?

13. The portrait of Cristina, her initial drug-taking, her relationship with her sister, her father and talk about her mother's death and grief? His being able to be calm? Swimming and her feeling normal? The good relationship with her sister? The mobile phone, her husband speaking, the children walking along the street? At home, cleaning up the rooms? The photos, the phone call about their deaths? Rushing to the hospital, her grief, her sister and father comforting her? The doctor and the news? The discussions about permission to donate the heart? The aftermath, the memories, listening to her husband's voice on the mobile phone? Her increased drinking, drug-taking, contact with her old friend, in the restroom and taking the pills? Paul watching her, her tantrum with the car, driving her home? Her not remembering? Paul's approach, telling her the truth, her anger? Her phoning during the night, the sexual encounter, her drugs and wanting to kill Jack, going with Paul, believing that Jack had been killed? His reappearance, her desperation? Urging Jack to call the ambulance, getting him to drive Paul to the hospital? Her not wanting to prosecute Jack earlier, her sister urging her to, the transition to anger? Her forgiving him at the end, withdrawing the charges? The child and her future?

14. The portrait of Jack: his early life, a life of continued petty crime, drugs and alcoholism? His being in prison, his conversion? His relationship with his wife, with the children, their response to him? Not having much money, the poor house? His conversion, the minister as his friend, his language of the Gospel, being born again, interpreting things in the light of Jesus his Saviour? His trying to convert the boy - and his anger with him during the game in the yard and the minister's intervention? The prayer meetings, his singing with vigour, his children praying, his wife watching him? His religious tattoos, the cross (and in despair his later slitting the points of the cross on his arm)? His work at the golf club, his being sacked because of his tattoos? His friendship with Brown, dismissed, later seeing Brown, having a drink with him? At home, telling his wife that he had been sacked, his son hitting his daughter, the making of her turn the other cheek, his hitting his son, making him stand in the corner? His wife's desperation at this behaviour? His going to meet Brown, the motive for driving fast, taking the corner too fast, the hit-run? The preparation of his birthday party, his being upset, his wife's response, washing the car, saying that he should not give himself up, his family needing him? His wanting to give himself up, the motivation? Religious? Going to prison, lying down, a sense of despair, not wanting to see the minister who visited him? His God-language, God giving him the truck, the motifs of faith on the truck, it being the instrument of death, therefore God and determinism of the death of the family? His serving his sentence, coming out, not wanting to see his wife, her anger, the minister talking to him? His going home, the boy not greeting him, giving his daughter the present of a kiss, the reconciliation with his wife for the children's sake? His leaving in the night, his wife's desperate phone calls? Working on the site, the confrontation with Paul, the shots, Paul urging him to go away and disappear? His going to his room, the encounter with Paul and Cristina, Paul shooting himself? His driving Paul to the hospital? His wanting to be guilty, discussing with the police, no charges? His being forgiven? His going back to the family, religious practice?

15. The sketch of Cristina's husband, architect, the two daughters, cooking at home, the ordinary life? Her husband's phone call, the gardener being seen working and the truck going past, the audience hearing the crash although they had already seen the sequence with the dead bodies?

16. The contrast between Cristina's family and Jack's family, the comparisons, similarities?

17. The portrait of Mary, the marriage, its breakdown, her pregnancy and abortion, wanting IVF, wanting the child to bring Paul back to her? Caring for him for the operation, supervising him, the cigarettes, going to the hospital? Telling the news to the guests, the motives for her wanting the child, for herself? Her finally leaving? The irony of Cristina's having Paul's child?

18. The sketch of the minor characters, the family planning doctor, the transplant doctor? The contact for information and for the guns? The portrait of the minister, his genuine religion, support of Jack? The religious services?

19. A satisfying human drama, the depth of the themes, the religious dimension?

TOP KID

Australia, 1985, 56 minutes, Colour.
Emil Minty, Garry Mac Donald, Harold Hopkins, Joss Mac William, Michelle Fawdon, Rhys Mc Connachie, Peter Whitford.
Directed by Carl Schultz.

Top Kid is one of the Winners series, a series sponsored by the Australian Children's Television Council under the directorship of Patricia Edgar. This film was written by Bob Ellis, directed by Carl Schultz (Goodbye Paradise, Careful He Might Hear You) and photographed by John Seale. It is set in the late 1940s, focuses on an inner Sydney city Christian Brothers high school and a boy who has the ability for speed reading and answering intelligence tests. The film remembers such radio programmes of the time as The Quiz Kids, hosted by John Dease.

Emil Minty is excellent as the 10-year-old who stands out from the others because of his abilities. He is also persecuted by the others and criticised by his father (Harold Hopkins) for not being normal. The film also shows the Christian Brothers promoting their top kid - as well as doing some Jesuitical reasoning for him to participate in rigged questions in the programmes. Garry MacDonald? is the quizmaster.

The film is interesting and entertaining - as well as mirroring a great deal about Australian education, the attitudes of cutting down tall poppies, the type of ambition and honour amongst Australian men of the post-war period. Bob Ellis's screenplay is both nostalgic and strongly critical.

1. The contribution of the Winners series to children film and television? Aim, audience, kinds of stories, Australian focus, values and questions?

2. Location photography, Pyrmont and the inner suburbs of Sydney, the views of the bridge from the inner city suburbs? Homes, Christian Brothers' High, the radio centre? Authentic look at the period, costumes and decor? The memories of the radio era?

3. The story of Gary Doyle: audiences identifying with him? A 10 year-old, the late '40s, at home, his relationship with his brothers and sisters, the love of his mother, his father's severity? The need for money? His fathei's jealousy of his son and not wanting him to go to a snobs' school, wanting him to be normal? Gary listening to the quiz programmes, trying to answer the questions, continually learning, reading, doing his homework, the long essay and his reading it out in the class, the boys' reaction, putting him down, tripping him, bashing him, breaking his glasses? His poor performance at cricket batting and catc hing? In class? His daydreams and hopes? The old Brother and support for his essay, writing? Brother Kennedy discovering his reading capacities, memories of Hiavatha? The headmaster and the tests, reciting Hlawatha for the whole school? The interview with Mr Carmichael for the Top Kid programme? The discussions with Freddie Brook and the preparation for the programme? The headmaster wanting Gary to go to the better school, his father's refusal? His success on the programme, the boys' attack and bashing him, the school assembly and his not dobbing the boys in, the reconciliation with them because of it? The pressure about the questions, the bribes of the sponsors, the trick and planned questions, his going to confession to discuss it with the priest, not telling lies, discussing it with the Brothers, their reasoning for compromise, the question about Thomas More, his giving a further answer - and his final dilemma of whether he should have answered the question or not? The portrait of a young Australian boy with intellectual capacities?

4. The portrait of the clever boy, skills, opportunities and lack of opportunity, Australian levelling of all, cutting down of tall poppies, the value of sport, the pressure of peers, no dobbing? The pressure in the Catholic schools from the teachers to take advantage of opportunities? The contrast with his interests, achievement, intelligence?

5. The Christian Brothers: the old man and the chaos in his classroom. support of Gary, getting him to read the essay? Brother kennedy and his help? The headmaster, the reading test, the school assembly, the discussion with Gary's father? Christian Brother values, their trying to persuade Gary to go along with Freddie Brooks' proposal and yet not tell a lie? Gary's challenge - would they do the same thing, no answer?

6. The sketch of his parents, their support, traditions, Gary's father and his discussion about people doing well - the man who wanted to be the opera singer but got a job as a foreman and was singing in the church choir, 'doing very well'? Gary's sister and her help, sympathy, reading the 'Daily Mirror' to get the report about the boys bashing Gary? The support at the end? Gary going to the new school?

7. Freddie Brooks, the radio personality, working with the Top Kids, his interview with Gary and amazement at his abilities? The world of radio, the sponsors, the live audience? The show, the treatment of the kids, the sponsors amd the rigging of the questions? Morality?

8. The picture of the kids - rough primary school kids at school, bullying, their codes - and growing up the same?

9. The film's focus on Australian themes of education, growing up?

TWO MOON JUNCTION

US, 1988, 104 minutes, Colour.
Sherilynn Finn, Richard Tyson, Louise Fletcher, Burl Ives, Juanita Moore, Kristy McNichol?, Don Galloway, Millie Perkins, Milla Jovovich, Martin Hewitt.
Directed by Zalman King.

Two Moon Junction is a film version of one of those rather lurid short stories in magazines which wants to be the equivalent of a big bestseller. Some commentators called the film lurid trash. It is certainly exploitive - glossy onthe surface, presenting affluent life in the deep south and contrasting it with the world of the carnival wanderer.

The wealth beauty queen just pressurised into marriage to an affluent pillar of southern society is infatuated by the rouse-about and has a torrid, literally breathy and steamy affair with him. There is exploitation of the situation - also of the heroine, a Playboy model.

What is surprising about the film is the strong cast which agreed to perform, including Louise Fletcher, Burl Ives, Kristy McNicoll? (in a very effective role). The film was written and directed by former actor Zalman King, who produced 9 1/2 Weeks and The Red Shoes Diaries.

A touch of prurience and exploitation in the south.

1. The film wanting to be the equivalent of the magazine story for the bestseller, the south, the lurid touch? The strong cast?

2. Southern locations, wealthy homes, school? The local carnival? Musical score?

3. The picture of the south, the exploitive touches?

4. April as queen of the class, her engagement to Chad, her wealth, her father as a senator, the family and her sisters? Grandmother and the sense of heritage? The wedding dress? Going to the carnival, her roving eye, seeing Perry, defying him about the ferris wheel, the hot night, her return, the interaction, his coming to her home and taking the shower,
the lovemaking and the video? Chad and the preparations for the wedding? The clash with Perry? Going to him, his drinking, the meeting with Patty-Jean? and the talk, changing dresses, the dancing? Her leaving him, the preparation for the wedding? The night at Two Moon Junction with Perry? The wedding, her hesitation? Her being in his shower? A future together or not? Type, glamour?

5. Perry, strength, work in the carnival, an eye for April, the night, the shower sequence, the video? His drinking, relationship with Patty-Jean? The ferris wheel and the danger at the carnival, the fight, his being dismissed? Putting up the tent in preparation for the wedding? Meeting April at Two Moon Junction? The police shooting him? His surviving, the end? A future with April or not?

6. Chad, wealthy background, the college men, in love with April, his ambitions, on the golf links with his peers? The bucks' party? The wedding sequence? His being stood up?

7. Belle and Delilah, the black woman and the white, companions, the traditions of the south, her home, her pressure on April, memories of her past? Giving her dress? Her police contacts, the pressure on them, her influence at the wedding, her authorising the shooting of Perry? The clash between them?

8. The sketch of April's parents, senator? Her mother's concern? The lively sisters?

9. The interlude with Patty-Jean?, her robust and striking style, frank manner of speaking, relationship with Perry, influence on April, the change of dresses, the dancing?

10. The law, the police, the sheriff under the influence of Bell, his presence at the bucks' party, the stripper dressed as a policewoman? The shooting of Perry?

11. The film called lurid trash - was it anything more than this?

TURK 182

US, 1985, 102 minutes, Colour.
Timothy Hutton, Robert Urich, Robert Culp, Darren McGavin?, Kim Cattrall, Steven Keats, Paul Sorvino, Peter Boyle, Maury Chaykin, Dick O'Neill.
Directed by Bob Clark.

Turk 82 is a melodramatic piece of protest against injustice in New York City. Timothy Hutton is a young man who starts to spray graffiti over buildings, attacking the mayor (Robert Culp) for the lack of compassion for his brother (Robert Urich) who was injured and has not received compensation.

The film has a strong cast with a range of character actors in support, including Paul Sorvino as himself.

The film was directed by Bob Clarke who had a wide range of films during his career, on the more serious level Tribute and the Sherlock Holmes story, Murder by Decree. He had a number of popular films like Rhinestone and the Porky’s series. He also made a number of films for younger audiences, including A Christmas Story.

The film belongs more to the 60s and 70s and early 80s than later decades – although the themes are still prevalent.

1. Popular American comedy-drama? Politics and social awareness? Society and individuals? Rights and duties?

2. Panavision photography, the use of New York city locations and atmosphere? Special effects and editing for Turk's activities? Musical score?

3. The point of view on Turk, his doings, his cause? Audience participation in the film? Mirroring audience response? The realism and fantasy? An emotional story? Anti-authoritarianism, anti-exploitation and cover-ups? The support of the rebel? A variation on the Scarlet Pimpernel and his disguises?

4. The opening with Terry Lynch, fireman, drinking, the bar, the background of his family, his father's death, his bringing up Jinmy, the handstands, the good-humoured atmosphere? The change to the emergency? The vividness of the fire sequences? Heroism, the rescue, his fall and the gush of the hose, his serious injuries? Audience response to this change of pace? The impact of his injuries, physical, psychological? Hospital sequences, his trauma? The city and its refusal of payment? His desperation, depression, suicide attempts? The support of the city, the role of Turk 182? The relationship between himself and his brother?

5. Jimmy as the younger brother, admiration for Terry, angry at his experience, his decision to become Turk 182 - and the family reasons for the name? The publicity, the reactions of the Mayor, his campaign? His trying to have interviews? His collage in the Mayor.'s office? His ability to escape detection? The growing derring-do? The sign in the sky? The graffiti at the railway station, the train? The electronics expert and the baseball game? The reaction of the mayor and the officials? The reaction of Ryan and his anger, Kowalski and his detection? The encounter with Danni: her work as a journalist, the romance? The baseball match, her discovery of the truth, the taping of the television show and its not being shown, the bogus Turks? The build-up to the bridge ceremony, Ryan pursuing him, the firing of the shots? The whole audience watching to see if he could succeed with the sign of Turk 182? The audience enjoying his feats, cheeky and spectacular? A credible character - fantasy character?

6. The New York Mayor, Tyler and his smooth manner, his role as Mayor, phoniness, wanting a clean city, anti-graffiti, the come-uppance with the graffiti-painted train? Tyler's manner behind the scenes, threatening Ryan? Kowalski and his detection? The baseball game, the build-up to the bridge? His having to give in? The satire on authority figures?

7. Kowalski and Ryan, the police, detective work, following Turk, Kowalski and his admiration, Ryan and his anger:and shooting, the workman defeating his intentions?

8. Danni and her work as a journalist, interest in Jimmy, the affair, the discovery of the truth?

9. Jockamo and his skill at electronics, help with the schemes, amazement at the truth?

10. The world of officials, government, reporters, television?

11. A lively piece of Americana, universal appeal, a pop fable about individuals and society?