MURDER BY NATURAL CAUSES

US, 1979, 100 minutes, Colour.
Hal Holbroook, Katharine Ross, Richard Anderson, Barry Bostwick, Jeff Donnell.
Directed by Robert Day.

Murder By Natural Causes is an efficient and entertaining telemovie. Written and produced by Richard Levinson and William Link, promoters of such successful television series as Columbo, the film has enough substance to make it very watchable and enough style for it to entertain. The murder premise is interesting, a professional mind reader is being conspired against by his wife. There are several twists of plot which call for constant attention to the film. Performances are very good indeed, more substantial than might be required for such home entertainment.

1. The appeal of the murder thriller? Situation, characters, clash and confrontation, violence, ingenuity and puzzle? The quality of this murder thriller?

2. The style of the film as telemovie, situations and character for the how audience, sufficient puzzle and clues? Explanations? The audience left up in the air, but satisfied?

3. The title of the film and its ironies, the attempt at the perfect murder?

4. Hal Holbrook's strong performance as Arthur sustaining the film? His background, marriage? His explanation of his initial showmanship? Seeing him on television ? using his ingenuity as well as information? His., relationship with Alison and the phone call? Return home, party and her concern for him? His relationship with George as business partner? His research with the private detective? Entertaining ladies at parties? Newspaper reporters? His heart condition? The audience knowing him to be victim and sympathising with him?

5. His vanity? Background of his act and performing style?

6. The drama of the confrontation with Gil? The content of the interview and the cat and mouse discussion (especially in the light of subsequent discovery of Arthur's knowing what was happening)? The push ups and the collapse? The tricks and the challenge by Gil? The build up to Gil's hostility and explanation of the plan? The shooting of Gil? Confrontation of Alison? Gil arising from the dead to scare Arthur? The changing of the pace of the plans with the confrontation of George and his shooting Arthur? Arthur's death and the seeming completion of the murder?

7. Alison's return and the disappearance of Arthur? His speaking on the screen about death? The revelation of the truth ? knowing about Gil, knowing about George? His explanation and hold over Alison? The three deadly options? A satisfying ending and Arthur's vindication?

8. The overall portrait of Arthur as a character, the theme of mind reading ? natural gifts, shrewdness, help, showmanship? And people's suspicious response, delighted response? Fear?

9. The portrait of Alison as an evil woman, the phone call to Arthur, liaison with Gil? The pretending to shoot him and testing out the crime? Her fickle concern for Arthur's health? Rehearsals, Gil's hesitation and her ploys to persuade him? The review of the play and her hold over Gil? The truth about George and the pretence for the housekeeper? Her callousness in Arthur's being shot? The reversal of roles and her fear with the final confrontation? A credible characterisation of an evil woman?

10. Gil as the other man, relationship with Alison, watching and admiring Arthur on the television, the acting sequence and his bad temper and violence, the opting out of the plan, the bad reviews and his being talked into doing the crime? The ease with which he acted the interview? Performed the tricks? His being tricked and Arthur inviting him to leave? The possibilities of his being framed ? poetic justice?

11. George as the reliable lawyer and friend, the irony of the truth, the acting for the housekeeper. his not hesitating to kill Arthur?

12. Themes of greed, lack of scruple, cruelty and violence, deceit? Satisfying crime drama with twists?

MANG JING

Hong Kong/China, 2003, 92 minutes, Colour.
Directed by Li Yang.

The director of Mang Jing (Blind Shaft) was a documentary film-maker. This is evident as he portrays the coalmines of central China: the rugged and dry terrain, the mines themselves, the lodgings for the miners, the nearby town. However, this militates somewhat against his dramatic skills. While the film focuses on two veteran miners who have a scheme to set up an anonymous young man, pass him off as a friend or relative, murder him in the mines and then make it look like an accident and claim money from the owners who do not want their under-standard mines investigated, the film should have had more dramatic punch. They focus on a young boy, sixteen years old, whose father has died in the mines and who has to support his family, even though he is studying to go to school. One of the schemers, however, gradually befriends the young man, almost acting as a father figure. When the climax comes, it is somewhat unexpected but is not treated with the dramatic momentum that it might have had.

The film shows ordinary life in China, ordinary men, their greed, lack of scruple. It also shows the ordinary lives of the town, especially the work in the brothels that cater for the men of the town, especially the miners. It is a look at China as it might have been during the 20th century and continues into the 21st.

1. The impact of the film? Life in China? Its portrait of the miners, their work, friendships, schemes? The moral dilemmas of the film?

2. The location photography, the background of documentaries, the locations of the mines, in the mines, the town? The musical score?

3. The title and its implications for the victims in the mines? The irony at the end of the film for the two schemers?

4. The opening: the miners going to work, the regulations, searches, going down the shaft, the work itself, the break, the murder and the cover-up? The emergency and the investigation?

5. The two men, their characters, their scheme, their plans, their shrewdness? The discussions with the mine owner as if they were victims? His under-standard mines, his wanting to pay them off? The pay-off and the mutual satisfaction?

6. Their travel, finding the young man, telling them (him?) to be the nephew? The interview, signing up, the work, the lodgings?

7. The young man, his family background, age, lack of experience? His friendship with the two men, agreeing to their plan? His work, the washtub and the ribald conversations? In the room, his fascination with the pin-ups? The meals, the discussions? Going to the town, their setting him up for the massage, his shyness, embarrassment, his reaction afterwards? His going again into the town with them? His reading, studying? Writing home and the men tearing up his letter? His wanting to send the money to his family, paying back his debts, giving to the boy in the street, begging for money for school (and the men following the example)?

8. The build-up to the execution of the plan, the callous member, his wanting to kill the boy? Uncle and his change of heart, saving the boy, delaying the plan? Friendship? The bashing of each other, the boy running and leaving the two men in the mine, the emergency?

9. The aftermath, did he realise what had happened? His going to the cremation - and the final glimpse of the smoke coming out of the chimney?

10. Particularly Chinese issues and style? Universal themes of dishonesty and exploitation, of friendship and father-figure friendship?

MYSTERY ISLAND

Australia, 1980, 70 minutes, Colour.
Bill Charlton, Jason Duncan, Miklas Juhlin, Michael McGlinchey?, Ray Marshall, Melissa Woodhams, Ray Meagher, Alan Penney, Tom Richards.
Directed by Gene W. Scott.

Mystery Island is an Australian children's film, akin to the telemovie style. It is modest in scope and budget. Based on a story by Cliff Green, it portrays four children around the age of 10-12 on the Barrier Reef. The usual adventure ingredients are there, a touch of the castaway island stories of last century but linked with a modern criminal atmosphere. However, the touch is generally very gentle and the only gun used has blanks. The screenplay could be much stronger and the overall result is a certain flatness in the presentation. However, for
70 minutes younger children would probably identify with the characters and quite enjoy the film.

1. For what audience was the film made? What age group? The response of boys, girls? Australian children? Overseas?

2. Production values, small budget? The children and their acting? The adults professionals? The success of creating characters quickly, atmosphere, adventure?

3. How well used was the Barrier Reef location photography? The islands? The underwater photography and the beauty of marine life?

4. The realism of the plot, the touches of 19th. century adventures and traditional attitudes? The reference to comics and the phantoms?

5. How well did the film establish the children, how quickly? Their characters, interaction? Indications of how they would act during the adventure? The children's father? Royston and Tommo? The goodies and the baddies?

6. The establishing of the four children as characters? The two living on the island, the two visitors, the family connection, clash potential? The visitors and their diving, the job of painting? The hiring of the dinghy, the swimming, the rescue? The drifting? The children exercising their skills, making plans, acting as children, eating, sleeping, hiding themselves in the lighthouse? Their keeping watch, their being afraid?

7. Their discovery of Duffy, of Royston and Tommo? Their strategies, plans, executing the plans? Mark and his taking the money and escaping? The dangers? Coping?

8. The characterisation of Jock and Sandy? Their relationship, skills, knowledge of the islands? Their leading Roger and Mark? Roger presented as a know-all and his blending in during the troubles? Mark and the comics, fears, being afraid, his escape, injury, encounter with Old Duffy?

9. The sketching in of the adult characters - the children's father and his concern, the police and their tracking down the criminals and finding Duffy? Tommo and Royston and their plans - giving the dinghy to the children, the meeting up with the boat, the getting of the money, the fear of the Coast Guard, sleeping on the island, chasing the children, trying plans to get the money back, the final confrontation? Duffy and his presence on the island, watching the children, rescuing Mark, helping the children, firing the blanks against Tommo?

10. The resolution of the adventures - the dangers, the firing of the blanks, Jock and his tackling Tommo? The basic adventure material, young children identifying with the characters and the situations - fantasy and realism, perennial values of good and bad, heroism?

MR CHEDWORTH STEPS OUT

Australia, 1939, 92 minutes, Black and white.
Cecil Kellaway, Joan Deering, Rita Pauncefort, Jean Hatton, Peter Finch.
Directed by Ken G. Hall.

Mr Chedworth Steps Out was one of the last of the Cinesound features of the '30s. It is an interesting and entertaining comedy drama, set in contemporary Sydney, and illustrating the perennial theme of the timid henpecked husband who eventually rebels and branches out.

Cecil Kellaway is Mr Chedworth. The South African stage actor had appeared in Ken Hall's comedy It Isn't Done and had contributed the basic story. After this he was invited to Hollywood where he had a successful career but he returned in the late '30s for this film. The young Peter Finch who had appeared in Dad And Dave Come To Town has a supporting role as Kellaway's son. Rita Paunceford portrays one of the most obnoxious characters on the Australian screen - Kellaway's nagging wife.

The film portrays the way of life in suburban Sydney with the ambition for affluence of the Australian wife and her expectations and pressures on the husband. One of the daughters is a clear imitation of Deanna Durbin and the film imitates the style of her musicals, so popular at the time. Direction is by Ken G. Hall, who showed so much versatility in the range of features he directed at Cinesound in the '30s.

1. The quality of Ken Hall's films during the '30s? Range of interests? Audience response? Qualities and techniques?

2. A popular story? Its universal application? its Australian style? Audience response to this kind of domestic comic drama? The work of Cecil Kellaway and Peter Finch? The influence of overseas styles as well as local styles e.g. the Deanna Durbin musical films and the musical climax?

3. Sydney in the period, the Australian city, costumes and sets? An authentic contemporary atmosphere of the '30s?

4. Cecil Kellaway's presence as George Chedworth? Seeing him at work, the small meek man and the reaction of his bosses? His being dispensable? His place in the family? His age? The incessant nagging of his wife and his silence? An ironic image of the Australian husband? Meek and repressing his anger? His relationship with his wife? His exasperation with Arthur and his gambling, supporting his son? His attitude towards Gwen and Perce and their possible marriage? Suzy and her singing? Fred the young boy? His prospects? His getting the sack unexpectedly?

5. Mr. Chedworth and the atmosphere of the Depression? The experience of the '30s? Difficulties for work? The attitude of those in authority? The business world? The relevance of this drama for a '30s audience?

6. The contrasts with society, snobbery? The comparisons between classes in the Australian cities of the '30s?

7. The irony of Arthur's betting and George Chedworth's disapproval? The irony of the bet and the way it was communicated to the audience? The work as caretaker? The forgery? The discovery of the money? Hiding the money? Arthur's taking it?

8. The business world and rivalries, crooked dealings? The hiring of criminals? The strange blend of the harsh and the kind?

9. Mr. Chedworth and the money, his keeping of accounts? His bet? His new job? His enjoying his holiday - the kind of tourist brochure holiday that can be advertised? The encounter with Brian and their friendship? His double life? Money? His wife and the bailiff and her hysterics -letting out his repressions?

10. The melodrama of Arthur and the money? The pressure put on him? His desperation? Discovery of the hidden money? His being used? The build-up to melodramatics?

11. The family and the change, the party, the hiring of the bailiff to scare his wife? Perce and his abandoning Gwen? The ironic comment on poverty and wealth and friendship and love?

12. The build-up to the climax? The taking of Mr. Chedworth and his being bashed? His refusal to give information? The neatness in the melodrama for the information to be communicated? Suzy singing? The arrival of everyone to save George Chedworth?

13. The happy ending? Reconciliation with Arthur? His wife learning her lesson? The romance between Gwen and Brian? Suzy and her singing?

14. An Australian serio-comic look at the little man? The Australian family, husband-wife relationships, wealth and poverty, honesty? Dreams and reality?

A MOST ATTRACTIVE MAN

Australia, 1982, 48 minutes, Colour.
Carole Skinner, Grigor Taylor, Julie Mc Gregor, Anna Volska, Dennis Miller, Cathy Downes, Anne Tenney.
Directed by Rivka Hartman.

A Most Attractive Man is an excellent short fiction film written and directed by Rivka Hartman. After making several short films, Rivka Hartman made this short feature which was given commercial release by the Australian Film Institute. It portrays people in Sydney suburbia, focuses on ordinary characters, their interactions, ups and downs in relationships and their repercussions. It is emotionally dramatic as well as comic - and successful in what it sets out to do. It has a very strong cast, excellent Sydney locations, a fine piano score.

1. An entertaining film, its acclaim? As narrative, character study? Points about men and women and relationships? Australian? Universal?

2. The feminine viewpoint of the film? The work of the writer-director? The cast dramatising her viewpoints? Audiences sharing the viewpoint? The feminine perspective?

3. The use of Sydney suburbs, location photography, homes, streets, markets? Musical score? The strong cast?

4. The title and its emphasis? Relationships between men and women? Feminine perspective? Masculine perspective? Presuppositions and presumptions?

5. Grigor Taylor's portrait of Dorian? The irony of his name? Self-centred, narcissistic (his routine in front of the mirror)? His being a spoilt child, seeing himself as women's 'impossible dream'? The games that he played? Questions of rent, the gas bill, his being a suburban gigolo? His place in Frances' household? The encounter with She? His sponging dinner from Frances? his bringing the girl back home, Frances knocking in the night? Loud yet sometimes tender? The sequence of the burning off and his discussion with Frances? His hat and clothes at the C.E.S. Office, the C.E.S. woman and her falling for him, inviting him to lunch, explaining about the fraud in making jam? His losing the car? The visit with Michael and man-talk? his explanation of his vision for his future wife to Frances? Arrogant about her relationship with him? His playing the piano - a touch of humanity? Leaving, the final game-playing, his departure? A sketch of an arrogant young man?

6. Carole Skinner's portrayal of Frances: her presence, warmth? Her physical appearance, size? her capitalising on her presence and personality? A family woman, her motherliness to her children, standards of bringing them up? her love for Dorian, supporting him? Arguments? Seeing through him, threatening him, playing games? The discussions with She? Knocking at the door in the middle of the night? Her reaction to this? The decision to go to university, thinking about being a criminal lawyer? her friends, making the jam? Her rehearsing with him the three years games she had played in discussing his leaving? The accident to her child? The farewell - the final game but letting him go, watching him go? A persuasive portrait of an Australian woman?

7. The sketch of the children - at home, their love tor their mother, attitude towards Dorian, outings with Michael?

8. Frances' friends - their backgrounds, children. talk, sharing, markets, making the jam, singing 'You Make Me Feel Like a Natural Woman'? Reaction to Dorian? Judy's support during the accident?

9. The incidental characters - well drawn: She and her presumption, not being able to take a joke, infatuation with Dorian? The girl at the C.E.S. Office and her falling for Dorian, wanting to help him? Michael and his support for Frances? Dislike of Dorian? Talking in the shop with him?

10. The strength of the various incidents, the attention to detail, the strength and quality of conversation? Authentic?

11. A portrait of Australian men and women, in suburbia, clashes, friendships, support? An insightful entertainment?

MILLION DOLLAR MERMAID

US, 1952, 115 minutes, Colour.
Esther Williams, Victor Mature, Walter Pidgeon, David Brian, Jesse White, Maria Tallchief, Howard Freeman.
Directed by Mervyn Le Roy.

Million Dollar Mermaid was originally called The One Piece Bathing Suit and is a Hollywood-style biography of Australian swimmer and entertainer Annette Kellerman. Esther Williams was an obvious choice to portray Annette Kellerman in the '50s. After almost ten years of entertaining audiences with light musical comedies with swimming, Esther Williams attempted something more of a characterisation in this film. However, while it takes itself a little more seriously, it is really a variation on her usual films.

Annette Kellerman came from New South Wales, had need for swimming to strengthen her legs, became a champion and then an entertainer in burlesque and silent films. The men in her life are the typical show business contrasts: the rough busker type and the suave producer. Victor Mature is his usual self as the busker hero. Walter Pidgeon is also himself as Annette’s father. There is the Hollywood interpretation of the Australian scenery - similar to Interrupted Melody, the biography of Marjorie Lawrence which was to appear the following year. There is more surety of hand in the presentation of the swimming sequences, choreographed with lavish and even garish colour by choreographer Busby Berkeley. Direction is by Mervyn Le Roy who made all kinds of films over a long Hollywood career, ranging from Little Caesar to Blossoms In The Dust and Random Harvest to Gypsy.

1. An enjoyable Hollywood biography? An Esther Williams vehicle? Audience interest in Annette Kellerman and her life and career? The blend of biography with romance and aquatic spectacle?

2. M.G.M. production values of the '50s: colour photography, costumes, recreation of Australia, England, America? The insight into early film making? Spectacle and special effects? Busby Berkley’s choreography for the water spectacle?

3. Audience knowledge of Annette Kellerman? As a child, her learning to swim, her skills and strength, her forthright approach, questions of censorship and prudery, sport, spectacle? The importance of Pavlova's comment about her skill and success?

4. The Australian background and its use? Teaching music? Her father and his poverty and the Depression? Her swimming as a child? Building up strength and winning in competition? The need to go to England?

5. The shipboard comedy and romance? Jimmy and his quick-talking? Doc and Sidney the kangaroo? Australian humour with the kangaroo and boxing? The possibility of Annette and sideshows and burlesque? London, poverty? Jimmy's visit and the decision about the swimming? The press response and the public response?

6. The transition to America, ambitions: Harper and the Hippodrome? The lack of initial success? On the road? Annette's skill in swimming and diving, demonstrations? The successful return to the Hippodrome? Pavlova and the ballet sequence? John Philip Souza and his band music? The further success in silent films?

7. Annette and her father? The strong bonds? His wariness about Jimmy? Poverty and going to America? His standing by his daughter with the Boston trials? Working in the sideshows? In the Hippodrome orchestra? His death? Jimmy and his smooth talk, the success with Annette, the clash, his flying to Florida? The plane flight competition and his being in hospital? Annette and Harper encountering him and Doc on the train? The happy ending? Doc and his comedy and affection? The humour of the kangaroo sequences? Alfred and his being a successful producer, his helping Annette, squiring her in society, wanting to marry her, his presence on the film sets. his standing aside for Jimmy?

8. The Boston incident: Jimmy and the stunt, Annette and her innocence, the prudery in reaction, her taking a strong stance, her case and the question about prudery, morals, swimming costumes? The judge and his listening to the case, his fair judgment? The result with her doing demonstrations of swimming and diving, the invitation to lecture?

9. Annette as a celebrity and its effect on her life?

10. Jimmy and the contrast with society: his talk.. carnival atmosphere, his using Doc? The contrast with Harper and American society style?

11. The impact of the aquatic spectacle and the décor, costumes. use of colour, choreography? Spectacular kitsch?

12. An enjoyable biography? Its relationship with the facts? M.G.M. musical style? Impact now, dated?

MELVIN, SON OF ALVIN

Australia, 1984, 95 minutes, Colour.
Gerry Sont, Jon Finlayson, Tina Bursill, Colin Mc Ewan, Abigail, Graeme Blundell, David Argue, Marianne Collopy.
Directed by John Eastway.

Melvin Son of Alvin is a follow-up of-the very successful Alvin Purple films of the early '70s (Alvin Purple, 1973; Alvin Rides Again, 1974). There was also quite a successful ABC television series focusing on the character of Alvin Purple. He was embodied by adept comedian Graeme Blundell.

The producers thought that it was time for a follow-up. Their box-office calculations were not accurate. The film had a moderate success. It was more successful on the video market.

The film reflects the experiences of ten years in the Australian film industry. Whereas Alvin Purple was rude and daring, trying to poke its tongue out at conventions and draw in audiences with its cheekiness, Alvin Rides Again was less successful as a film (though popular with audiences). This film is still cheeky – but cannot have the freshness that the originals had. In fact, while it has its sensational moments, it is much more restrained in tone and style than the originals.

Gary Sont is a genial young man who discovers that his father was the celebrated Alvin Purple. His mother is portrayed by Abigail. He seeks out his father only to find that he is turning 40, fat and run-down, and working in sleazy jobs. Melvin has the old Alvin capacity for attracting women - much humour (more obviously sexist in the '80s) with women chasing the hero and throwing themselves at him. Part of the humour is of the innocent abroad trying to cope with this new situation. There are several sex scenes - but are more suggestive than daring.

Graeme Blundell enjoys himself as the washed-up Alvin Purple who discovers his son and takes on something of a new lease of life. However, the film is more successful on its two comedy sub-plots. The heroine who does not chase Melvin is from a Greek family. Some reviewers thought that the film was prejudiced in its presentation of the Greeks - especially the
Greek mother and her capacity for chaperoning and protecting her daughter. There are some very tunny sequences in a collage of photos where the two are together with mother suddenly appearing in all different kinds of comic ways. The film does poke fun at the Greeks trying to preserve their traditional ways in contemporary Australia, The romance with the heroine, needless to say, ends up happily.

Tina Bursill portrays an aggressive television journalist who exposes the whole situation and tries to follow up every moment and capitalise on the crises she creates. She is very good - and takes off several of Australia's prominent
interviewers. There is some good satire on the role of television and its intrusions. There is also some comedy from David Argue as her bewildered and inept cameraman.

The film was written by Morris Gleitzman, author of a number of screenplays including several for the successful children's series, Winners. Director is John Eastway who directed the first series of the very successful ABC television satire Australia You're Standing In It.

MAYBE THIS TIME

Australia, 1980, 100 minutes, Colour.
Judy Morris, Bill Hunter, Mike Preston, Jill Perryman, Ken Shorter, Michelle Fawdon, Leonard Teale, Jude Kuring, Rod Mullinar, Chris Haywood, Lorna Lesley, Lyndall Barbour.
Directed by Chris Mc Gill.

The futility of the pressures, uncertainties of modern living are frustrating. A common theme, but taken up here sensitively and from a woman's viewpoint. Judy Morris' excellently drawn Fran writes letters to a friend overseas, searches for a man who will love her and not see her as a fulfilment of fantasy, meets a variety of women in a wide range of circumstances and reflects on her past. The film has many accurate and well-perceived touches, fine support from Jill Perrryman, Michelle Fawdon and memorable characters by Lorna Lesley and Lyndall Barbour. The men embody many male Australian attitudes. Not a great film, some flaws, but in many ways, rewarding.

1. An interesting and enjoyable film? Its place in the Australian industry of the '70s? A look at contemporary life in the 1970s? Political background,, social comment? The portrait of a woman?

2. The technical credits of the film and their effectiveness: the beauty of the colour photography of Sydney. Canberra, the south coast? The evocation of the Australian environment in both city and country? The qualities of the location photography? The use of houses, streets, university campus, the harbour etc.? The contribution of the romantic score?

3. The contribution of the acting talent and its wide range? The stars? The variety of actors and actresses in cameo roles - their effectiveness?

4. The original title was Letters to a Friend. An effective title? In comparison with Maybe This Time? The framework of the letters - the soap opera device, how well used? Sentiment and strength? The importance of our understanding Fran by the way that she wrote the letters, their content, the tone of her voice, friendship with Gennie? The audience's sense of Gennie - and her friendship with Fran , sharing her experience, the relationship with Paddy, the importance of the European experience, the details of her trip? Fran's response - voice-over, language, poetry, rhetoric, questions? A device for communicating and revealing Fran to the audience? The impact of Gennie's death - on Fran, on the audience?

5. The strengths and weaknesses of the screenplay? How perceptive on character? The Australian way of life? Australian manners, idiom? The one-liners - and the sense of being cleverly overwritten? The sensitivity towards themes? The feminine perspective? The point of view of the screenplay on Australian society,, politics,, the Labor Party and November 1975? The place of women in Australian society, men? The emphasis on the woman - with some consequent ridiculing of the men? The futility of Fran's experience, her goals? Her background, education, sensibility? Insight into the woman? Male-female relationships?

6. Fran as the focus of the film and the audience seeing her as centre and other people within her circle? The past and the present? Men and women? The prospects for the future?

7. The portrait of Fran as a woman? Her capacity for life, involvement? The past: her family background, growing up with Margo, her mother? The friendship with Alan Russell and the passing of ten years? This being highlighted by the chance encounter with the past student in the shop and her chatter, the bets about getting married, her own divorce? The visit to Miss Bates and the discussion about learning, the past (Bronwyn sitting in on the discussion - an image of Fran from the past)? Fran's study, her teaching, her giving it up and moving to the university, her presence at tutorials, discussions with Paddy? The build-up to approaching middle age unfulfilled? The present: her job and its ordinariness, her relationship with Steven and its four years duration? The honesty and the lies? Sharing interests with Steven? The intimate sequences with him and his blase attitude? The plight and her going to Canberra? The party, the view of the Labor ministers? Her being caught by Meredith and her embarrassment? The later dinner with Steven as he moved upwards in his career? Her discussions about Meredith and visiting her? Discussing and drinking? The visit how and the encounter with Alan at the barbecue? The decision to spend the weekend with him, shared experiences, the sexual inadequacy, his pleading with her to marry him? The visit to the farm and the prospects for a future? The relationship with Paddy, her work at the university, his offhanded manner, quips? Moving into an affair with him? His refusal of commitment, open relationship? Academic futility? Sensual fulfilment but a puzzle about relationships? The future: Her birthday and turning 30, her bleak forecast about how she would change over the decades (in her letter to Gennie)? The possibility of marriage, family, children? People's expectations of her e.g. the student she met, her mother? Comparisons with Margo? Her hopes in the trip to Europe? The news of Gennie's death and her decision to go to Europe? Study, qualification, career? The film's finishing with Fran moving about Athens - the beauty of the past, images of the past? The possibility of building a future?

8. Judy Morris as Fran representing an ordinary Australian woman? The country town background, education, political views, Labor point of view, work? Self-preoccupied? Feminine, tough, cultured, friendly, lonely? Emotional needs? The range of her relationships? Encounters with men, women? Comparisons that the screenplay made? Comparison with her mother, Sister? Her being indecisive?

9. The women in the film: Margo and her children, the husband, bringing up the family, financial prospects, the visit home, the sharing of memories at their mother's birthday party, singing together? Seeing her off at the airport? The picture of family life? Her mother and her pressures, gossip, the birthday party? The mother gossipping with the neighbours? The possibility of a future with Alan - and the parallel with Margo and Jack? The contrast with Meredith - Steven's lies about her, her knowledge of the affair, the permissive sequence at the motel in Canberra, the later discussions about marriage and truth, the divorce? Miss Bates as the educationalist, the spinster, the intellectual? Bronwyn and her future? Gennie as model for Fran's behaviour, friendship, the relationship with Paddy?

10. The portrayal of men in the film: Steven and his Public Service position, self-importance, smugness, promiscuity? Attitudes towards his minister? Towards the new government? His deceiving Meredith? The shots of him being watched by Fran as he went out with the family? His later behaviour at the election time - on television? The meal with Fran and the harbour? The contrast with Alan and his being in New Guinea, the Country Party affiliation, the love for Fran, the weekend and his sexual inadequacy and embarrassment, the old man intruder and the spoiling of the weekend? His taking Fran to see the farm? Proposal? The contrast with Paddy and his secure world of the university, cynical, rubbishing the students, theorising about Churchill? Their liaison? Her birthday, the swim? Paddy's inability to commit himself? His carrying on with the girl student? Jack and his making a pass at Fran? The encounter with the minister and his geniality in Canberra, his losing his seat and his television interview, the pathos of the discussion on the ferry? Poetry, the ice cream that couldn't be bought? The incidental sequence of the salesman and his jokes, push? Men presented in a less than sympathetic way?

11. The political background, Labor Party government, 1975? The A.C.T., jobs, the minister and his defeat? The changing patterns after 1975?

12. The academic world: university, tutorials, the correction of papers, secure theorising?

13. The New South Wales countryside, towns, farm, Pitt Street farmers? The isolation of the country?

14. Feminist themes? The portrayal of feminine sensitivity? The rights of women, the place of women in society? Sexuality?

15. Themes of age, middle age, malaise, disappointment and futility, coping with life, hopes?

MAN OF LETTERS

Australia, 1984, 83 minutes, Colour.
Warren Mitchell, Dinah Shearing, Carole Raye, Arna Maria Winchester, Genevieve Mooy, Judy Connelli, Steve Jacobs, Pat Bishop, John Clayton.
Directed by Chris Thomson.

Man of Letters was one of a series of telemovies produced by the Australian Broadcasting Corporation and shown in 1984. This film was based on a novel by Glenn Tomasetti. The film was directed by Chris Thomson (Waterfront, The Empty Beach).

The film has an unusual subject for Australian films: an academic, universities and government bureaucracy (especially for the film industry). It portrays a self-satisfied man who is successful on the surface but, during the film, undergoes a psychological collapse. Warren Mitchell is excellent in the title role. He is well supported by a strong cast led by Dinah Shearing. Both Warren Mitchell and Dinah Shearing won Penguin Awards for their performances. The film captures the artificial atmosphere of the university, the Film Commission and its discussions as well as the brittle success of affluent suburbia. The film finally focuses on the relationships between men and women, assumptions about role stereotypes and the threat of emerging feminism.

1. An interesting telemovie? Entertaining? For the A.B.C. audience? The appeal to the popular audience - or not? Success in presenting a serious and offbeat film? For Australian audiences, overseas?

2. The adaptation of a novel? Transfer to the television screen? Colour photography - the use of Canberra and city locations, homes, the university, the Film Corporation, the mental institution? A particular world of academia and wealth and its environment? A 'cultured' world? The ivory tower, the blend of reality and unreality? Mental breakdown? Realism blended with the styles for the breakdown? Musical score?

3. The presentation of the Australian academic atmosphere? The intellectuals, the world of philosophy? The world of the media, film corporations? Real, rarefied atmosphere? Art and reality? Pretensions? Movements and trends? Minorities? Finance allotted and its rationale? The members of the committees? Change? How accurate the portrait? How satiric?

4. The title and its literary allusions? The literal meaning of Sir Dorton and his correspondence? Sir Dorton and the recipients of his letters. a communication of mind - as an alternate to physical communication? The film as a critique of the man of such letters? His image, arrogance, fears, unwillingness to face reality, unwillingness for face-to-face communication? The focus on sexual relationships? A literate and intellectual sexual relationship?

5. Warren Mitchell as Dorton: his career, knighthood? His work in philosophy - how wise a man was he? His delight in things intellectual? Sensual compensation? His wife and his affairs? His children - not seeing the grandchild born? The party? The fruits of his career? His membership of the Film Corporation Board? Reactions? The other board-members' reactions to him? His qualifications? The encounter with Ursula and her memories of her virginity? Doona and sensuality? The argument with Con: films, ideology, relationships, the lunch together, the visit, the lesbian encounter and its physical reality and his reaction? His fear, revulsion, breakdown? His wife, antagonism, ignoring her, his return? The collapse? The party? The thinker not able to cope with reality? The asylum and his committal, treatment, healing? His return, alive - and antagonistic?

6. Dorton's wife, in herself, his version of her, the facts and realities? Her skills, plant-growing, presidency of the organisation? Her ability to cope, exasperation, relationship with the children, the birth? The final relationship
with him?

7. The portraits of Ursula, Doona? In reality, his versions of them, receiving his letters?

8. Con and the meeting, attractive, Dorton imagining her sensually, the reality of the lunch, the lesbian background and relationship. the brutal turning on Dorton, their taunting him?

9. The Film Commission - the film's comments on membership. attitudes, apportioning of money? Real, satiric?

10. The portrait of the family, Sir Dorton's daughter, son-in-law?

11. The affluent background? middle class money, intellectuals, culture? Films?

12. Themes of men and women, roles and stereotypes? A feminist tone in the film? The critique of man? Image and reality? Sex. sexuality and sensuality? Theory and reality? Fears and coping?

THE MAN FROM KANGAROO

Australia, 1920, 90 minutes, Black and white.
Rex ‘Snowy’ Baker, Agnes Vernon, Charles Villiers.
Directed by Wilfrid Lucas.

The Man From Kangaroo, an action adventure from 1920, has been restored by the National Library of Australia. It is one of the few remaining films from the period now available. Made by Americans Wilfrid Lucas and his wife Bess Meredith, it features action star and athlete Snowy Baker. When compared with American and overseas product of the time, the film stands quite well. However, it was contributing to the pioneering film-making in Australia - experiments with studio work and outdoor work, blending cinema styles with experience from the stage, developing editing techniques for action adventure. The film resembles American westerns in many ways but has the feel of the Australian bush.

It has a strong hero - with the interesting sideline that he initially appears as a minister of the church who is ousted from his parish and feels he can no longer live as a minister. A hero of the cloth, he moves to being a hero of the city and then to be a hero of the bush. The heroine is a strong-minded vigorous lady. While the stereotypes of the bush are there, they are given some vigour. Snowy Baker's stunt work is also of note. This film and the films of the '20s have been well discussed in John Tulloch's Legends of the Screen.

1. The impact of this film on its first release? The status of the cinema in 1920? Overseas? Australian? The authentic Australian feel? The incoming American film-makers? The success of the film in the United States? Its impact now? Its contribution to an understanding of the Australian industry?

2. How effective a piece of cinema for 1920? Comparisons with contemporary product? The plot outline? The popular ingredients of western and action adventure? The characters - rounded characters or types? Stereotypes? Basic situations? The emphasis on the emotional response? The range of acting styles - contrived, realistic? The communication of plot and character by silent film acting styles? The importance of the captions? The resolution of the strands of the plot - the happy ending?

3. The titles and their style, rhetoric, speeches, stylised presentation of character and feeling? The sketches on the caption frames? The irony of so many of the remarks? The strange blend of sentiment and irony?

4. The Australian atmosphere - especially the emphasis of the opening? Kangaroo as town, the bush, the river, the church, business? The contrast with the inner city of Sydney and the bashings? The transition to and comparison of the western town, properties, cattle?

5. The initial background of religion - the status of religion in Australia in 1920, established religion, the expectations of the audience, people at worship, hypocrisy, the role of the bishop, the place of the minister in the local community, the challenge to the minister from the people, the people ousting the minister? The respect for religion? The critique of religion? Popular expectations of holiness - in action, in posture?

6. Snowy Baker's presence, strength. athletic prowess. stunt work? The character of John Harland - the boxing background and the flashbacks? His teaching the boys to box? His swimming demonstration? His incessant broad smile? Love for Muriel? The clash with Giles? His self-doubt? The discussions with the bishop? His decision to move away? His leaving Muriel? His life in the city, helping the assaulted man? The reward in going to Greythorn? His arrival. the clash with Braggan? The irony of the interlinking with Giles and Muriel? Meeting Muriel again? Mike and his friendship and advice? The sermon? The chase? His sense of unworthiness and resigning? His final heroism with Muriel? The contradictory elements in the Australian hero of the time?

7. Muriel as heroine - beauty, wealth? Love for John? The administration of Giles? Her discovering the truth? The visit? The sermon? The build-up to the climax and her participation in it? The photographing of the heroine - communicating charm (the use of cats and lambs!)?

8. Giles as nasty villain, his smiling attitude, behaviour, hypocritical? His exploiting money? His presentation to the bishop? His force on Muriel? His hold over Braggan and the men? His brutality? The expectation of the embodiment of villainy?

9. The kids of Kangaroo, their friendship with the minister, the sweets, the boxing, the swimming? John Harland and his supporting the kids? The mother and her influence in turning the town against him?

10. The interlude in the city - almost from another film? The atmosphere of the inner city, poverty, men down and out, the violence, the chase, the police? The capturing of the atmosphere of city life?

11. The contrast with the western properties, the hard life of the towns, the foreman and his influence on the men, the greed? The overtones of the American western?

12. The build-up to the final chase, the stunt work, especially the leap from the coach? (And the influence of the westerns?)

13. The influence of this film and others like it in the early '20s? Shaping the style of Australian films - themes, situations, characters? Symbols and myths? The influence of American production and the potential American audience?